 | Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 45-120 mm T2.8 Lens |
Search Results: Alexa | 1848 Titles
Political Animals (2012)
The Monuments Men (2014)
The Hunger Games: Mockingjay – Part 1 (2014)
 | Directed by | Francis Lawrence Cinematography by ~ Jo Willems Cameras | ARRI ALEXA XT Camera Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses |
The Bletchley Circle (2012)
 | Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
Le crocodile du Botswanga (2014)
 | Directed by | Lionel Steketee, Fabrice Eboué Cinematography by ~ Stéphane Le Parc Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, ARRI / Zeiss Master Anamorphic Lenses, Fujinon Alura Lenses |
Neighbors (2014)
 | Directed by | Nicholas Stoller Cinematography by ~ Brandon Trost Cameras | ARRI ALEXA Camera, Red Epic Camera Lenses | Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses |
Son of God (2014)
 | Directed by | Christopher Spencer Cinematography by ~ Rob Goldie Cameras | ARRI ALEXA Plus Camera Lenses | ARRI / Fujinon Lenses |
Veronica Mars (2014)
 | Directed by | Rob Thomas Cinematography by ~ Ben Kutchins Cameras | ARRI ALEXA Camera Lenses | Leitz Summilux-C Series Lenses |
22 Jump Street (2014)
 | Directed by | Phil Lord, Christopher Miller Cinematography by ~ Barry Peterson Cameras | ARRI ALEXA XT Camera |
Bowling (2012)
 | Directed by | Marie-Castille Mention-Schaar Cinematography by ~ Myriam Vinocour Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4 Lenses |
Ma bonne étoile (2012)
 | Directed by | Anne Fassio Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses |
Bienvenue parmi nous (2012)
 | Directed by | Jean Becker Cinematography by ~ Arthur Cloquet Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Lenses |
Astérix and Obélix: God Save Britannia (2012)
 | Directed by | Laurent Tirard Cinematography by ~ Catherine Pujol, Denis Rouden Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo DP 16-42 mm T2.8 Lens |
À coeur ouvert (2012)
 | Directed by | Marion Laine Cinematography by ~ Antoine Héberlé Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Zeiss Standard Speed Prime Lenses |
10 jours en or (2012)
 | Directed by | Nicolas Brossette Cinematography by ~ Benoît Chamaillard Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
Camille redouble (2012)
 | Directed by | Noémie Lvovsky Cinematography by ~ Jean-Marc Fabre Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Cooke S4 Lenses |
Quelques heures de printemps (2012)
 | Directed by | Stéphane Brizé Cinematography by ~ Antoine Héberlé Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Standard Speed Prime Lenses |
Main dans la main (2012)
 | Directed by | Valérie Donzelli Cinematography by ~ Sébastien Buchmann Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
Do Not Disturb (2012)
 | Directed by | Yvan Attal Cinematography by ~ Thomas Hardmeier Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, ARRI Shift & Tilt System Lens, Zeiss Master Prime Lenses, Zeiss Super Speed Lenses |
À coup sûr (2014)
 | Directed by | Delphine de Vigan Cinematography by ~ Antoine Monod Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens |
