 | Directed by | Nicole Garcia Cinematography by ~ Pierre Milon Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Lenses |
Search Results: Alexa | 1848 Titles
Un beau dimanche (2013)
Mauvaise fille (2012)
 | Directed by | Patrick Mille Cinematography by ~ Jérôme Alméras Cameras | ARRI ALEXA Camera, ARRICAM Lite (LT) Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Cooke 5/i Lenses, Cooke S4 Lenses |
Thérèse (2012)
 | Directed by | Claude Miller Cinematography by ~ Gérard de Battista Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Fujinon Alura Lenses |
Puhdistus (2012)
 | Directed by | Antti Jokinen Cinematography by ~ Rauno Ronkainen Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens |
Blood Ties (2013)
 | Directed by | Guillaume Canet Cinematography by ~ Christophe Offenstein Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Ultra Prime Lenses |
Big Bad Wolves (2013)
 | Directed by | Aharon Keshales, Navot Papushado Cinematography by ~ Giora Bejach Cameras | ARRI ALEXA Camera |
Nymphomaniac: Vol. I (2013)
 | Directed by | Lars von Trier Cinematography by ~ Manuel Alberto Claro Cameras | ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Lenses |
Foxfire (2012)
 | Directed by | Laurent Cantet Cinematography by ~ Pierre Milon Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Cooke S4 Lenses |
Au bout du conte (2013)
 | Directed by | Agnès Jaoui Cinematography by ~ Lubomir Bakchev Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4 Lenses |
Collision (2013)
Les invincibles (2013)
 | Directed by | Frédéric Berthe Cinematography by ~ David Quesemand Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Cooke Lenses |
La dune (2013)
 | Directed by | Yossi Aviram Cinematography by ~ Antoine Héberlé Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Zeiss Standard Speed Prime Lenses |
Les gamins (2013)
 | Directed by | Anthony Marciano Cinematography by ~ Jean-Paul Agostini Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses |
100% cachemire (2013)
 | Directed by | Valérie Lemercier Cinematography by ~ Denis Lenoir Cameras | ARRI ALEXA Studio Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4 Lenses |
Bird People (2014)
 | Directed by | Pascale Ferran Cinematography by ~ Julien Hirsch Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, Zeiss Super Speed Lenses |
Elle s’en va (2013)
 | Directed by | Emmanuelle Bercot Cinematography by ~ Guillaume Schiffman Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
Tu honoreras ta mère et ta mère (2012)
 | Directed by | Brigitte Roüan Cinematography by ~ Agnès Godard Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Cooke 5/i Lenses |
Comme un lion (2012)
 | Directed by | Samuel Collardey Cinematography by ~ Samuel Collardey, Charles Wilhelem Cameras | ARRI ALEXA Camera Lenses | Angenieux HR 25-250 mm T3.5 Lens, Zeiss Standard Speed Prime Lenses |
Des gens qui s’embrassent (2013)
 | Directed by | Danièle Thompson Cinematography by ~ Jean-Marc Fabre Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4 Lenses |
Zulu (2013)
 | Directed by | Jérôme Salle Cinematography by ~ Denis Rouden Cameras | ARRI ALEXA Studio Camera Lenses | Angenieux Optimo Zoom Lenses, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses |
