 | Directed by | R.J. Cutler Cinematography by ~ John de Borman Cameras | ARRI ALEXA Plus 4:3 Camera, Canon EOS-C500 Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke Speed Panchro Lenses, Hawk V-Lite Lenses |
Search Results: Alexa | 1848 Titles
If I Stay (2014)
Kingsman: The Secret Service (2014)
 | Directed by | Matthew Vaughn Cinematography by ~ George Richmond Cameras | ARRI ALEXA XT Plus Camera, Blackmagic Production 4K Camera, Phantom Flex Camera Lenses | Angenieux Optimo Zoom Lenses, Hawk V-Lite Lenses |
Deux jours, une nuit (2014)
 | Directed by | Jean-Pierre Dardenne, Luc Dardenne Cinematography by ~ Alain Marcoen Cameras | ARRI ALEXA M Camera Lenses | Angenieux Optimo 45-120 mm T2.8 Lens, Zeiss Standard Speed Prime Lenses |
Beyond the Lights (2014)
 | Directed by | Gina Prince-Bythewood Cinematography by ~ Tami Reiker Cameras | ARRI ALEXA M Camera |
L’homme qu’on aimait trop (2014)
 | Directed by | André Téchiné Cinematography by ~ Julien Hirsch Cameras | ARRI ALEXA Camera |
Les yeux jaunes des crocodiles (2014)
 | Directed by | Cécile Telerman Cinematography by ~ Colin Houben, Pascal Ridao Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Master Prime Lenses |
Kikaidâ Reboot (2014)
 | Directed by | Ten Shimoyama Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses |
Timbuktu (2014)
 | Directed by | Abderrahmane Sissako Cinematography by ~ Sofian El Fani Cameras | ARRI ALEXA Plus Camera Lenses | Cooke S4 Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses |
Avant que de tout perdre (2013)
 | Directed by | Xavier Legrand Cinematography by ~ Nathalie Durand Cameras | ARRI ALEXA Camera Lenses | Leitz Summilux-C Series Lenses |
Kelly & Cal (2014)
 | Directed by | Jen McGowan Cinematography by ~ Philip Lott Cameras | ARRI ALEXA Plus 4:3 Camera Lenses | Hawk V-Series Lenses |
Lou! Journal infime (2014)
 | Directed by | Julien Neel Cinematography by ~ Pierre Milon Cameras | ARRI ALEXA XT Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses |
The Salvation (2014)
 | Directed by | Kristian Levring Cinematography by ~ Jens Schlosser Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses |
The Chef’s Wife (2014)
 | Directed by | Anne Le Ny Cinematography by ~ Jérôme Alméras Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Leitz Summilux-C Series Lenses |
24 Days (2014)
 | Directed by | Alexandre Arcady Cinematography by ~ Gilles Henry Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Master Prime Lenses |
Nymphomaniac: Vol. II (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, Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Super Speed Lenses |
Eden (2014)
 | Directed by | Mia Hansen-Løve Cinematography by ~ Denis Lenoir Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo 45-120 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Zeiss Super Speed Lenses |
Xenia (2014)
 | Directed by | Panos H. Koutras Cinematography by ~ Hélène Louvart, Simos Sarketzis Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 15-40 mm T2.6 Lens |
The Reckoning (2014)
 | Directed by | John V. Soto Cinematography by ~ Jason Thomas Cameras | ARRI ALEXA Camera, Red Epic Camera |
Healing (2014)
 | Directed by | Craig Monahan Cinematography by ~ Andrew Lesnie Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo DP 16-42 mm T2.8 Lens |
