 | Directed by | Philippe Claudel Cinematography by ~ Denis Lenoir Cameras | ARRI ALEXA Studio Camera Lenses | Angenieux HR 25-250 mm T3.5 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses |
Search Results: Alexa | 1848 Titles
Avant l’hiver (2013)
Un château en Italie (2013)
 | Directed by | Valeria Bruni Tedeschi Cinematography by ~ Jeanne Lapoirie Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses |
The French Minister (2013)
 | Directed by | Bertrand Tavernier Cinematography by ~ Jérôme Alméras Cameras | ARRI ALEXA Plus Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Master Prime Lenses |
Grigris (2013)
 | Directed by | Mahamat-Saleh Haroun Cinematography by ~ Antoine Héberlé Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Standard Speed Prime Lenses |
Né quelque part (2013)
 | Directed by | Mohamed Hamidi Cinematography by ~ Alex Lamarque Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses |
Pop Redemption (2013)
 | Directed by | Martin Le Gall Cinematography by ~ Frédéric Nony Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4 Lenses |
How to Deal with an Axe Murderer (2014)
 | Directed by | Adam Estey Cinematography by ~ Kevin Rigney Cameras | ARRI ALEXA Camera |
Goddess (2013)
 | Directed by | Mark Lamprell Cinematography by ~ Damian Wyvill Cameras | ARRI ALEXA Camera Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Zoom Lenses |
Fifty Shades of Grey (2015)
 | Directed by | Sam Taylor-Johnson Cinematography by ~ Seamus McGarvey Cameras | ARRI ALEXA XT Plus 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 |
Get Hard (2015)
 | Directed by | Etan Cohen Cinematography by ~ Tim Suhrstedt Cameras | ARRI ALEXA XT Plus Camera Lenses | Angenieux Optimo Zoom Lenses, Leitz Summilux-C Series Lenses |
Spy (2015)
 | Directed by | Paul Feig Cinematography by ~ Robert D. Yeoman Cameras | ARRI ALEXA XT Camera |
Pitch Perfect 2 (2015)
 | Directed by | Elizabeth Banks Cinematography by ~ Jim Denault Cameras | ARRI ALEXA Plus Camera Lenses | Panavision Compact Zoom Lenses, Panavision Primo Primes Spherical Lenses |
Jackrabbit (2015)
 | Directed by | Carleton Ranney Cinematography by ~ Ashley Connor Cameras | ARRI ALEXA Series Cameras, Blackmagic Design Cameras |
The Survivalist (2015)
 | Directed by | Stephen Fingleton Cinematography by ~ Damien Elliott Cameras | ARRI ALEXA Plus Camera, Blackmagic Design Cameras Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 45-120 mm T2.8 Lens, Zeiss Super Speed Lenses |
Les cowboys (2015)
 | Directed by | Thomas Bidegain Cinematography by ~ Arnaud Potier Cameras | ARRI ALEXA XT Camera |
Cineastes (2014)
 | Directed by | Alexander Vo Cinematography by ~ John Lazear Cameras | ARRI ALEXA Series Cameras Lenses | Zeiss Lenses |
It Follows (2014)
 | Directed by | David Robert Mitchell Cinematography by ~ Mike Gioulakis Cameras | ARRI ALEXA Plus Camera, Red Epic Camera Lenses | Angenieux Optimo Anamorphic Lenses, Cooke S4 Lenses, Fujinon Lenses |
The Cobbler (2014)
 | Directed by | Tom McCarthy Cinematography by ~ W. Mott Hupfel III Cameras | ARRI ALEXA Plus Camera |
The Best of Me (2014)
 | Directed by | Michael Hoffman Cinematography by ~ Oliver Stapleton Cameras | ARRI ALEXA XT Camera Lenses | Hawk V-Lite Lenses, Hawk V-Series Lenses |
Southpaw (2015)
 | Directed by | Antoine Fuqua Cinematography by ~ Mauro Fiore Cameras | ARRI ALEXA XT Plus Camera, Red Epic Dragon Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses |
