 | Directed by | Dean Fleischer Camp Cinematography by ~ Eric Adkins, Bianca Cline Cameras | ARRI ALEXA Mini Camera, Sony PMW-F5 Camera Lenses | Fujinon XK Cabrio Series, Nikon - Nikkor Lenses, Panavision Primo Primes Spherical Lenses |
Search Results: Alexa | 1848 Titles
Marcel the Shell with Shoes On (2021)
RRR (2022)
 | Directed by | S.S. Rajamouli Cinematography by ~ KK Senthil Kumar Cameras | ARRI ALEXA LF Camera Lenses | ARRI Signature Prime Lenses |
Triangle of Sadness (2022)
 | Directed by | Ruben Östlund Cinematography by ~ Fredrik Wenzel Cameras | ARRI ALEXA LF Camera, Red Gemini Camera, Red Helium 8K Camera Lenses | Zeiss Supreme Prime Series Lenses |
The Beekeeper (2024)
 | Directed by | David Ayer Cinematography by ~ Gabriel Beristain Cameras | ARRI Alexa 35 Camera |
Miss Sloane (2016)
 | Directed by | John Madden Cinematography by ~ Sebastian Blenkov Cameras | ARRI ALEXA XT Plus Camera Lenses | Cooke S4/i Lenses |
Hacksaw Ridge (2016)
 | Directed by | Mel Gibson Cinematography by ~ Simon Duggan Cameras | ARRI ALEXA XT Plus Camera, Blackmagic Pocket Cinema Camera, Red Epic Dragon Camera Lenses | Angenieux Optimo Zoom Lenses, Panavision Primo V Lenses |
The BFG (2016)
 | Directed by | Steven Spielberg Cinematography by ~ Janusz Kaminski Cameras | ARRI ALEXA XT Series Cameras Lenses | Panavision Primo Primes Spherical Lenses |
Brad’s Status (2017)
 | Directed by | Mike White Cinematography by ~ Xavier Grobet Cameras | ARRI ALEXA Series Cameras |
Mudbound (2017)
 | Directed by | Dee Rees Cinematography by ~ Rachel Morrison Cameras | ARRI ALEXA Mini Camera Lenses | Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision PVintage Prime Lenses, Panavision T Series Anamorphic Lenses, Panavision Ultra Speed MKII Lenses |
All the Money in the World (2017)
 | Directed by | Ridley Scott Cinematography by ~ Dariusz Wolski Cameras | ARRI ALEXA XT Series Cameras Lenses | Panavision Super Speed Lenses |
Victoria & Abdul (2017)
 | Directed by | Stephen Frears Cinematography by ~ Danny Cohen Cameras | ARRI ALEXA Camera, Red Epic Dragon Camera Lenses | Angenieux Lenses, Zeiss Master Prime Lenses |
Happy Death Day (2017)
 | Directed by | Christopher Landon Cinematography by ~ Toby Oliver Cameras | ARRI ALEXA Mini Camera Lenses | Angenieux Lenses, Cooke S4/i Lenses |
My Friend Dahmer (2017)
 | Directed by | Marc Meyers Cinematography by ~ Daniel Katz Cameras | ARRI ALEXA XT Series Cameras Lenses | Panavision Primo Anamorphic Lenses |
I Don’t Feel at Home in This World Anymore (2017)
 | Directed by | Macon Blair Cinematography by ~ Larkin Seiple Cameras | ARRI ALEXA Mini Camera Lenses | Bausch & Lomb Super Baltar Lenses, Zeiss Super Speed Lenses |
Ingrid Goes West (2017)
 | Directed by | Matt Spicer Cinematography by ~ Bryce Fortner Cameras | ARRI ALEXA Mini Camera Lenses | Panavision C Series Anamorphic Lenses |
Flatliners (2017)
 | Directed by | Niels Arden Oplev Cinematography by ~ Eric Kress Cameras | ARRI ALEXA XT Camera Lenses | Panavision Lenses |
Tully (2018)
 | Directed by | Jason Reitman Cinematography by ~ Eric Steelberg Cameras | ARRI ALEXA Mini Camera Lenses | Panavision Lenses, Panavision Primo Primes Spherical Lenses |
Love, Simon (2018)
 | Directed by | Greg Berlanti Cinematography by ~ John Guleserian Cameras | ARRI ALEXA XT Camera Lenses | ARRI / Zeiss Master Anamorphic Lenses |
Thoroughbreds (2017)
 | Directed by | Cory Finley Cinematography by ~ Lyle Vincent Cameras | ARRI ALEXA Mini Camera Lenses | Angenieux HR Zoom Lenses, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses |
Hereditary (2018)
 | Directed by | Ari Aster Cinematography by ~ Pawel Pogorzelski Cameras | ARRI ALEXA Mini Camera Lenses | Panavision Primo Primes Spherical Lenses |
