 | Directed by | Reed Morano Cinematography by ~ Reed Morano Cameras | ARRI ALEXA Mini Camera Lenses | Angenieux Optimo Anamorphic Lenses |
Search Results: Alexa | 1848 Titles
I Think We’re Alone Now (2018)
Sorry to Bother You (2018)
 | Directed by | Boots Riley Cinematography by ~ Doug Emmett Cameras | ARRI ALEXA Mini Camera Lenses | Cooke Anamorphic/i Prime Lenses |
Boy Erased (2018)
 | Directed by | Joel Edgerton Cinematography by ~ Eduard Grau Cameras | ARRI ALEXA Mini Camera, ARRICAM Lite (LT) Camera Lenses | Zeiss Super Speed Lenses |
Destroyer (2018)
 | Directed by | Karyn Kusama Cinematography by ~ Julie Kirkwood Cameras | ARRI ALEXA Mini Camera Lenses | Panavision Lenses |
Paddington 2 (2017)
 | Directed by | Paul King Cinematography by ~ Erik Wilson Cameras | ARRI ALEXA Series Cameras |
Den of Thieves (2018)
 | Directed by | Christian Gudegast Cinematography by ~ Terry Stacey Cameras | ARRI ALEXA XT Plus Camera Lenses | Zeiss Master Prime Lenses |
Kin (2018)
 | Directed by | Jonathan Baker, Josh Baker Cinematography by ~ Larkin Seiple Cameras | ARRI ALEXA Mini Camera Lenses | Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses |
The Nun (2018)
 | Directed by | Corin Hardy Cinematography by ~ Maxime Alexandre Cameras | ARRI ALEXA Camera Lenses | Leitz Summilux-C Series Lenses |
Assassination Nation (2018)
 | Directed by | Sam Levinson Cinematography by ~ Marcell Rév Cameras | ARRI ALEXA Mini Camera Lenses | Panavision Cooke Xtal Xpress (Joe Dunton Camera Millenium Anamorphic) Lenses |
The Hummingbird Project (2018)
 | Directed by | Kim Nguyen Cinematography by ~ Nicolas Bolduc Cameras | ARRI ALEXA Mini Camera Lenses | Hawk V-Lite Lenses |
Wildlife (2018)
 | Directed by | Paul Dano Cinematography by ~ Diego García Cameras | ARRI ALEXA XT Camera Lenses | Panavision Primo Primes Spherical Lenses |
In Fabric (2018)
 | Directed by | Peter Strickland Cinematography by ~ Ari Wegner Cameras | ARRI ALEXA Mini Camera Lenses | Angenieux HP Zoom Lenses, Zeiss Super Speed Lenses |
To All the Boys I’ve Loved Before (2018)
 | Directed by | Susan Johnson Cinematography by ~ Michael Fimognari Cameras | ARRI ALEXA Mini Camera Lenses | Panavision C Series Anamorphic Lenses |
The Sun Is Also a Star (2019)
 | Directed by | Ry Russo-Young Cinematography by ~ Autumn Durald Arkapaw Cameras | ARRI ALEXA Mini Camera Lenses | Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses |
Extremely Wicked, Shockingly Evil and Vile (2019)
 | Directed by | Joe Berlinger Cinematography by ~ Brandon Trost Cameras | ARRI ALEXA Mini Camera Lenses | Panavision C Series Anamorphic Lenses |
Ford v Ferrari (2019)
 | Directed by | James Mangold Cinematography by ~ Phedon Papamichael Cameras | ARRI ALEXA LF Camera Lenses | Panavision C Series Anamorphic Lenses, Panavision H Series Lenses, Panavision T Series Anamorphic Lenses |
Dìdi (2024)
 | Directed by | Sean Wang Cinematography by ~ Sam A. Davis Cameras | ARRI Alexa 35 Camera Lenses | ARRI / Zeiss Master Anamorphic Lenses |
The Lobster (2015)
 | Directed by | Yorgos Lanthimos Cinematography by ~ Thimios Bakatakis Cameras | ARRI ALEXA XT Camera Lenses | Panavision Primo Primes Spherical Lenses, Panavision Super Speed Lenses |
Rups (2024)
 | Directed by | Susanne Hagen Cinematography by ~ Jesse Post Cameras | ARRI ALEXA Mini LF Camera |
Lefka Hristougenna 1948 (2023)
 | Directed by | Antonios Vallindras Cinematography by ~ Mihalis Gkatzogias Cameras | ARRI ALEXA Mini Camera Lenses | Cooke Anamorphic/i 100mm T2.3 Lens, Cooke Anamorphic/i 25mm T2.3 Lens, Cooke Anamorphic/i 32mm T2.3 Lens, Cooke Anamorphic/i 40mm T2.3 Lens, Cooke Anamorphic/i 50mm T2.3 Lens, Cooke Anamorphic/i 75mm T2.3 Lens |
