 | Cameras | ARRI Alexa 35 Camera, ARRI ALEXA Mini Camera Lenses | Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Leitz Summilux-C Series Lenses |
Search Results: Alexa | 1848 Titles
All Quiet on the Western Front (2022)
 | Directed by | Edward Berger Cinematography by ~ James Friend Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini LF Camera, Red Monstro 8K Camera, Sony CineAlta VENICE Camera Lenses | ARRI Rental Prime 65 S Lenses, ARRI Rental Prime DNA Lenses, Tribe7 Blackwing7 Lenses, Zeiss Compact Prime CP.3 Lenses |
Big Bug (2022)
 | Directed by | Jean-Pierre Jeunet Cinematography by ~ Thomas Hardmeier Cameras | ARRI ALEXA LF Camera, ARRI ALEXA Mini LF Camera Lenses | ARRI Signature Prime Lenses |
The Color Purple (2023)
 | Directed by | Blitz Bazawule Cinematography by ~ Dan Laustsen Cameras | ARRI ALEXA LF Camera, ARRI ALEXA Mini LF Camera Lenses | ARRI Signature Prime Lenses |
Indiana Jones and the Dial of Destiny (2023)
 | Directed by | James Mangold Cinematography by ~ Phedon Papamichael Cameras | ARRI ALEXA LF Camera, ARRI ALEXA Mini LF Camera Lenses | Panavision C Series Anamorphic Lenses, Panavision T Series Anamorphic Lenses |
Elvis (2022)
 | Directed by | Baz Luhrmann Cinematography by ~ Mandy Walker Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA LF Camera Lenses | Panavision Sphero 65 Series Lenses, Panavision T Series Anamorphic Lenses |
Tár (2022)
 | Directed by | Todd Field Cinematography by ~ Florian Hoffmeister Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini LF Camera Lenses | ARRI Signature Prime Lenses |
Swiss Army Man (2016)
 | Directed by | Daniel Kwan, Daniel Scheinert Cinematography by ~ Larkin Seiple Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Phantom Flex4K Camera, Red Epic Dragon Camera, Sony PMW-EX3 Camera Lenses | Angenieux Optimo Zoom Lenses, Cooke Anamorphic Lenses, Cooke S4/i Lenses, Cooke Xtal Express Lenses, Zeiss Super Speed Lenses |
Beauty and the Beast (2017)
 | Directed by | Bill Condon Cinematography by ~ Tobias A. Schliessler Cameras | ARRI ALEXA XT Plus Camera Lenses | Leitz Summilux-C Series Lenses |
Molly’s Game (2017)
Darkest Hour (2017)
 | Directed by | Joe Wright Cinematography by ~ Bruno Delbonnel Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Plus Camera Lenses | Angenieux Lenses, Cooke S4/i Lenses |
Thor: Ragnarok (2017)
 | Directed by | Taika Waititi Cinematography by ~ Javier Aguirresarobe Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, Phantom Flex4K Camera Lenses | ARRI Rental Prime 65 Lenses, ARRI Rental Vintage 765 Lenses, Panavision Primo V Lenses |
Wind River (2017)
 | Directed by | Taylor Sheridan Cinematography by ~ Ben Richardson Cameras | ARRI ALEXA XT Camera, ARRI ALEXA XT Plus Camera Lenses | Angenieux Lenses, Zeiss Standard Speed Prime Lenses |
Roman J. Israel, Esq. (2017)
 | Directed by | Dan Gilroy Cinematography by ~ Robert Elswit Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Series Cameras, Panavision Panaflex Millennium XL2 Camera Lenses | Panavision Primo Primes Spherical Lenses, Panavision Super Speed Lenses, Zeiss ARRI Macro Lenses |
The Greatest Showman (2017)
 | Directed by | Michael Gracey Cinematography by ~ Seamus McGarvey Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera Lenses | Panavision Compact Zoom Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses, Panavision Super Speed Lenses |
The Mummy (2017)
Papillon (2017)
 | Directed by | Michael Noer Cinematography by ~ Hagen Bogdanski Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera Lenses | Zeiss Ultra Prime Lenses |
Red Sparrow (2018)
 | Directed by | Francis Lawrence Cinematography by ~ Jo Willems Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision T Series Anamorphic Lenses |
Upgrade (2018)
 | Directed by | Leigh Whannell Cinematography by ~ Stefan Duscio Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses |
On the Basis of Sex (2018)
 | Directed by | Mimi Leder Cinematography by ~ Michael Grady Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras Lenses | Panavision Primo Primes Spherical Lenses |
