Title |
DP |
Camera type |
Lens type |
Year |
Notes |
Live by Night |
Robert Richardson |
Arri Alexa |
65 lense |
2015/2016 |
Term Life |
Roberto Schaefer |
Arri Alexa |
Cooke S4 |
2014 |
recorded Pro Res 4444 |
Miles Ahead |
Roberto Schaefer |
Arri Alexa, Canon EOS C500 |
Zeiss Standard Primes |
2014 |
30% shot on Super 16mm with Arri 416, 10% shot on Canon EOS C500 |
To B or Not to B |
Vierendrra Lalit |
Red One MX |
Red Pro Primes |
2014/2015 |
Geostorm |
Roberto Schaefer |
Red Epic Dragon |
Cooke 5i Primes |
2014/2015 |
6K |
The Hunger Games: Mockingjay – Part 1 and Part 2 |
Jo Willems |
Arri Alexa XT[1] |
Panavision anamorphic |
2014/2015 |
The first two films in the Hunger Games series were shot on 35mm and 65mm horizontal (IMAX). |
It Follows |
Mike Gioulakis |
Arri Alexa XT |
Angenieux Optimo Lense |
2014 |
|
The Hobbit: The Battle of the Five Armies |
Andrew Lesnie |
Red Epic |
Zeiss Ultra Prime |
2014 |
|
Birdman |
Emmanuel Lubezki |
Arri Alexa M, Arri Alexa XT |
Leica Summilux-C and Zeiss Master Prime |
2014 |
Winner of the 2014 Academy Award for Best Cinematography |
Gone Girl |
Jeff Cronenweth |
Red Epic Dragon |
|
2014 |
First feature film announced to be shot with the Red Dragon, sensor. As with Cronenweth's previous collaborations with Fincher, it made history as the first feature film to have a 6K workflow.[2][3] |
Guardians of the Galaxy |
Ben Davis |
Arri Alexa XT Plus |
Panavision Primo, Cooke Xtal Express and Angenieux Optimo |
2014 |
|
Dawn of the Planet of the Apes |
Michael Seresin |
Arri Alexa M |
Leica Summilux and Fujinon Premier |
2014 |
|
Transformers: Age of Extinction |
Amir Mokri |
IMAX 3D digital camera, Red Epic Dragon |
|
2014 |
The first mainstream feature-length film to be partially shot with the IMAX 3D digital camera.[4] |
The Fault in Our Stars |
Ben Richardson |
Arri Alexa XT[5] |
Zeiss Master Prime |
2014 |
|
X-Men: Days of Future Past |
Newton Thomas Sigel |
Arri Alexa M, Arri Alexa XT |
Leica Summilux and Fujinon Premier |
2014 |
Some scenes shot with Phantom v642 Broadcast, Aaton XTR Prod and Bolex Camera. |
Godzilla |
Seamus McGarvey |
Arri Alexa Plus 4:3 |
Panavision Primo, C-Series, PVintage, ATZ, AWZ2 and Cooke |
2014 |
|
Captain America: The Winter Soldier |
Trent Opaloch |
Arri Alexa Plus 4:3, Red Epic |
Panavision C-, E-, G-Series, ATZ and AWZ2 Lenses |
2014 |
|
Iron Man 3 |
John Toll |
Arri Alexa Studio, Red Epic, Canon 1DC |
|
2013 |
|
Jobs |
Russell Carpenter |
Arri Alexa |
|
2013 |
|
The Underground Railroad |
Joshua Michael Stern |
Arri Alexa |
|
2013 |
Shot in 2012 |
Upstream Color |
Shane Carruth |
Panasonic GH2 |
|
2013 |
Shot in 2012 |
The Hunters Club Movie |
Kit McDee |
Red Epic MX |
Lomo Anamorphic |
2014 |
Shot in Australia in 2012, with a budget of less than $100,000 |
The Umbrella Man |
Joe Grasso |
Red Epic MX |
|
2013 |
Shot in 2012 |
The Wind is Watching |
Greg Kraus |
Red Epic MX |
|
2013 |
Shot in 2012 |
Texas Chainsaw 3D |
Anastas N. Michos |
Red Epic MX |
|
2013 |
|
Monsoon |
Sturla Gunnarsson |
|
|
shot in 2013 |
|
Parker |
J. Michael Muro |
Red Epic MX |
|
2013 |
|
Stand Up Guys |
Michael Grady |
Red Epic MX |
|
2013 |
|
After Earth |
Peter Suschitzky |
Sony Cinealta F65, Canon EOS C500 |
|
2013 |
|
Oblivion |
Claudio Miranda |
Sony Cinealta F65 |
|
2013 |
|
Motel |
Steve Mason |
Sony Cinealta F65 |
|
2013 |
|
The Smurfs 2 |
Phil Meheux |
Sony Cinealta F65 |
|
2013 |
|
Evil Dead |
Aaron Morton |
Sony Cinealta F65 |
|
2013 |
|
No Good Deed |
Michael Barrett |
Sony Cinealta F65 |
|
2013 |
|
Rebel City Rumble |
Anthony Bowes |
Sony Cinealta F65 |
|
2014 |
|
Left Turn |
Geno Salvatori |
Sony Cinealta F65 |
|
2014 |
|
About Last Night |
Michael Barrett |
Sony Cinealta F65 |
|
2013 |
|
The Hobbit: The Desolation of Smaug |
Andrew Lesnie |
Red Epic MX |
|
2013 |
|
Gravity |
Emmanuel Lubezki |
Arri Alexa |
|
2013 |
Winner of the 2013 Academy Award for Best Cinematography |
Pacific Rim[6] |
Guillermo Navarro |
Red Epic MX |
|
2013 |
|
R.I.P.D. |
Alwin Küchler |
Arri Alexa |
|
2013 |
|
World War Z |
Robert Richardson |
Arri Alexa |
|
2013 |
|
42[7] |
Don Burgess |
Red Epic MX |
|
2013 |
|
Cleveland, I Love You |
Zach Christy |
Canon EOS 7D, Canon EOS 5D Mark II |
|
2013 |
|
Oz: The Great and Powerful |
Peter Deming |
Red Epic MX |
|
2013 |
|
Elysium |
Trent Opaloch |
Red Epic MX |
|
2013 |
|
47 Ronin |
John Mathieson |
Arri Alexa |
|
2013 |
|
The Host |
Roberto Schaefer |
Arri Alexa |
Zeiss Master Prime |
2013 |
|
Hitchcock[8] |
Jeff Cronenweth |
Red Epic MX |
|
2012 |
|
LUV |
Gavin Kelly |
Red One MX |
|
2012 |
|
Unconditional |
Michael Regalbuto |
Red Epic MX |
|
2012 |
|
Aashiq Patthey |
Robby Singh |
Red Epic MX |
|
2012 |
|
The Victim |
Julius Dmello |
Canon EOS 7D |
Canon Lenses |
2012 |
First Konkani Digital Theatrical film in Konkani Cinema by Milroy Goes |
Rust and Bone |
Stéphane Fontaine |
Red Epic MX |
Cooke S4 |
2012 |
|
Bachelorette |
Doug Emmett |
Red One MX |
|
2012 |
|
That's My Boy |
Brandon Trost |
Red Epic MX |
|
2012 |
|
Bad Ass |
John Barr |
Red One MX |
|
2012 |
|
The Man with the Iron Fists |
Chi Ying Chan |
Red One MX |
|
2012 |
|
Get the Gringo |
Benoît Debie |
Red One MX |
|
2012 |
|
Maximum Conviction |
Nathan Wilson |
Red One MX |
|
2012 |
|
Searching for Venice |
Wonjung Bae |
Canon C300 |
|
2012 |
|
Hard Boiled Sweets |
Sara Deane |
Canon EOS 5D Mark II |
|
2012 |
|
Kon-Tiki (2012 film) |
Espen Sandberg, Joachim Rønning |
Arri Alexa Plus, Sony NEX-FS100 and Red One MX |
|
2012 |
|
Deus Ex Machina |
Giuseppe Badalamenti, Sebastián Rivera |
Red One M, Canon EOS 5D Mark III |
|
2012 |
|
Partav |
Mohammad Younis Zargar |
Canon EOS 5D Mark II |
Zeiss 50mm 1.4 |
2012 |
Winner of the 2013 Award of Excellence CANADA INT Film Festival |
The Great Gatsby |
Simon Duggan |
Red Epic MX |
|
2013 |
|
Friends With Kids |
Will Rexer |
Arri Alexa |
|
2012 |
|
Pitch Perfect |
Julio Macat |
Arri Alexa |
|
2012 |
|
Sams I'm Glück |
Gerhard Schirlo |
Arri Alexa |
|
2012 |
|
Shut Up and Play the Hits |
Reed Morano |
Arri Alexa |
|
2012 |
|
Sparkle |
Anastas Michos |
Arri Alexa |
|
2012 |
|
The Hunt |
Charlotte Bruus Christensen |
Arri Alexa |
|
2012 |
|
The Hypnotist |
Mattias Montero |
Arri Alexa |
|
2012 |
|
The Pact |
Bridger Nielson |
Arri Alexa |
|
2012 |
|
The Watch |
Barry Peterson |
Arri Alexa |
|
2012 |
|
The Wedding |
Jonathon Brown |
Arri Alexa |
|
2012 |
|
Russian Disco |
Tetsuo Nagata |
Arri Alexa |
|
2012 |
|
Robot and Frank |
Matthew J. Loyd |
Arri Alexa |
|
2012 |
|
Goats |
Wyatt Troll |
Arri Alexa |
|
2012 |
|
Lay The Favorite |
Michael McDough |
Sony CineAlta F35 |
|
2012 |
|
Lawless |
Benoit Delhomme |
Arri Alexa |
|
2012 |
|
Hello I Must Be Going |
Julie Kirkwood |
Arri Alexa |
|
2012 |
|
Life of Pi |
Claudio Miranda |
Arri Alexa |
|
2012 |
Winner of the 2012 Academy Award for Best Cinematography |
Flight |
Don Burgess |
Red Epic MX |
Zeiss Master Prime |
2012 |
|
The Hobbit: An Unexpected Journey |
Andrew Lesnie |
Red Epic MX |
Zeiss Ultra Prime |
2012 |
The first feature film to be shot and presented in high frame rate format |
Skyfall |
Roger Deakins |
Arri Alexa |
Zeiss Master Prime |
2012 |
The first and currently only James Bond film to be shot digitally |
Gangster Squad |
Dion Beebe |
Arri Alexa |
|
2012 |
Phantom Flex Camera used for high-speed photography |
Here Comes the Boom |
Phil Méheux |
Arri Alexa |
|
2012 |
|
Dredd |
Anthony Dod Mantle |
Red One MX |
|
2012 |
|
Gambit |
Florian Ballhaus |
Arri Alexa |
|
2012 |
|
2 Days in New York |
Lubomir Bakchev |
Arri Alexa |
|
2012 |
|
Amour |
Darius Khondji |
Arri Alexa |
|
2012 |
|
Bernie |
Dick Pope |
Arri Alexa |
|
2012 |
|
Broken City |
Ben Seresin |
Arri Alexa |
|
2012 |
|
Celeste and Jesse Forever |
David Lanzanberg |
Arri Alexa |
Zeiss Ultra Prime |
2012 |
|
Cosmopolis |
Peter Suschitzky |
Arri Alexa |
|
2012 |
|
Chronicle |
Matthew Jensen |
Arri Alexa |
|
2012 |
|
Big Sur |
M. David Mullen |
Red Epic MX |
|
2012 |
|
Styria |
Grzegorz Bartoszewicz |
Arri Alexa |
|
2012 |
|
Resident Evil: Retribution |
Glen MacPherson |
Red Epic MX |
|
2012 |
|
Mental |
Donald McAlpine |
Red Epic MX |
|
2012 |
|
Seeking a Friend for the End of the World |
Tim Orr |
Arri Alexa |
|
2012 |
|
Total Recall |
Paul Cameron |
Red Epic MX |
Panavision C, E, G series anamorphic |
2012 |
|
Ruby Sparks |
Matthew Libatique |
Arri Alexa |
|
2012 |
|
Ted |
Michael Barrett |
Panavision Genesis |
Panavision Primo |
2012 |
|
Magic Mike |
Steven Soderbergh |
Red Epic MX |
Hawk anamorphic |
2012 |
|
The Amazing Spider-Man |
John Schwartzman |
Red Epic MX |
Panavision Primo |
2012 |
|
Abraham Lincoln: Vampire Hunter |
Caleb Deschanel |
Arri Alexa |
|
2012 |
|
Rock of Ages |
Bojan Bazelli |
Arri Alexa |
Cooke S4 |
2012 |
|
Think Like a Man |
Larry Blanford |
Red Epic MX |
|
2012 |
|
The Dictator |
Lawrence Sher |
Arri Alexa |
|
2012 |
|
The Guillotines |
Andrew Lau |
Arri Alexa |
|
2012 |
|
The Five-Year Engagement |
Javier Aguirresarobe |
Arri Alexa |
|
2012 |
|
Billa II |
R. D. Rajasekhar |
Red Epic MX |
|
2013 |
|
Jack the Giant Killer |
Newton Thomas Sigel |
Red Epic MX |
|
2012 |
|
Prometheus |
Dariusz Wolski |
Red Epic MX |
Sir Ridley Scott's first digital feature |
2012 |
|
What to Expect When You're Expecting |
Xavier Pérez Grobet |
Arri Alexa |
|
2012 |
|
The Avengers |
Seamus McGarvey |
Arri Alexa, Canon EOS 5D Mark II, Canon EOS 7D |
|
2012 |
|
Zero Dark Thirty |
Greig Fraser |
Arri Alexa |
Cooke S4 |
2012 |
|
Hansel and Gretel: Witch Hunters |
Michael Bonvillain |
Arri Alexa |
|
2012 |
|
Act of Valor |
Shane Hurlbut |
Canon EOS 5D Mark II |
|
2012 |
|
Gone |
Michael Grady |
Red Epic MX |
|
2012 |
|
Ghost Rider: Spirit of Vengeance |
Brandon Trost |
Red One MX |
|
2012 |
|
Underworld: Awakening |
Scott Kevan |
Red Epic MX |
|
2012 |
|
A Few Best Men |
Stephen F. Windon |
Arri Alexa |
|
2012 |
|
Dehorokkhi |
Iftekhar Chowdhury |
Red One MX |
|
2012 |
|
Haywire |
Steven Soderbergh |
Red One MX |
Hawk anamorphic |
2012 |
|
Wrong |
Quentin Dupieux |
HD-Koi (prototype) |
|
2012 |
|
Albert Nobbs |
Michael McDonough |
Red One MX |
|
2011 |
|
Extremely Loud and Incredibly Close |
Chris Menges |
Arri Alexa |
|
2011 |
|
11-11-11 |
Joseph White |
Arri Alexa |
|
2011 |
|
The Wholly Family |
Nicola Pecorini |
Arri Alexa |
|
2011 |
|
Once Upon a Time in Anatolia |
Gökhan Tiryaki |
Sony CineAlta F35 |
|
2011 |
|
Wild Bill |
George Richmond |
Arri Alexa |
|
2011 |
|
This Is 40 |
Phedon Papamichael |
Arri Alexa |
|
2011 |
|
The Girl With the Dragon Tattoo |
Jeff Cronenweth, Fredrik Bäckar |
Red One MX, Red Epic MX |
Zeiss Master Prime |
2011 |
Red Epic was used to shoot scenes in both the US and Sweden. The film was also the first to employ a workflow higher than 4K resolution from production to presentation. |
The Darkest Hour |
Scott Kevan |
Sony CineAlta F35 |
|
2011 |
|
Final Destination 5 |
Brian Pearson |
Arri Alexa |
|
2011 |
|
Young Adult |
Eric Steelberg |
Arri Alexa |
|
2011 |
|
The Muppets |
Don Burgess |
Red One MX, Red Epic MX |
Zeiss Ultra Prime |
2011 |
|
Hugo |
Robert Richardson |
Arri Alexa |
|
2011 |
Winner of the 2011 Academy Award for Best Cinematography |
Immortals |
Brendan Galvin |
Panavision Genesis |
|
2011 |
|
Jack and Jill |
Dean Cundey |
Arri Alexa |
Cooke S4 |
2011 |
|
A Very Harold & Kumar 3D Christmas |
Michael Barrett |
Panavision Genesis |
|
2011 |
|
The Three Musketeers |
Glen MacPherson |
Arri Alexa |
|
2011 |
|
Vicky and the Treasure of the Gods |
Christian Rein |
Arri Alexa |
|
2011 |
|
Rampart |
Bobby Bukowski |
Arri Alexa |
|
2011 |
|
Killer Joe |
Caleb Deschanel |
Arri Alexa |
|
2011 |
|
Headshot |
Chankit Chamnivikaipong |
Red One MX |
|
2011 |
|
Dolphin Tale |
Karl Walter Lindenlaub |
Red One MX |
|
2011 |
|
Our Idiot Brother |
Yaron Orbach |
Red One MX |
|
2011 |
|
Anonymous |
Anna Foerster |
Arri Alexa |
|
2012 |
The first feature-length film to be shot with Alexa |
Spy Kids: All the Time in the World |
Robert Rodriguez, Jimmy Lindsey |
Arri Alexa |
|
2012 |
|
Contagion |
Steven Soderbergh |
Red One MX |
Red Pro Prime |
2011 |
|
Margin Call |
Frank DeMarco |
Red One MX |
|
2011 |
|
The Inbetweeners Movie |
Ben Wheeler |
Arri Alexa |
|
2011 |
|
The Devil's Double |
Sam McCurdy |
Red One MX |
|
2011 |
|
Drive |
Newton Thomas Sigel |
Arri Alexa |
|
2011 |
|
In Time |
Roger Deakins |
Arri Alexa |
|
2011 |
|
Captain America: The First Avenger |
Shelly Johnson |
Panavision Genesis |
|
2011 |
Underwater sequences and epilogue shot with Arri Alexa |
Zookeeper |
Michael Barrett |
Panavision Genesis |
|
2011 |
|
Horrible Bosses |
David Hennings |
Panavision Genesis |
|
2011 |
|
Bucky Larson: Born to Be a Star |
Michael Barrett |
Panavision Genesis |
|
2011 |
|
Bellflower |
Joel Hodge |
Custom based on Silicon Imaging SI-2K |
|
2011 |
|
Melancholia |
Manuel Alberto Claro |
Arri Alexa |
|
2011 |
Phantom HD Camera used for high-speed photography |
Mr. Popper's Penguins |
Florian Ballhaus |
Arri Alexa |
|
2011 |
|
Transformers: Dark of the Moon |
Amir Mokri |
Sony CineAlta F35 |
|
2011 |
Most non-action scenes/close-ups shot with 35mm film |
Pina |
Hélène Louvart, Jörg Widmer |
Sony HDC-1500 |
|
2011 |
|
Pirates of the Caribbean: On Stranger Tides |
Dariusz Wolski |
Red One MX |
|
2011 |
|
Prom |
Byron Shah |
Arri Alexa |
|
2011 |
|
TT3D: Closer to the Edge |
Thomas Kürzl |
Red One MX |
|
2011 |
|
The Lincoln Lawyer |
Lukas Ettlin |
Red One MX |
|
2011 |
|
Shark Night 3D |
Gary Capo |
Fusion Camera System, Sony CineAlta F35 |
|
2011 |
|
Sanctum |
Jules O'Loughlin |
Fusion Camera System |
|
2011 |
|
Drive Angry |
Brian Pearson |
Red One MX, Silicon Imaging SI-2K |
|
2011 |
|
Cedar Rapids |
Chuy Chávez |
Arriflex D-21 |
|
2011 |
|
Like Crazy |
John Guleserian |
Canon EOS 7D |
|
2011 |
|
The Future (film) |
Nikolai von Graevenitz |
Red One M |
|
2011 |
|
Sick Boy |
Sean C. Cunningham |
Canon EOS 7D |
|
2011 |
Canon EOS L-Series lenses, StickyPod, Redrock Micro "Captain Stubling" rig and Lensbaby Muse |
Tron: Legacy |
Claudio Miranda |
Sony CineAlta F35 |
|
2010 |
Phantom HD Camera used for high-speed photography |
Blue Valentine |
Andrij Parekh |
Red One M |
Cooke S4 |
2010 |
Present-day scenes shot on Red, flashback scenes shot on 16mm |
Red State |
David Klein |
Red One MX, Canon EOS 7D |
|
2010 |
Canon 7D used only for 'running with camera' shots |
Winter's Bone |
Michael McDonough |
Red One M |
Zeiss Master Prime |
2010 |
|
Sarah's Key |
Pascal Ridao |
Red One M |
Cooke S4 |
2010 |
|
Jackass 3D |
Dimitry Elyashkevich |
Red One M |
|
2010 |
|
Hubble 3D |
James Neihouse |
IMAX Cargo Bay 3-D Camera |
|
2010 |
|
Fair Game |
Doug Liman |
Red One M |
|
2010 |
|
Resident Evil: Afterlife |
Glen MacPherson |
Fusion Camera System |
|
2010 |
|
The Social Network |
Jeff Cronenweth |
Red One MX |
Zeiss Master Prime |
2010 |
First film to feature a 2K pipeline, from production to presentation. |
127 Hours |
Anthony Dod Mantle, Enrique Chedik |
Canon EOS 5D Mark II, Canon EOS 7D, Silicon Imaging SI-2K |
|
2010 |
|
Machete |
Jimmy Lindsey |
Panavision Genesis |
|
2010 |
|
Certified Copy |
Luca Bigazzi |
Red One M |
|
2010 |
|
Casino Jack |
Adam Swica |
Red One M |
|
2010 |
|
Date Night |
Dean Semler |
Panavision Genesis |
|
2010 |
|
Rosario |
Carlo Mendoza |
Arri Alexa |
|
2010 |
First Filipino film to be shot with ARRI Alexa |
Yogi Bear |
Peter James |
Fusion Camera System |
|
2010 |
|
Step Up 3D |
Ken Seng |
Fusion Camera System |
|
2010 |
|
Death at a Funeral |
Rogier Stoffers |
Panavision Genesis |
|
2010 |
|
Film Socialisme |
Fabrice Aragno, Paul Grivas |
Sony PMW-EX1, Sony HDR-TG1E, JVC Everio, Canon EOS 5D Mark II, Samsung NV24HD, Archos 404 Camcorder |
|
2010 |
|
Killers |
Russell Carpenter |
Arriflex D-21 |
|
2010 |
|
Grown Ups |
Theo van de Sande |
Panavision Genesis |
|
2010 |
|
Rabbit Hole |
Frank G. DeMarco |
Red One M |
|
2010 |
|
Rubber |
Quentin Dupieux |
Canon EOS 5D Mark II |
|
2010 |
|
twelve |
Steven Fierberg |
Red One M |
|
2010 |
|
Avatar |
Mauro Fiore |
Fusion Camera System |
Fujinon 6.3-101mm T2 and 7-35mm T1.8 |
2009 |
First 100% digitally photographed film to win the Academy Award for Best Cinematography |
The Informant! |
Steven Soderbergh |
Red One M |
Red Pro prime |
2009 |
|
Youth in Revolt |
Chuy Chávez |
Sony CineAlta F35 |
|
2009 |
|
The Box |
Steven Poster |
Panavision Genesis |
|
2009 |
|
Zombieland |
Michael Bonvillain |
Panavision Genesis |
|
2009 |
|
The Final Destination |
Glen MacPherson |
Fusion Camera System |
|
2009 |
|
District 9 |
Trent Opaloch |
Red One M |
|
2009 |
|
The Secret in Their Eyes |
Félix Monti |
Red One M |
|
2009 |
|
Valhalla Rising |
Morten Søborg |
Red One M |
|
2009 |
|
Public Enemies |
Dante Spinotti |
Sony CineAlta F23 |
|
2009 |
Some car interiors during chases shot on Sony XDCAM EX-1 |
The Girlfriend Experience |
Steven Soderbergh |
Red One M |
Panavision C-series anamorphic |
2009 |
|
Gamer |
Ekkehart Pollack |
Red One M |
|
2009 |
|
Antichrist |
Anthony Dod Mantle |
Red One M |
|
2009 |
Phantom HD Camera used for high-speed photography |
Samantha Darko |
Chris Fisher |
Red One M |
|
2009 |
|
Surviving Evil |
Mike Downie |
Thomson Viper |
|
2009 |
|
Tetro |
Mihai Malaimare Jr. |
Sony CineAlta F900 |
|
2009 |
|
Crank: High Voltage |
Brandon Trost |
Canon XH-A1 |
|
2009 |
Fifteen Canon HF10 were used as Crash-Cams |
The Book of Eli |
Don Burgess |
Red One M |
Panavision Primo |
2009 |
|
Knowing |
Simon Duggan |
Red One M |
|
2009 |
|
Achchamundu! Achchamundu! |
Arthur Wilson |
Red One M |
|
2009 |
|
Like You Know It All |
Kim Hoon-kwang |
Sony PMW-EX1 |
|
2009 |
|
My Bloody Valentine 3D |
Brian Pearson |
Red One M, Silicon Imaging SI-2K |
|
2009 |
|
Leaves of Grass |
Roberto Schaefer |
Red One M |
|
2009 |
|
neighbor |
Marc Jeff Schirmer |
Red One M |
|
2009 |
|
The Spirit |
Bill Pope |
Panavision Genesis |
|
2008 |
Phantom HD Camera used for high-speed photography |
The Curious Case of Benjamin Button |
Claudio Miranda |
Thomson Viper |
Zeiss DigiPrime |
2008 |
|
Slumdog Millionaire |
Anthony Dod Mantle |
Silicon Imaging SI-2K |
|
2008 |
First digitally photographed film to win the Academy Award for Best Cinematography. Shot on multiple formats, including 35mm and digital stills. |
Rachel Getting Married |
Declan Quinn |
Sony CineAlta F23 |
|
2008 |
|
You Don't Mess With The Zohan |
Michael Barrett |
Panavision Genesis |
|
2008 |
|
Chemical Wedding |
Brian Herlihy |
Thomson Viper |
|
2008 |
|
Che: Part Two |
Steven Soderbergh |
Red One M |
Red Pro prime |
2008 |
|
Che: Part One |
Steven Soderbergh |
Red One M |
Red Pro prime |
2008 |
Che was the first feature-length film to use Red One cameras |
Get Smart |
Dean Semler |
Panavision Genesis |
|
2008 |
|
Speed Racer |
David Tattersall |
Sony CineAlta F23 |
|
2008 |
|
Three Monkeys |
Gökhan Tiryaki |
Sony CineAlta F900 |
|
2008 |
|
Deception |
Dante Spinotti |
Panavision Genesis |
|
2008 |
|
21 |
Russell Carpenter |
Panavision Genesis |
|
2008 |
|
Journey to the Center of the Earth |
Chuck Shuman |
Fusion Camera System |
|
2008 |
|
Cloverfield |
Michael Bonvillain |
Sony CineAlta F23 |
|
2008 |
Segments, other shots include the Panasonic HVX-200, as well as the Thomson Viper |
RocknRolla |
David Higgs |
Arriflex D-21 |
|
2008 |
|
The Bank Job |
Michael Coulter |
Arriflex D-21 |
|
2008 |
|
Before the Devil Knows You're Dead |
Ron Fortunato |
Panavision Genesis |
|
2007 |
|
Reign Over Me |
Russ Alsobrook |
Panavision Genesis |
|
2007 |
|
Youth Without Youth |
Mihai Malaimare Jr. |
Sony CineAlta F900 |
|
2007 |
|
Zodiac |
Harris Savides |
Thomson Viper |
Zeiss DigiPrime |
2007 |
|
Balls of Fury |
Thomas E. Ackerman |
Panavision Genesis |
|
2007 |
|
Walk Hard: The Dewey Cox Story |
Uta Briesewitz |
Panavision Genesis |
|
2007 |
|
Superbad |
Russ Alsobrook |
Panavision Genesis |
|
2007 |
|
I Now Pronounce You Chuck and Larry |
Dean Semler |
Panavision Genesis |
|
2007 |
|
Next |
David Tattersall |
Panavision Genesis |
|
2007 |
|
Chronicle of Purgatory: The Waiter |
Jason Konopisos |
Panasonic AG-DVX100 (Andromeda Modification) |
|
2007 |
The Andromeda Modification bypasses the DV compression to get uncompressed 4:4:4 10-bit RGB data straight from the CCD block |
Planet Terror |
Robert Rodriguez |
Panavision Genesis |
|
2007 |
|
Apocalypto |
Dean Semler |
Panavision Genesis |
|
2006 |
|
Once |
Tim Fleming |
Sony HVR-Z1 |
|
2006 |
|
Inland Empire |
David Lynch |
Sony DSR-PD150 |
|
2006 |
|
Miami Vice |
Dion Beebe |
Thomson Viper |
|
2006 |
|
Superman Returns |
Newton Thomas Sigel |
Panavision Genesis |
|
2006 |
|
Click |
Dean Semler |
Panavision Genesis |
|
2006 |
|
Climates |
Gökhan Tiryaki |
Sony CineAlta F900 |
|
2006 |
|
Colossal Youth |
Pedro Costa, Leonardo Simões |
Panasonic AG-DVX100 |
|
2006 |
|
Crank |
Adam Biddle |
Sony CineAlta F950 |
|
2006 |
Some scenes shot with Canon XL-2 |
Flyboys |
Henry Braham |
Panavision Genesis |
|
2006 |
|
Them (Ils) |
David Moreau, Xavier Palud |
Panasonic AG-DVX100 |
|
2006 |
|
Still Life |
Zhangke Jia |
Sony HVR-Z1 |
|
2006 |
|
Me and You and Everyone We Know |
Chuy Chávez |
Sony CineAlta F900 |
|
2005 |
|
Il vento fa il suo giro |
Roberto Cimatti |
Panasonic AG-DVX100 |
|
2005 |
|
Star Wars: Episode III – Revenge of the Sith |
David Tattersall |
Sony CineAlta F950 |
|
2005 |
|
The Adventures of Shark Boy & Lava Girl |
Robert Rodriguez |
Sony CineAlta F950 |
|
2005 |
|
Bubble |
Steven Soderbergh |
Sony CineAlta F900/F950 |
|
2005 |
|
Manderlay |
Anthony Dod Mantle |
Sony CineAlta F900 |
|
2005 |
Some scenes shot with Sony DSR-PD100 |
Sin City |
Robert Rodriguez |
Sony CineAlta F950 |
|
2005 |
|
Sky Captain and the World of Tomorrow |
Eric Adkins |
Sony CineAlta F900 |
|
2004 |
|
Collateral |
Paul Cameron, Dion Beebe |
Sony CineAlta F900, Thomson Viper |
|
2004 |
35mm used for some scenes |
Land of Plenty |
Franz Lustig |
Panasonic AG-DVX100 |
|
2004 |
|
The World |
Yu Lik-wai |
Sony CineAlta F900 |
|
2004 |
|
Dogville |
Anthony Dod Mantle |
Sony CineAlta F900 |
|
2003 |
Some scenes shot with Sony DSR-PD100 |
Spy Kids 3-D: Game Over |
Robert Rodriguez |
Sony CineAlta F900 |
|
2003 |
|
Once Upon A Time In Mexico |
Robert Rodriguez |
Sony CineAlta F900 |
|
2003 |
|
Voyuer? |
Pete Anderson |
Sony FX1 |
|
2003 |
Was filmed in 2001 but released theatrically in 2003 |
Unknown Pleasures |
Yu Lik-wai |
Sony DSR-PD150 |
|
2002 |
Other scenes shot in Digital Betacam |
Spy Kids 2: Island of Lost Dreams |
Robert Rodriguez |
Sony CineAlta F900 |
|
2002 |
|
Russian Ark |
Tilman Büttner |
Sony CineAlta F900 |
Canon ENG |
2002 |
|
Star Wars: Episode II – Attack of the Clones |
David Tattersall |
Sony CineAlta F900 |
|
2002 |
|
9 Songs |
Marcel Zyskind |
Panasonic AG-DVX100 |
|
2002 |
Other scenes shot with Sony DSR-PD150 |
Full Frontal |
Steven Soderbergh |
Canon XL-1s |
|
2002 |
|
Personal Velocity: Three Portraits |
Ellen Kuras |
Sony DSR-PD150 |
|
2002 |
|
Tadpole |
Hubert Taczanowski |
Sony DSR-PD150 |
|
2002 |
|
24 Hour Party People |
Robby Muller |
Sony DSR-PD150 |
|
2002 |
|
28 Days Later... |
Anthony Dod Mantle |
Canon XL-1s |
|
2002 |
Some shots in 35mm |
All About Lily Chou-Chou |
Noboru Shinoda |
Sony CineAlta F900 |
|
2001 |
|
Baahubali |
K. K. Senthil Kumar |
Arri Alexa XT |
|
2015 |
India's biggest motion picture |
Return of the Moonwalker |
Mike Maria |
Red Epic MX |
|
2011 |
|
The Anniversary Party |
John Bailey |
Sony DSR-500 |
|
2001 |
|
The King Is Alive |
Jens Schlosser |
Sony DSR-PD150 |
|
2001 |
|
The Wager |
Arnar Thor Thorisson |
Sony CineAlta F900 |
|
2001 |
Shot in 2001, released in 2004 |
Vidocq (2001 film) |
Jean-Pierre Sauvaire, Jean-Claude Thibaut |
Sony HDW-F900 CineAlta |
|
2001 |
|
Xtracurricular |
J.P. Lipa |
Sony HDW-F900 CineAlta |
|
2001 |
Some scenes shot on Panasonic AJ-HDC27 Varicam and Sony DSR-500WS |
Tortilla Soup |
Xavier Pérez Grobet |
Panasonic AJ-HDC27 Varicam |
|
2001 |
home video release from 35mm Interpostive |
Bamboozled |
Ellen Kuras |
Sony DCR-VX1000 |
|
2000 |
Some scenes shot in 16mm |
Chuck & Buck |
Chuy Chávez |
Sony DCR-VX1000 |
|
2000 |
|
Dancer in the Dark |
Robby Müller |
Sony DXC-D30WS |
|
2000 |
Musical numbers shot with 100 Sony DSR-PD100s |
Ivans Xtc |
Bernard Rose |
Sony HDW-700A |
|
2000 |
|
Solid Ones |
Brent Florence (Director), Matthew W. Davis (Cinematographer), Lloyd Silverman (Producer) |
Sony HDW-700A |
|
1999 |
Shot entirely on HD in the summer of 1999, Premiered in 2000 |
Everything Put Together |
Roberto Schaefer |
Sony PD-100, PAL |
|
2000 |
Shot entirely on HD in the summer of 1999, Premiered in 2000 |
The Book of Life |
Jim Denault |
Sony DCR-VX1000 |
|
1998 |
|
The Celebration |
Anthony Dod Mantle |
Sony DCR-PC3 |
|
1998 |
|
The Idiots |
Casper Holm, Jesper Jargil, Lars von Trier, Kristoffer Nyholm |
Sony DCR-VX1000 |
|
1997 |
|
Hope |
Pete Anderson |
Canon GL1 |
|
1997 |
|