Title
|
Cinematographer
|
Camera type
|
Lens type
|
Year
|
Notes
|
Baahubali
|
K. K. Senthil Kumar
|
Arri Alexa XT
|
|
2015
|
|
Term Life
|
Roberto Schaefer
|
Arri Alexa
|
Cooke S4
|
2014
|
recorded in Apple ProRes 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
|
2014–15
|
Geostorm
|
Roberto Schaefer
|
Red Epic Dragon
|
Cooke 5i Primes
|
2014–15
|
6K
|
You Again
|
Andy Fickman
|
Panavision Genesis HD Camera
|
Panavision Primo
|
2010
|
|
The Hunger Games: Mockingjay – Part 1 and Part 2
|
Jo Willems
|
Arri Alexa XT[13]
|
Panavision anamorphic
|
2014–15
|
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 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.[14][15]
|
Guardians of the Galaxy
|
Ben Davis
|
Arri Alexa XT Plus
|
Panavision Primo Cooke Xtal Express Angenieux Optimo
|
2014
|
|
Dawn of the Planet of the Apes
|
Michael Seresin
|
Arri Alexa M
|
Leica Summilux 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.[16]
|
The Fault in Our Stars
|
Ben Richardson
|
Arri Alexa XT[17]
|
Zeiss Master Prime
|
2014
|
|
X-Men: Days of Future Past
|
Newton Thomas Sigel
|
Arri Alexa M, Arri Alexa XT
|
Leica Summilux 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
|
|
Left Turn
|
Geno Salvatori
|
Sony Cinealta F65
|
|
2014
|
|
Rebel City Rumble
|
Anthony Bowes
|
Sony Cinealta F65
|
|
2014
|
|
Left Turn
|
Geno Salvatori
|
Sony Cinealta F65
|
|
2014
|
|
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
|
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 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
|
|
|
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
|
|
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[18]
|
Guillermo Navarro
|
Red Epic MX
|
|
2013
|
|
R.I.P.D.
|
Alwin Küchler
|
Arri Alexa
|
|
2013
|
|
World War Z
|
Robert Richardson
|
Arri Alexa
|
|
2013
|
|
42[19]
|
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[20]
|
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)
|
Geir Hartly Andreassen
|
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
|
|
2012
|
Sir Ridley Scott's first digital feature
|
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
|
|
Setup
|
Mike Gunther
|
Red One
|
|
2011
|
|
Catch .44
|
Aaron Harvey
|
Red One MX
|
Hawk V-Lite V-Plus Lenses
|
2011
|
|
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
|
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
|
Return of the Moonwalker
|
Mike Maria
|
Red Epic MX
|
|
2011
|
|
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
|
|
The Devil's Rock
|
Paul Campion
|
Red One M
|
|
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 Chediak
|
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
|
|
The Chronicles of Narnia: The Voyage of the Dawn Treader
|
Dante Spinotti
|
Sony CineAlta F23
|
|
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 Mălaimare 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 Mălaimare 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
|
|
2005
|
|
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
|
Was filmed in 2001 but released theatrically in 2003
|
Pieces of April
|
Tami Reiker
|
Sony DSR-PD150
|
|
2003
|
Filmed in 2002 and released in 2003[21]
|
Virgin
|
Benjamin Wolf
|
Sony DSR-PD150
|
|
2003
|
Shot in 2002 and released in 2003[22]
|
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
|
Shot with three digital cameras[23]
|
24 Hour Party People
|
Robby Muller
|
Sony DSR-PD150
|
|
2002
|
|
28 Days Later...
|
Anthony Dod Mantle
|
Canon XL-1s
|
|
2002
|
Some shots in 35mm
|
Xuxa e os Duendes
|
Cezar Moraes
|
Sony CineAlta F900
|
|
2001
|
|
All About Lily Chou-Chou
|
Noboru Shinoda
|
Sony CineAlta F900
|
|
2001
|
|
The Anniversary Party
|
John Bailey
|
Sony DSR-500
|
|
2001
|
|
By Hook or By Crook
|
Ann T. Rossetti
|
Sony vx2000
|
|
2001
|
|
The King Is Alive
|
Jens Schlosser
|
Sony DSR-PD150
|
|
2001
|
|
The Center of the World
|
The Chau Ngo
|
Arri Alexa
|
|
2001
|
Used Digital Betacam for some scenes and the Sony DRV-100 for others[24]
|
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
|
|
You Got Nothin'
|
Cliff Hsui Jonathan Zames
|
Sony HDW-F900 CineAlta
|
|
2001
|
Shot in 2001, released in 2002.
|
Xtracurricular
|
J.P. Lipa
|
Sony HDW-F900 CineAlta
|
|
2001
|
Some scenes shot on Panasonic AJ-HDC27 Varicam and Sony DSR-500WS. Shot in 2001, released in 2003
|
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
|
Our Lady of the Assassins
|
Barbet Schroeder
|
Sony HDW-700
|
|
2000
|
Premiered September 1, 2000 (Telluride Film Festival)
|
Ivans Xtc
|
Bernard Rose
|
Sony HDW-700A
|
|
2000
|
Premiered September 12, 2000 (Toronto International Film Festival)
|
Everything Put Together
|
Roberto Schaefer
|
Sony DCR-VX1000
|
|
2000
|
Shot entirely on HD in the summer of 1999, premiered in 2000[25]
|
Solid Ones
|
Matthew W. David
|
Sony HDW-700A
|
|
1999
|
Shot entirely on HD in the summer of 1999, premiered in 2000
|
God Wears My Underwear
|
Adam Streit
|
Canon XL-1
|
Canon EOS zoom
|
1999
|
Shot in 1999, released in 2005
|
The Book of Life
|
Jim Denault
|
Sony DCR-VX1000
|
|
1998
|
|
The Celebration
|
Anthony Dod Mantle
|
Sony DCR-PC3
|
|
1998
|
|
The Idiots
|
Lars von Trier
|
Sony DCR-VX1000
|
|
1997
|
|
Hope
|
Pete Anderson
|
Canon GL1
|
|
1997
|
|
Windhorse
|
Steve Schecter
|
Sony DVW-700WS
Sony DCR-VX1000
|
|
1996
|
Premiered 1998 at the Santa Barbara Film Festival
|
The Demons in My Head
|
Grant Hoy
|
Sony DVW-700WS
|
|
1996
|
Premiered 15 June 1997 at the Sanctuary Cove Village Theater, Queensland, Australia.[26] Also first feature film to be online edited in a computer and projected digitally[27]
|