Year |
Title |
Cinematographer |
Camera type |
Lens type |
Notes |
2011 |
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 |
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. |
2011 |
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 |
|
Winner of the 2011 Academy Award for Best Cinematography |
2011 |
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 |
|
The first feature-length film to be shot with Alexa |
2011 |
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 |
|
Underwater sequences and epilogue shot with Arri Alexa |
2011 |
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 |
|
Phantom HD Camera used for high-speed photography |
2011 |
Mr. Popper's Penguins |
Florian Ballhaus |
Arri Alexa |
|
|
2011 |
Transformers: Dark of the Moon |
Amir Mokri |
Sony CineAlta F35 |
|
Most non-action scenes/close-ups shot with 35mm film |
2011 |
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 |
|
Canon EOS L-Series lenses, StickyPod, Redrock Micro "Captain Stubling" rig and Lensbaby Muse |
2011 |
Sound of My Voice |
Rachel Morrison |
Canon EOS 7D |
|
|
2010 |
Tron: Legacy |
Claudio Miranda |
Sony CineAlta F35 |
|
Phantom HD Camera used for high-speed photography |
2010 |
Blue Valentine |
Andrij Parekh |
Red One M |
Cooke S4 |
Present-day scenes shot on Red, flashback scenes shot on 16mm |
2010 |
Red State |
David Klein |
Red One MX, Canon EOS 7D |
|
Canon 7D used only for 'running with camera' shots |
2010 |
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 |
First film to feature a 2K pipeline, from production to presentation. |
2010 |
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 |
|
First Filipino film to be shot with the Arri Alexa |
2010 |
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 |
|
|
2009 |
Avatar |
Mauro Fiore |
Fusion Camera System |
Fujinon 6.3-101mm T2 and 7-35mm T1.8 |
First 100% digitally photographed film to win the Academy Award for Best Cinematography |
2009 |
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 |
|
Some car interiors during chases shot on Sony XDCAM EX-1 |
2009 |
The Girlfriend Experience |
Steven Soderbergh |
Red One M |
Panavision C-series anamorphic |
|
2009 |
Gamer |
Ekkehart Pollack |
Red One M |
|
|
2009 |
Oxhide II |
Liu Jiayin |
Sony Digital Betacam |
|
|
2009 |
Antichrist |
Anthony Dod Mantle |
Red One M |
|
Phantom HD Camera used for high-speed photography |
2009 |
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 |
|
Fifteen Canon HF10 were used as Crash-Cams |
2009 |
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 |
|
|
2008 |
The Spirit |
Bill Pope |
Panavision Genesis |
|
Phantom HD Camera used for high-speed photography |
2008 |
The Curious Case of Benjamin Button |
Claudio Miranda |
Thomson Viper |
Zeiss DigiPrime |
Among the first two predominantly digitally photographed films, along with Slumdog Millionaire, to be nominated for the Academy Award for Best Cinematography |
2008 |
Slumdog Millionaire |
Anthony Dod Mantle |
Silicon Imaging SI-2K |
|
The first predominantly digitally photographed film to win the Academy Award for Best Cinematography. Shot on multiple formats, including 35mm and digital stills. |
2008 |
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 |
The first feature-length film shot with Red One cameras |
2008 |
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 |
|
Segments, other shots include the Panasonic HVX-200, as well as the Thomson Viper |
2008 |
RocknRolla |
David Higgs |
Arriflex D-21 |
|
|
2008 |
The Bank Job |
Michael Coulter |
Arriflex D-21 |
|
|
2007 |
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) |
|
The Andromeda Modification bypasses the DV compression to get uncompressed 4:4:4 10-bit RGB data straight from the CCD block |
2007 |
Planet Terror |
Robert Rodriguez |
Panavision Genesis |
|
|
2006 |
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 |
Borat |
Anthony Hardwick Luke Geissbühler |
Panasonic AJ-HDC27 Varicam |
|
Shot with two VariCams with occasional use of a Panasonic AG-DVX100[11] |
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 |
|
Some scenes shot with Canon XL-2 |
2006 |
Flyboys |
Henry Braham |
Panavision Genesis |
|
|
2006 |
Them (Ils) |
David Moreau Xavier Palud |
Panasonic AG-DVX100 |
|
|
2006 |
Still Life |
Zhangke Jia |
Sony HVR-Z1 |
|
|
2005 |
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 Sharkboy and Lavagirl in 3-D |
Robert Rodriguez |
Sony CineAlta F950 |
|
|
2005 |
Bubble |
Steven Soderbergh |
Sony CineAlta F900/F950 |
|
|
2005 |
Manderlay |
Anthony Dod Mantle |
Sony CineAlta F900 |
|
Some scenes shot with Sony DSR-PD100 |
2005 |
Sin City |
Robert Rodriguez |
Sony CineAlta F950 |
|
|
2005 |
Oxhide |
Liu Jiayin |
Sony Digital Betacam |
|
|
2004 |
Sky Captain and the World of Tomorrow |
Eric Adkins |
Sony CineAlta F900 |
|
|
2004 |
Collateral |
Paul Cameron Dion Beebe |
Sony CineAlta F900, Thomson Viper |
|
35mm used for some scenes |
2004 |
Land of Plenty |
Franz Lustig |
Panasonic AG-DVX100 |
|
|
2004 |
The World |
Yu Lik-wai |
Sony CineAlta F900 |
|
|
2003 |
Dogville |
Anthony Dod Mantle |
Sony CineAlta F900 |
|
Some scenes shot with Sony DSR-PD100 |
2003 |
Spy Kids 3-D: Game Over |
Robert Rodriguez |
Sony CineAlta F900 |
|
|
2003 |
Once Upon A Time In Mexico |
Robert Rodriguez |
Sony CineAlta F900 |
|
Was filmed in 2001 but released theatrically in 2003 |
2003 |
Pieces of April |
Tami Reiker |
Sony DSR-PD150 |
|
Filmed in 2002 and released in 2003[12] |
2003 |
Virgin |
Benjamin Wolf |
Sony DSR-PD150 |
|
Shot in 2002 and released in 2003[13] |
2002 |
Unknown Pleasures |
Yu Lik-wai |
Sony DSR-PD150 |
|
Other scenes shot in Digital Betacam |
2002 |
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 |
|
Cited by the British Film Institute as "the first digitally shot blockbuster to hit cinemas."[14] |
2002 |
9 Songs |
Marcel Zyskind |
Panasonic AG-DVX100 |
|
Other scenes shot with Sony DSR-PD150 |
2002 |
Full Frontal |
Steven Soderbergh |
Canon XL-1s |
|
|
2002 |
Personal Velocity: Three Portraits |
Ellen Kuras |
Sony DSR-PD150 |
|
|
2002 |
Tadpole |
Hubert Taczanowski |
Sony DSR-PD150 |
|
Shot with three digital cameras[15] |
2002 |
24 Hour Party People |
Robby Muller |
Sony DSR-PD150 |
|
|
2002 |
28 Days Later |
Anthony Dod Mantle |
Canon XL-1s |
|
Some shots in 35mm |
2001 |
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 |
Sony DVW-700, Sony DSR-PD100 |
|
Used Digital Betacam for some scenes and the Sony DRV-100[disputed – discuss]for others[16] |
2001 |
The Wager |
Arnar Thor Thorisson |
Sony CineAlta F900 |
|
Shot in 2001, released in 2004 |
2001 |
Vidocq |
Jean-Pierre Sauvaire Jean-Claude Thibaut |
Sony HDW-F900 CineAlta |
|
|
2001 |
You Got Nothin' |
Cliff Hsui Jonathan Zames |
Sony HDW-F900 CineAlta |
|
Shot in 2001, released in 2002. |
2001 |
Xtracurricular |
J.P. Lipa |
Sony HDW-F900 CineAlta |
|
Some scenes shot on Panasonic AJ-HDC27 Varicam and Sony DSR-500WS. Shot in 2001, released in 2003 |
2001 |
Tortilla Soup |
Xavier Pérez Grobet |
Panasonic AJ-HDC27 Varicam |
|
Home video release from 35mm Interpostive |
2000 |
Bamboozled |
Ellen Kuras |
Sony DCR-VX1000 |
|
Some scenes shot in 16mm |
2000 |
Chuck & Buck |
Chuy Chávez |
Sony DCR-VX1000 |
|
|
2000 |
Dancer in the Dark |
Robby Müller |
Sony DXC-D30WS |
|
Musical numbers shot with 100 Sony DSR-PD100s |
2000 |
Our Lady of the Assassins |
Barbet Schroeder |
Sony HDW-700 |
|
Premiered September 1, 2000 (Telluride Film Festival) |
2000 |
Ivans Xtc |
Bernard Rose |
Sony HDW-700A |
|
Premiered September 12, 2000 (Toronto International Film Festival) |
2000 |
Everything Put Together |
Roberto Schaefer |
Sony DCR-VX1000 |
|
Shot entirely on HD in the summer of 1999, premiered in 2000[17] |
1999 |
Solid Ones |
Matthew W. David |
Sony HDW-700A |
|
Shot entirely on HD in the summer of 1999, premiered in 2000 |
1999 |
God Wears My Underwear |
Leslie Streit |
Canon XL-1 |
Canon EOS zoom |
Shot in 1999, released in 2005 |
1999 |
The New Women |
Larra Anderson |
Canon XL-1 |
Canon EOS zoom |
Shot in 1999, released in 2001 |
1998 |
Love & Pop |
Takahide Shibanushi |
|
|
The film was shot almost entirely on handheld digital cameras[18] |
1998 |
The Last Broadcast |
Lance Weiler |
Sony DCR-VX1000 |
|
For some sequences a toy video camera from Tyco was used[19] |
1998 |
The Book of Life |
Jim Denault |
Sony DCR-VX1000 |
|
|
1998 |
The Celebration |
Anthony Dod Mantle |
Sony DCR-PC3 |
|
|
1997 |
The Idiots |
Lars von Trier |
Sony DCR-VX1000 |
|
|
1997 |
Hope |
Pete Anderson |
Canon GL1 |
|
|
1996 |
Windhorse |
Steve Schecter |
Sony DVW-700WS
Sony DCR-VX1000 |
|
Premiered 1998 at the Santa Barbara Film Festival |
1996 |
The Demons in My Head |
Grant Hoy |
Sony DVW-700WS |
|
Premiered 15 June 1997 at the Sanctuary Cove Village Theater, Queensland, Australia.[20] Also first feature film to be online edited in a computer and projected digitally[21] |