Title | Cinematographer | Camera type | Lens type | Year | Notes |
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 | | 2011 | The first feature-length film to be shot with Alexa |
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 |
Sound of My Voice | Rachel Morrison | Canon EOS 7D | | 2011 | |
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 the 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 | Among the first two predominantly digitally photographed films, along with Slumdog Millionaire, to be nominated for the Academy Award for Best Cinematography |
Slumdog Millionaire | Anthony Dod Mantle | Silicon Imaging SI-2K | | 2008 | The first predominantly 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 | The first feature-length film shot with 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 | |
Borat | Anthony Hardwick Luke Geissbühler | Panasonic AJ-HDC27 Varicam | | 2006 | Shot with two VariCams with occasional use of a Panasonic AG-DVX100[11] |
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[12] |
Virgin | Benjamin Wolf | Sony DSR-PD150 | | 2003 | Shot in 2002 and released in 2003[13] |
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 | Cited by the British Film Institute as "the first digitally shot blockbuster to hit cinemas."[14] |
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[15] |
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 | Sony DSR-PD100Sony DVW-700 | | 2001 | Used Digital Betacam for some scenes and the Sony DRV-100 for others[16] |
The Wager | Arnar Thor Thorisson | Sony CineAlta F900 | | 2001 | Shot in 2001, released in 2004 |
Vidocq | 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[17] |
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 | Leslie Streit | Canon XL-1 | Canon EOS zoom | 1999 | Shot in 1999, released in 2005 |
The New Women | Larra Anderson | Canon XL-1 | Canon EOS zoom | 1999 | Shot in 1999, released in 2001 |
The Book of Life | Jim Denault | Sony DCR-VX1000 | | 1998 | |
Festen | Thomas Vinterberg | Sony DCR-PC3 | | 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.[18] Also first feature film to be online edited in a computer and projected digitally[19] |