List of films shot on digital video prior to 2015
In the last decade a large number of movies have been shot digitally. Some of them are independent, low-budget productions, while others are major studio productions. The movies on the following list are shot mainly digitally.
List of films
Title | DP | Camera type | Lens type | Year | Notes |
---|---|---|---|---|---|
Term Life | Roberto Schaefer | Arri Alexa | Cooke S4 | 2014 | recorded Pro Res 4444 |
Setup | Mike Gunther | Red One | 2011 | ||
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 |
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[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 | |
Catch .44 | Aaron Harvey | Red One MX | Hawk V-Lite and V-Plus Lenses | 2011 | |
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 | ||
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 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 | ||
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 | ||
Her Name Is Carla | Jay Anania | Unknown | 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 | ||
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 | ||
Return of the Moonwalker | Mike Maria | Red Epic MX | 2011 | ||
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 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 1st 2000 (Telluride Film Festival) | |
Ivans Xtc | Bernard Rose | Sony HDW-700A | 2000 | Premiered September 12th 2000 (Toronto International Film Festival) | |
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 | ||
God Wears My Underwear | Adam Streit | Canon XL-1 | Canon EOS zoom | 1999 | production 1999, release 2005 |
Hope | Pete Anderson | Canon GL1 | 1997 | ||
Windhorse | Steve Schecter | Sony DVW-700WS
Sony DCR-VX1000 |
1996 | Premiered 1998 Santa Barbara Film Festival |
Notable firsts
- First major studio film shot primarily on digital video: Star Wars: Episode II – Attack of the Clones (2002)[9]
- First film shot digitally in Official Competition at Cannes Film Festival: Russian Ark (2002)
- First nominees for the Academy Award for Best Cinematography shot mainly on digital video: The Curious Case of Benjamin Button and Slumdog Millionaire (2009)
- First winner of the Academy Award for Best Cinematography shot mainly on digital video: Slumdog Millionaire (2009)[10]
- First winner of the Academy Award for Best Cinematography shot entirely on digital video: Avatar (2010)[11]
- First film shot with the Red One Camera: Che (2008)[12]
- First film shot with the Red One MX, and first film projected in 4K theatrical distribution: The Social Network (2010)[13]
- First film to be shot mainly with the Arri Alexa: Anonymous (2011)[14]
- First film to be shot mainly with the Red Epic Dragon and in 6K resolution: Gone Girl (2014)[15]
- First film shot mainly with the Arri Alexa 65: The Revenant (2015)[16]
- First film shot mainly with digital IMAX cameras: Avengers: Infinity War and Avengers: Endgame[17]
- First film shot mainly with the Red Weapon Vista Vision and in 8K resolution: Guardians of the Galaxy Vol. 2[18]
See also
- List of large sensor interchangeable-lens video cameras
- List of motion picture topics
- Filmizing
- Russian Ark - The first feature film shot completely in uncompressed high-definition
References
- http://www.cinematographers.nl/PaginasDoPh/willems.htm
- http://blogs.indiewire.com/theplaylist/watch-first-footage-from-new-6k-red-dragon-camera-that-david-fincher-is-using-for-gone-girl-20131014
- http://www.red.com/news/gone-girl-first-feature-film-shot-in-6K
- "Imax pushes 3D cinema with 38-pound 4K digital camera". cnet. June 29, 2014. Retrieved 2015-04-29.
- http://www.creativeplanetnetwork.com/news/shoot/fault-our-stars-dp-shooting-arriraw/602531
- Weintraub, Steve (July 31, 2012). "Guillermo del Toro Talks PACIFIC RIM, Why They Used the RED EPIC & Didn't Do 3D; Reveals Blu-ray Will Have 30 Minutes of Deleted Scenes". Collider.com. Retrieved August 1, 2012.
- Jannard, Jim (July 13, 2012). "42..." RedUser. Retrieved July 14, 2012.
- Jannard, Jim (May 5, 2012). "Hitchcock..." RedUser. Retrieved July 9, 2012.
- http://lucasfilm.com/star-wars-episode-2-attack-of-the-clones
- http://digitalfilms.wordpress.com/2009/01/24/oscar-nominations/
- "Archived copy". Archived from the original on 2014-04-25. Retrieved 2014-04-25.CS1 maint: archived copy as title (link)
- http://provideocoalition.com/freshdv/story/soderbergh_on_shooting_che_with_red
- http://www.firstshowing.net/2010/finchers-social-network-will-be-first-feature-shot-shown-in-4k/
- http://www.arri.com/en/news/anonymous-alexas-first-feature-film/
- http://www.4kshooters.net/2014/08/13/david-finchers-gone-girl-1st-feature-film-shot-entirely-in-6k/
- http://www.arri.com/news/news/alexa-xt-and-alexa-65-on-the-revenant/
- https://news.marvel.com/movies/24583/marvels_avengers_infinity_war_to_be_filmed_using_the_imaxarri_digital_camera/
- https://www.wired.co.uk/article/guardians-of-the-galaxy-2-shot-in-8k
External links
- American Cinematographer article about Star Wars: Episode II
- American Cinematographer article about Collateral
- DigitalCinemaNow article about "HD 2K 4K Digital hi-end cameras"
- HD Magazine "All about HD in all its guises - capture to distribution"
- Official Panavision Media Center & Reference Library
- Light Illusion Various Tech Papers about Digital Cinematography and Digital Film
- Official Sony Professional Website
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