| Title | DP | Camera type | Year | Notes |
| Haywire | Steven Soderbergh | Red One | 2012 |
| The Amazing Spider-Man | John Schwartzman | Red Epic | 2012 |
|
| The Avengers | Seamus McGarvey | Arri Alexa | 2012 |
|
| The Hobbit | Andrew Lesnie | Red Epic | 2012 |
|
| Prometheus | Dariusz Wolski | Red Epic | 2012 |
|
| Underworld: Awakening | Scott Kevan | Red Epic | 2012 |
|
| Jack the Giant Killer | Newton Thomas Sigel | Red Epic | 2012 |
|
| The Girl With the Dragon Tattoo | Jeff Cronenweth, Fredrik Bäckar | Red Epic | 2011 | Red One also used |
| Hugo | Robert Richardson | Arri Alexa | 2011 |
|
| Contagion | Steven Soderbergh | Red Epic | 2011 |
|
| In Time | Roger Deakins | Arri Alexa | 2011 | Roger Deakin's first digital photographed film |
| Melancholia | Manuel Alberto Claro | Arri Alexa | 2011 |
|
| Transformers: Dark of the Moon | Amir Mokri | Fusion Camera System | 2011 | Some scenes, including close-ups, shot in 35mm |
| Pirates of the Caribbean: On Stranger Tides | Dariusz Wolski | Red One | 2011 |
|
| Tron: Legacy | Claudio Miranda | Sony CineAlta F35 | 2010 | Phantom HD Camera used for high speed photography |
| Blue Valentine | Andrij Parekh | Red One | 2010 | Present-day scenes shot on Red, flashback scenes shot on 16mm |
| Winter's Bone | Michael McDonough | Red One | 2010 |
|
| Fair Game | Doug Liman | Red One | 2010 |
|
| The Social Network | Jeff Cronenweth | Red One | 2010 |
|
| 127 Hours | Anthony Dod Mantle, Enrique Chedik | Canon EOS 5D Mark II, 7D, Silicon Imaging SI-2K | 2010 |
|
| Date Night | Dean Semler | Panavision Genesis | 2010 |
|
| Death at a Funeral | Rogier Stoffers | Panavision Genesis | 2010 |
|
| Killers | Russell Carpenter | Arriflex D-21 | 2010 |
|
| Grown Ups | Theo van de Sande | Panavision Genesis | 2010 |
|
| Avatar | Mauro Fiore | Fusion Camera System | 2009 | First fully digitally photographed film to win the Academy Award for Best Cinematography |
| The Informant! | Steven Soderbergh | Red One | 2009 |
|
| District 9 | Trent Opaloch | Red One | 2009 |
|
| Valhalla Rising | Morten Søborg | Red One | 2009 |
|
| Public Enemies | Dante Spinotti | Sony HDCAM/CineAlta (750/900/F23) | 2009 | Some car interiors during chases shot on Sony XDCAM EX-1 |
| The Girlfriend Experience | Steven Soderbergh | Red One | 2009 |
|
| Gamer | Ekkehart Pollack | Red One | 2009 | One of the first films to be shot with a Red One Camera. |
| Samantha Darko | Chris Fisher | Red One | 2009 |
|
| Surviving Evil | Mike Downie | Thomson Viper | 2009 |
| Tetro | Mihai Malaimare Jr. | Sony HDCAM/CineAlta (900) | 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 | 2009 |
|
| Achchamundu! Achchamundu! | Arthur Wilson | Red One | 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 | 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 HDCAM/CineAlta (750/900/F23) | 2008 |
|
| You Don't Mess With The Zohan | Michael Barrett | Panavision Genesis | 2008 |
|
| Knowing | Simon Duggan | Red One | 2008 |
|
| Chemical Wedding | Brian Herlihy | Thomson Viper | 2008 |
|
| Che: Part Two | Steven Soderbergh | Red One | 2008 |
|
| Che: Part One | Steven Soderbergh | Red One | 2008 |
|
| Get Smart | Dean Semler | Panavision Genesis | 2008 |
|
| Speed Racer | David Tattersall | Sony HDCAM/CineAlta (750/900/F23) | 2008 |
|
| Deception | Dante Spinotti | Panavision Genesis | 2008 |
|
| 21 | Russell Carpenter | Panavision Genesis | 2008 |
|
| Cloverfield | Michael Bonvillain | Sony HDCAM/CineAlta (750/900/F23) | 2008 | Segments, other shots include the Panasonic HVX-200, as well as the Thomson Viper |
| 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 HDC-F900 | 2007 |
|
| Zodiac | Harris Savides | Thomson Viper | 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 DVX100 (Andromeda Modification) | 2007 | The Andromeda Modification bypasses the DV compression to get uncompressed 4:4:4 10bit RGB HD 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 |
|
| Crank | Adam Biddle | Sony HDCAM/CineAlta (950) | 2006 | Some scenes shot with Canon XL-2 |
| Flyboys | Henry Braham | Panavision Genesis | 2006 |
|
| Me and You and Everyone We Know | Chuy Chávez | Sony HDCAM/CineAlta (750/900/F23) | 2005 |
|
| Star Wars Episode III: Revenge of the Sith | David Tattersall | Sony HDCAM/CineAlta (950) | 2005 |
|
| Bubble | Steven Soderbergh | Sony HDCAM/CineAlta (900/950) | 2005 |
|
| Sin City | Robert Rodriguez | Sony HDCAM/CineAlta (950) | 2005 |
|
| Sky Captain and the World of Tomorrow | Eric Adkins | Sony HDCAM/CineAlta (900/3) | 2004 |
|
| Collateral | Dion Beebe | Thomson Viper | 2004 | 35mm used for some scenes |
| Star Wars Episode II: Attack of the Clones | David Tattersall | Sony HDCAM/CineAlta (900) | 2002 |
|
| 9 Songs | Marcel Zyskind | Panasonic AG-DVX100 | 2002 | Other scenes shot with Sony DSR-PD150 |
| Full Frontal | Steven Soderbergh | Canon XL-1s | 2002 |
|
| 28 Days Later... | Anthony Dod Mantle | Canon XL-1s | 2002 | Some shots in 35mm |
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