Matthew Libatique

ARRI's Super 16mm production camera, introduced in 2006. Built with PL mount compatibility shared with ARRI's 35mm cameras, it supports frame rates from 1 to 75 fps (up to 150 fps in the HS variant) and runs below 20 dB(A) at 24 fps for sync-sound work. The viewfinder and video assist operate independently, allowing fast changeovers for Steadicam or remote operation.

The Bolex H16 is a spring-wound 16mm film camera first produced in the 1930s and manufactured in Sainte-Croix, Switzerland for decades. Its mechanical simplicity, reliability, and optical quality made it the instrument of choice for avant-garde and experimental filmmakers. Jonas Mekas used one for decades of diary films; Stan Brakhage made most of his works with one.

The Aaton XTR Prod is a 16mm film camera designed to rest on the shoulder with a balance that mimics the weight of a human head, making sustained handheld operation natural. Its quiet motor and ergonomic design made it the preferred camera of documentary and New Wave filmmakers working in the 1970s and 1980s. Werner Herzog, Wim Wenders, and Agnès Varda were among its proponents.

ARRI's compact digital cinema camera, announced in February 2015. Uses the same ALEV III Super 35 CMOS sensor as other ALEXA cameras in a body weighing approximately 2.3 kg (5 lbs). Supports frame rates from 0.75 to 200 fps with a maximum resolution of 3424 x 2202. Succeeded by the ALEXA Mini LF and ALEXA 35.

Anamorphic primes with Cooke's "Special Flare" single-layer coating that amplifies blue-streak flares and oval bokeh. Available in 2x squeeze for Super 35 and 1.8x squeeze for full frame, with an 11-blade iris and T2.3 maximum aperture.

The Panaflex Millennium XL2 is a 35mm sync-sound film camera introduced by Panavision in 2004 as an update to the original Millennium XL. It features crystal-controlled speeds from 3 to 50 fps with in-shot speed ramping, a variable shutter adjustable from 11.2 to 180 degrees, dual registration pins, and dual pull-down claws. The camera converts between studio, handheld, and Steadicam configurations and is available in 3-perf or 4-perf pulldown.

The PVintage series, introduced in 2013, rehouses glass elements from Panavision's Ultra Speed lenses (originally debuted in 1976) into modern barrels with a consistent 113mm front diameter. All lenses open wider than T2 and most focus down to 24 inches. The rehousing retains the soft, organic rendering of the original Ultra Speeds while standardizing size, weight, and front diameter across the set.

The Sony Venice is a full-frame (36x24mm) digital cinema camera launched in 2017, capable of capturing up to 6K resolution. It features dual base ISO (500 and 2500), 15 stops of dynamic range, an internal 8-position optical ND filter system, and switchable imager modes for full-frame and Super 35 coverage. Succeeded by the Venice 2 in late 2021.

Large-format digital cinema camera pairing the compact ALEXA Mini body with a full-frame sensor. First used on 1917 (2019), also used on Dune and Dune: Part Two.

Full-frame 1.5x front-anamorphic primes from Atlas Lens Co., available from 24mm to 138mm at T2.2. Feature a 14-blade iris for oval bokeh, 95mm common front diameter, and PL mount. Roughly half the size and weight of comparable 2x anamorphic lenses.

Eastman Double-X 5222 is a black-and-white negative motion picture film rated at EI 250 in daylight and EI 200 under tungsten light. Originally developed from Kodak's Super-XX formula and released in its current form in 1959, it has remained largely unchanged for over six decades. It was the stock used to shoot Raging Bull, Schindler's List, and Manhattan.

Kodak Vision3 500T 5219 is a high-speed tungsten-balanced (3200K) color negative motion picture film rated at ISO 500. Introduced in 2007 as the first stock in Kodak's Vision3 line, it uses Dye Layering Technology to reduce grain in shadows while maintaining a wide exposure latitude. Available in 35mm and 16mm (7219), it is processed in ECN-2 chemistry and remains a standard for low-light and interior cinematography.