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ARRI ALEXA
Camera

ARRI

ARRI ALEXA

Introduced in 2010, the ARRI ALEXA is a digital cinema camera that rapidly became the industry standard for high-end film and television production. Its large-format sensor and proprietary ALEV color science produced an image quality that many cinematographers considered closer to film than any preceding digital system. It has been used to shoot Academy Award-winning films including Gravity, Birdman, and Parasite.

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Artists who use this(19)

Alfonso Cuarón
Alfonso Cuarón

Connection note

Cuarón shot Roma (2018) on the ARRI ALEXA 65 with cinematographer Emmanuel Lubezki; both have discussed the system extensively in interviews, noting its ability to shoot in low-light conditions consistent with the film's available-light aesthetic.
Interview ↗
Michael Mann
Michael Mann

Connection note

Mann adopted the ARRI ALEXA for "Blackhat" (2015) and subsequent work; his cinematographer Stuart Dryburgh has discussed the camera system in interviews, noting its ability to match the available-light aesthetic Mann developed with earlier digital systems while providing greater dynamic range in interior conditions.
Interview ↗

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Last updated March 24, 2026

Alejandro González Iñárritu
Alejandro González Iñárritu

Connection note

Iñárritu shot "Birdman" (2014) and "The Revenant" (2015) on the ARRI ALEXA 65 with cinematographer Emmanuel Lubezki. Both productions are documented in ASC interviews.
Interview ↗
Bong Joon-ho
Bong Joon-ho

Connection note

Parasite (2019) was shot on the ARRI ALEXA Mini by cinematographer Hong Kyung-pyo; Bong has discussed the camera system in multiple interviews about the production, noting its flexibility for the film's range of interior and exterior conditions.
Interview ↗
Guillermo del Toro
Guillermo del Toro

Connection note

Del Toro shot "The Shape of Water" (2017) on the ARRI ALEXA with cinematographer Dan Laustsen. The camera system is discussed in their published interviews about the production.
Interview ↗
Jia Zhangke
Jia Zhangke

Connection note

Jia shot "A Touch of Sin" (2013) and subsequent films on the ARRI ALEXA after working with digital video on earlier productions.
Interview ↗
Lars von Trier
Lars von Trier

Connection note

Von Trier adopted the ARRI ALEXA for "Melancholia" (2011) after his earlier digital work with consumer cameras during the Dogme 95 period.
Interview ↗
Ari Wegner

Connection note

Shot The Power of the Dog (2021) on the ARRI ALEXA for director Jane Campion.
Interview ↗
Michael Haneke
Michael Haneke

Connection note

Haneke shot "Amour" (2012) on the ARRI ALEXA with cinematographer Darius Khondji. The system is discussed in their published interviews about the production.
Interview ↗
Park Chan-wook
Park Chan-wook

Connection note

Park shot "The Handmaiden" (2016) and "Decision to Leave" (2022) on the ARRI ALEXA. His cinematographer Chung Chung-hoon has discussed the system in published interviews.
Interview ↗
Pedro Almodóvar
Pedro Almodóvar

Connection note

Almodóvar adopted the ARRI ALEXA for his recent productions including "Pain and Glory" (2019). His earlier films were shot on Panavision and Arriflex film cameras.
Interview ↗
Emmanuel Lubezki
Emmanuel Lubezki

Connection note

Primary digital camera on Gravity (2013)
Website ↗
Robert Richardson
Robert Richardson

Connection note

Richardson's first digital feature; prototype Alexa units on Cameron/Pace 3D rigs for Hugo
Website ↗
Robbie Ryan
Robbie Ryan

Connection note

Digital camera used alongside ARRICAM LT on American Honey (2016)
Website ↗
Greig Fraser
Greig Fraser

Connection note

Shot Zero Dark Thirty (2012) on the ARRI ALEXA for director Kathryn Bigelow.
Interview ↗
Chung Chung-hoon

Connection note

Shot The Handmaiden (2016) and Decision to Leave (2022) on the ARRI ALEXA system, leveraging its dynamic range for Park Chan-wook's precise visual compositions.
Interview ↗
Dan Laustsen
Dan Laustsen

Connection note

Shot The Shape of Water (2017) on the ARRI ALEXA, crafting the film's luminous underwater aesthetic that earned an Academy Award nomination for Best Cinematography
Interview ↗
Darius Khondji

Connection note

Shot Amour (2012) on the ARRI ALEXA, using the camera's dynamic range to render the film's confined apartment interiors with naturalistic precision
Interview ↗
Stuart Dryburgh

Connection note

Shot Blackhat (2015) on the ARRI ALEXA, using the camera's sensitivity to capture available-light cinematography across locations in Hong Kong, Jakarta, and Los Angeles
Interview ↗