Inception (2010)
Shot by Wally Pfister, ASC
Pfister used Panavision anamorphics on 35mm to match Nolan’s vision for a timeless, optical look. With colorist Walter Volpatto, they preserved strong contrast and deep shadows. Won Best Cinematography at the 2011 Oscars.

13 Bom di Jakarta (2023)
Director: Angga Dwimas Sasongko
Camera Operator: Rifky Akmal, SOC, ACO
Crafted the car chase stunt sequence using specialty camera vehicle rigs and precision tracking. Supported DP Arnand Pratikto’s vision. Nominated for Best Cinematography at the 2023 Citra Awards.

Dune (2021)
Shot by Greig Fraser, ASC, ACS
During production, Fraser paired the ALEXA LF with Panavision H-series lenses for a painterly softness. With colorist David Cole at Company 3, they built a custom LUT for desert tones. Won the Oscar for Best Cinematography in 2022. #dune #GreigFraser #film

The Revenant (2015)
Shot by Emmanuel Lubezki, ASC, AMC
Fun fact: Lubezki used the ARRI ALEXA 65 and natural light for nearly the entire film. He believed large format would enhance immersion. Graded by Steve Scott, the film won Best Cinematography at the 2016 Academy Awards Lubezki's third in a row.

The Dark Knight (2008)
Director: Christopher Nolan
Cinematographer: Wally Pfister, ASC
Cameras: IMAX MKIII, MSM 9802, Panaflex Millennium XL, Platinum
Lenses: Panavision C, E Series Anamorphic, Super Speed
Format: 35mm / IMAX
Colorist: Matt Harger

#wallypfister #cinematography #depthofreel

Joker (2019)
Director: Todd Phillips
Cinematographer: Lawrence Sher, ASC
Cameras: ARRI ALEXA 65, LF, Mini
Lenses: ARRI Rental Prime 65, DNA, Zeiss CZ.2 28–80mm & 70–200mm
Aspect Ratio: 1.43:1 / 1.85:1
Format: ARRIRAW
Colorist: Jill Bogdanowicz

#lawrencesher #cinematography #depthofreel

1917 (2019)
Director: Sam Mendes
Cinematographer: Roger Deakins, ASC, BSC
Camera: ARRI ALEXA Mini LF
Lenses: ARRI Signature Prime 35mm T1.8, 40mm T1.8
Aspect Ratio: 2.39:1
Format: ARRIRAW
Colorist: Greg Fisher, James Slattery

#rogerdeakins #arri #signatureprime #cinematography #depthofreel #film