Directed by Martin Scorsese, HUGO painstakingly recreated the magical world of director George Méliès, utilizing ALEXA and 3D stereoscopic to engage audiences further into the story. This was Richardson's third career Oscar win. HUGO also won awards for Art Direction, Sound Editing and Sound Mixing. The film shot with ALEXA cameras serviced by the Cameron Pace Group.
Cinematographer Claudio Miranda, ASC, and director Ang Lee chose to capture LIFE OF PI in 3D using ALEXA and Fusion 3D rigs from Cameron Pace Group. The movie chronicles the story of a young Indian boy stranded on a lifeboat - with a Bengal Tiger, Orangutan, Hyena and a Zebra - following a tragic shipwreck that claimed the lives of his family. LIFE OF PI is due for worldwide cinematic release in December 2012.
Cinematographer Tim Ives discusses his decision to transition from 35 mm film to ALEXA for the second season of HBO's HOW TO MAKE IT IN AMERICA, which enabled him to work fast and add "a modern look to the film aesthetic."
Cinematographer Newton Thomas Sigel, ASC, found that ALEXA held detail at both ends of the exposure range when shooting daylight car scenes for DRIVE, an explosive new action drama starring Ryan Gosling.
Legendary cinematographer Chris Menges, BSC, ASC, chose to shoot ARRIRAW with the ARRI ALEXA on EXTREMELY LOUD AND INCREDIBLY CLOSE, directed by Stephen Daldry. He found himself impressed not only by ALEXA's latitude, but also its incredible sensitivity and stunning picture quality.
Following three seasons on television, award-winning British comedy THE INBETWEENERS has made a successful move to the big screen this summer, quickly becoming the fastest-grossing live action comedy of all time in the UK. Cinematographer Ben Wheeler chose ALEXA for its sensitivity, dynamic range, filmic look and ergonomic attributes.