As you can see, the vast majority of filmmakers shot digitally, but a few used film cameras and at least one DP even used both. Find out what some of the 2014 Sundance cinematographers had to say about the shift from film to digital here.
The films are listed below in alphabetical order:
Fishing Without Nets Red EPIC and Red Scarlet cameras, with Zeiss Super Speeds and Angenieux Optimo DP 16-42mm and 30-80mm zooms.
Happy Christmas Arri 416 with Super Speeds and Kodak 7219 (500T)
Hellion ARRI Alexa, on Kowa Anamorphic lenses.
Imperial Dreams Arri Alexa
Infinitely Polar Bear ARRI Alexa. Angenieux Optimo Lightweight zooms
Ivory Tower Canon C-300 and Canon 5D Mark II, with L Series 24-105mm and 24-70mm as well as Zeiss 50mm and Zeiss 28mm
Jamie Marks Is Dead" ALEXA (Arriraw) and Cooke S4 lenses
Kumiko: The Treasure Hunter ARRI Alexa 4:3 plus, Cooke Speed Panchros, JDC Cooke Xtal Anamorphics, Cooke Cine Varotal 25-250mm Zoom
Land Ho! RED
Life after Beth ARRI Alexa, Canon 5d Mkiii
Listen Up Philip Aaton, Super 16mm
Low Down Arri 416 Super 16mm Hawk V-Lite Super 16mm Anamorphic lenses
Marmato Canon XH A1
No No: A Dockumentary Canon 5D Mark II, 5D Mark II
Obvious Child: Red Scarlet
Private Violence Panasonic AF 100, Nikkor 35mm f1.4
Rich Hill Red Scarlet, with Canon zoom lenses
Song One ARRI Alexa with Leica Summilux C Lenses. We also used the Canon C300 and GoPro Cameras.
The Badabook ARRI Alexa; with Zeiss Master Prime lenses
The Better Angels Super 35mm with some Red EPIC, and a little super 16mm. There is one Canon 5D shot in the picture.
The Case Against 8 Sony F3 and the Canon 30-105 along with the Sony EX-3.
The Foxy Merkins Canon 7D with Zeiss Prime lenses
The Guest Arri Alexa
The Internet's Own Boy Sony F5, Canon 5D
The Overnighters Sony F3 with the Red 17-50 and the Fujinon 19-90.
The Skeleton Twins ARRI Alexa
The Sleepwalker ARRI Alexa, with Cooke 5/i lenses