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How’d They Shoot That? Here’s the Cameras Used By the 2014 Sundance Filmmakers

How'd They Shoot That? Here's the Cameras Used By the 2014 Sundance Filmmakers

In advance of this year’s Sundance Film Festival, we sent out questionnaires to directors and cinematographers with films in competition at Sundance 2014 asking them a variety of questions, including which cameras they used to shoot their respective films (in some cases, they used several). You’ll find their responses below, along with information about lenses used whenever specified.

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:

Alive Inside: A Story of Music & Memory Panasonic
HVX200, with Letus 35mm adaptor, and then the Panasonic AF100. Canon 7D, Canon T2I, Canon C300. EF Canon lenses,
ranging from the 16-35mm f/2.8, to the 24-70mm f/2.8, and the 75-300mm
f/4-5.6, and a few old Nikon prime lenses.

All the Beautiful Things Penelope 35mm

Appropriate Behavior Red Scarlett, u2028

Camp X-Ray
 ARRI Alexa, with Ziess Ultra Primes and Alura Zooms

CAPTIVATED The Trials of Pamela Smart 16mm, Super 8, Red, 5D, 7D

Cesar’s Last Fast Betacam, Panavision
Genesis, Canon C300 & 5D; ARRI Alexa & Canon C300 & Super
8mm; Arri 416 & Panavision Genesis; ARRI Alexa; Arri Super16 SR3;
35mm Panavision

Cold in July Two Epics, one set of Cooke s4s and an Angenieux 24-290

Cooties  ARRI Alexa with Master Primes

Dead Snow: Red vs Dead Red Epic

Dear White People Epic X Cooke 18 – 100 Cooke S4 set

ARRI Alexa and old Cooke Speed Pancros.

Dinosaur 13 5D, 7D

Drunktown’s Finest
Alexa, Red Epic, Canon 5D and 7D, Go-Pro, and one iPhone

E-Team Canon 5D Mark II & III and Canon C300, with a range of Canon L series lenses (standards 24-105,
70-200, 24 1:4mm, 16-35)

Fed Up 5D with Zeiss Prime lenses, Sony F3

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

Read More: Sundance Cinematographers on the Best and Worst Advice They Received

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

What We Do in the Shadows  Two RED Epics

Whiplash Alexa

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