| Year | Title | Cinematographer | Camera type | Lens type | Notes |
| 2011 | Setup | Mike Gunther | Red One | | |
| 2011 | Catch.44 | Aaron Harvey | Red One MX | Hawk V-Lite
V-Plus Lenses | |
| 2011 | Albert Nobbs | Michael McDonough | Red One MX | | |
| 2011 | Extremely Loud and Incredibly Close | Chris Menges | Arri Alexa | | |
| 2011 | 11-11-11 | Joseph White | Arri Alexa | | |
| 2011 | The Wholly Family | Nicola Pecorini | Arri Alexa | | |
| 2011 | Once Upon a Time in Anatolia | Gökhan Tiryaki | Sony CineAlta F35 | | |
| 2011 | Wild Bill | George Richmond | Arri Alexa | | |
| 2011 | Twixt | Mihai Mălaimare Jr. | Sony HDW-F900 | | Also shot using Red digital cameras |
| 2011 | This Is 40 | Phedon Papamichael | Arri Alexa | | |
| 2011 | The Girl With the Dragon Tattoo | Jeff Cronenweth | Red One MX, Red Epic MX | Zeiss Master Prime | Red Epic was used to shoot scenes in both the US and Sweden. The film was also the first to employ a workflow higher than 4K resolution from production to presentation. |
| 2011 | The Darkest Hour | Scott Kevan | Sony CineAlta F35 | | |
| 2011 | Final Destination 5 | Brian Pearson | Arri Alexa | | |
| 2011 | Young Adult | Eric Steelberg | Arri Alexa | | |
| 2011 | The Muppets | Don Burgess | Red One MX, Red Epic MX | Zeiss Ultra Prime | |
| 2011 | Hugo | Robert Richardson | Arri Alexa | | Winner of the 2011 Academy Award for Best Cinematography |
| 2011 | Immortals | Brendan Galvin | Panavision Genesis | | |
| 2011 | Jack and Jill | Dean Cundey | Arri Alexa | Cooke S4 | |
| 2011 | A Very Harold & Kumar 3D Christmas | Michael Barrett | Panavision Genesis | | |
| 2011 | The Three Musketeers | Glen MacPherson | Arri Alexa | | |
| 2011 | Vicky and the Treasure of the Gods | Christian Rein | Arri Alexa | | |
| 2011 | Rampart | Bobby Bukowski | Arri Alexa | | |
| 2011 | Killer Joe | Caleb Deschanel | Arri Alexa | | |
| 2011 | Headshot | Chankit Chamnivikaipong | Red One MX | | |
| 2011 | Dolphin Tale | Karl Walter Lindenlaub | Red One MX | | |
| 2011 | Our Idiot Brother | Yaron Orbach | Red One MX | | |
| 2011 | Anonymous | Anna Foerster | Arri Alexa | | The first feature-length film to be shot with Alexa |
| 2011 | Contagion | Steven Soderbergh | Red One MX | Red Pro Prime | |
| 2011 | Margin Call | Frank DeMarco | Red One MX | | |
| 2011 | The Inbetweeners Movie | Ben Wheeler | Arri Alexa | | |
| 2011 | The Devil's Double | Sam McCurdy | Red One MX | | |
| 2011 | Drive | Newton Thomas Sigel | Arri Alexa | | |
| 2011 | In Time | Roger Deakins | Arri Alexa | | |
| 2011 | Captain America: The First Avenger | Shelly Johnson | Panavision Genesis | | Underwater sequences and epilogue shot with Arri Alexa |
| 2011 | Zookeeper | Michael Barrett | Panavision Genesis | | |
| 2011 | Horrible Bosses | David Hennings | Panavision Genesis | | |
| 2011 | Bucky Larson: Born to Be a Star | Michael Barrett | Panavision Genesis | | |
| 2011 | Bellflower | Joel Hodge | Custom based on Silicon Imaging SI-2K | | |
| 2011 | Melancholia | Manuel Alberto Claro | Arri Alexa | | Phantom HD Camera used for high-speed photography |
| 2011 | Mr. Popper's Penguins | Florian Ballhaus | Arri Alexa | | |
| 2011 | Transformers: Dark of the Moon | Amir Mokri | Sony CineAlta F35 | | Most non-action scenes/close-ups shot with 35mm film |
| 2011 | Return of the Moonwalker | Mike Maria | Red Epic MX | | |
| 2011 | Pina | Hélène Louvart
Jörg Widmer | Sony HDC-1500 | | |
| 2011 | Pirates of the Caribbean: On Stranger Tides | Dariusz Wolski | Red One MX | | |
| 2011 | Prom | Byron Shah | Arri Alexa | | |
| 2011 | TT3D: Closer to the Edge | Thomas Kürzl | Red One MX | | |
| 2011 | The Lincoln Lawyer | Lukas Ettlin | Red One MX | | |
| 2011 | Shark Night 3D | Gary Capo | Fusion Camera System, Sony CineAlta F35 | | |
| 2011 | Sanctum | Jules O'Loughlin | Fusion Camera System | | |
| 2011 | Drive Angry | Brian Pearson | Red One MX, Silicon Imaging SI-2K | | |
| 2011 | Cedar Rapids | Chuy Chávez | Arriflex D-21 | | |
| 2011 | Like Crazy | John Guleserian | Canon EOS 7D | | |
| 2011 | The Future | Nikolai von Graevenitz | Red One M | | |
| 2011 | Sick Boy | Sean C. Cunningham | Canon EOS 7D | | Canon EOS L-Series lenses, StickyPod, Redrock Micro "Captain Stubling" rig and Lensbaby Muse |
| 2011 | Sound of My Voice | Rachel Morrison | Canon EOS 7D | | |
| 2010 | Tron: Legacy | Claudio Miranda | Sony CineAlta F35 | | Phantom HD Camera used for high-speed photography |
| 2010 | Blue Valentine | Andrij Parekh | Red One M | Cooke S4 | Present-day scenes shot on Red, flashback scenes shot on 16mm |
| 2010 | Red State | David Klein | Red One MX, Canon EOS 7D | | Canon 7D used only for 'running with camera' shots |
| 2010 | Winter's Bone | Michael McDonough | Red One M | Zeiss Master Prime | |
| 2010 | Sarah's Key | Pascal Ridao | Red One M | Cooke S4 | |
| 2010 | Jackass 3D | Dimitry Elyashkevich | Red One M | | |
| 2010 | Hubble 3D | James Neihouse | IMAX Cargo Bay 3-D Camera | | |
| 2010 | The Devil's Rock | Paul Campion | Red One M | | |
| 2010 | Fair Game | Doug Liman | Red One M | | |
| 2010 | Resident Evil: Afterlife | Glen MacPherson | Fusion Camera System | | |
| 2010 | The Social Network | Jeff Cronenweth | Red One MX | Zeiss Master Prime | First film to feature a 2K pipeline, from production to presentation. |
| 2010 | 127 Hours | Anthony Dod Mantle
Enrique Chediak | Canon EOS 5D Mark II, Canon EOS 7D, Silicon Imaging SI-2K | | |
| 2010 | Machete | Jimmy Lindsey | Panavision Genesis | | |
| 2010 | Certified Copy | Luca Bigazzi | Red One M | | |
| 2010 | Casino Jack | Adam Swica | Red One M | | |
| 2010 | Date Night | Dean Semler | Panavision Genesis | | |
| 2010 | The Chronicles of Narnia: The Voyage of the Dawn Treader | Dante Spinotti | Sony CineAlta F23 | | |
| 2010 | Rosario | Carlo Mendoza | Arri Alexa | | First Filipino film to be shot with the Arri Alexa |
| 2010 | Yogi Bear | Peter James | Fusion Camera System | | |
| 2010 | Step Up 3D | Ken Seng | Fusion Camera System | | |
| 2010 | Death at a Funeral | Rogier Stoffers | Panavision Genesis | | |
| 2010 | Film Socialisme | Fabrice Aragno
Paul Grivas | Sony PMW-EX1, Sony HDR-TG1E, JVC Everio, Canon EOS 5D Mark II, Samsung NV24HD, Archos 404 Camcorder | | |
| 2010 | Killers | Russell Carpenter | Arriflex D-21 | | |
| 2010 | Grown Ups | Theo van de Sande | Panavision Genesis | | |
| 2010 | Rabbit Hole | Frank G. DeMarco | Red One M | | |
| 2010 | Rubber | Quentin Dupieux | Canon EOS 5D Mark II | | |
| 2010 | Twelve | Steven Fierberg | Red One M | | |
| 2009 | Avatar | Mauro Fiore | Fusion Camera System | Fujinon 6.3-101mm T2 and 7-35mm T1.8 | First 100% digitally photographed film to win the Academy Award for Best Cinematography |
| 2009 | The Informant! | Steven Soderbergh | Red One M | Red Pro prime | |
| 2009 | Survival of the Dead | Adam Swica | Red One M | | |
| 2009 | Youth in Revolt | Chuy Chávez | Sony CineAlta F35 | | |
| 2009 | The Box | Steven Poster | Panavision Genesis | | |
| 2009 | Zombieland | Michael Bonvillain | Panavision Genesis | | |
| 2009 | The Final Destination | Glen MacPherson | Sony CineAlta F23, Sony HDC-F950 | | |
| 2009 | District 9 | Trent Opaloch | Red One M | | |
| 2009 | The Secret in Their Eyes | Félix Monti | Red One M | | |
| 2009 | Valhalla Rising | Morten Søborg | Red One M | | |
| 2009 | Public Enemies | Dante Spinotti | Sony CineAlta F23 | | Some car interiors during chases shot on Sony XDCAM EX-1 |
| 2009 | The Girlfriend Experience | Steven Soderbergh | Red One M | Panavision C-series anamorphic | |
| 2009 | Gamer | Ekkehart Pollack | Red One M | | |
| 2009 | Oxhide II | Liu Jiayin | Sony Digital Betacam | | |
| 2009 | Antichrist | Anthony Dod Mantle | Red One M | | Phantom HD Camera used for high-speed photography |
| 2009 | S. Darko | Chris Fisher | Red One M | | |
| 2009 | Surviving Evil | Mike Downie | Thomson Viper | | |
| 2009 | Tetro | Mihai Mălaimare Jr. | Sony CineAlta F900 | | |
| 2009 | Crank: High Voltage | Brandon Trost | Canon XH-A1 | | Fifteen Canon HF10 were used as Crash-Cams |
| 2009 | The Book of Eli | Don Burgess | Red One M | Panavision Primo | |
| 2009 | Knowing | Simon Duggan | Red One M | | |
| 2009 | Achchamundu! Achchamundu! | Arthur Wilson | Red One M | | |
| 2009 | Like You Know It All | Kim Hoon-kwang | Sony PMW-EX1 | | |
| 2009 | My Bloody Valentine 3D | Brian Pearson | Red One M, Silicon Imaging SI-2K | | |
| 2009 | Leaves of Grass | Roberto Schaefer | Red One M | | |
| 2009 | Neighbor | Marc Jeff Schirmer | Red One M | | |
| 2008 | The Spirit | Bill Pope | Panavision Genesis | | Phantom HD Camera used for high-speed photography |
| 2008 | The Curious Case of Benjamin Button | Claudio Miranda | Thomson Viper | Zeiss DigiPrime | Among the first two predominantly digitally photographed films, along with Slumdog Millionaire, to be nominated for the Academy Award for Best Cinematography |
| 2008 | Slumdog Millionaire | Anthony Dod Mantle | Silicon Imaging SI-2K | | The first predominantly digitally photographed film to win the Academy Award for Best Cinematography. Shot on multiple formats, including 35mm and digital stills. |
| 2008 | Rachel Getting Married | Declan Quinn | Sony CineAlta F23 | | |
| 2008 | You Don't Mess With The Zohan | Michael Barrett | Panavision Genesis | | |
| 2008 | Chemical Wedding | Brian Herlihy | Thomson Viper | | |
| 2008 | Che: Part Two | Steven Soderbergh | Red One M | Red Pro prime | |
| 2008 | Che: Part One | Steven Soderbergh | Red One M | Red Pro prime | The first feature-length film shot with Red One cameras |
| 2008 | Get Smart | Dean Semler | Panavision Genesis | | |
| 2008 | Speed Racer | David Tattersall | Sony CineAlta F23 | Zeiss DigiPrime | |
| 2008 | Three Monkeys | Gökhan Tiryaki | Sony CineAlta F900 | | |
| 2008 | Deception | Dante Spinotti | Panavision Genesis | | |
| 2008 | 21 | Russell Carpenter | Panavision Genesis | | |
| 2008 | Journey to the Center of the Earth | Chuck Shuman | Fusion Camera System | | |
| 2008 | Cloverfield | Michael Bonvillain | Sony CineAlta F23 | | Segments, other shots include the Panasonic HVX-200, as well as the Thomson Viper |
| 2008 | RocknRolla | David Higgs | Arriflex D-20 | | |
| 2008 | The Bank Job | Michael Coulter | Arriflex D-21 | | |
| 2007 | Before the Devil Knows You're Dead | Ron Fortunato | Panavision Genesis | | |
| 2007 | Reign Over Me | Russ Alsobrook | Panavision Genesis | | |
| 2007 | Youth Without Youth | Mihai Mălaimare Jr. | Sony CineAlta F900 | | |
| 2007 | Zodiac | Harris Savides | Thomson Viper | Zeiss DigiPrime | |
| 2007 | Balls of Fury | Thomas E. Ackerman | Panavision Genesis | | |
| 2007 | Walk Hard: The Dewey Cox Story | Uta Briesewitz | Panavision Genesis | | |
| 2007 | Superbad | Russ Alsobrook | Panavision Genesis | | |
| 2007 | I Now Pronounce You Chuck and Larry | Dean Semler | Panavision Genesis | | |
| 2007 | Next | David Tattersall | Panavision Genesis | | |
| 2007 | Chronicle of Purgatory: The Waiter | Jason Konopisos | Panasonic AG-DVX100 | | The Andromeda Modification bypasses the DV compression to get uncompressed 4:4:4 10-bit RGB data straight from the CCD block |
| 2007 | Planet Terror | Robert Rodriguez | Panavision Genesis | | |
| 2006 | Apocalypto | Dean Semler | Panavision Genesis | | |
| 2006 | Once | Tim Fleming | Sony HVR-Z1 | | |
| 2006 | Inland Empire | David Lynch | Sony DSR-PD150 | | |
| 2006 | Miami Vice | Dion Beebe | Thomson Viper | | |
| 2006 | Superman Returns | Newton Thomas Sigel | Panavision Genesis | | |
| 2006 | Borat | Anthony Hardwick
Luke Geissbühler | Panasonic AJ-HDC27 Varicam | | Shot with two VariCams with occasional use of a Panasonic AG-DVX100 |
| 2006 | Click | Dean Semler | Panavision Genesis | | |
| 2006 | Climates | Gökhan Tiryaki | Sony CineAlta F900 | | |
| 2006 | Colossal Youth | Pedro Costa
Leonardo Simões | Panasonic AG-DVX100 | | |
| 2006 | Crank | Adam Biddle | Sony CineAlta F950 | | Some scenes shot with Canon XL-2 |
| 2006 | Flyboys | Henry Braham | Panavision Genesis | | |
| 2006 | Them (Ils) | David Moreau
Xavier Palud | Panasonic AG-DVX100 | | |
| 2006 | Still Life | Zhangke Jia | Sony HVR-Z1 | | |
| 2005 | Me and You and Everyone We Know | Chuy Chávez | Sony CineAlta F900 | | |
| 2005 | Il vento fa il suo giro | Roberto Cimatti | Panasonic AG-DVX100 | | |
| 2005 | Star Wars: Episode III – Revenge of the Sith | David Tattersall | Sony CineAlta F950 | | |
| 2005 | The Adventures of Sharkboy and Lavagirl in 3-D | Robert Rodriguez | Sony CineAlta F950 | | |
| 2005 | Bubble | Steven Soderbergh | Sony CineAlta F900/F950 | | |
| 2005 | Manderlay | Anthony Dod Mantle | Sony CineAlta F900 | | Some scenes shot with Sony DSR-PD100 |
| 2005 | Sin City | Robert Rodriguez | Sony CineAlta F950 | | |
| 2005 | Oxhide | Liu Jiayin | Sony Digital Betacam | | |
| 2005 | The Puffy Chair | Jay Duplass | Panasonic AG-DVX100 | | |
| 2004 | Sky Captain and the World of Tomorrow | Eric Adkins | Sony CineAlta F900 | | |
| 2004 | A Hole in My Heart | Malin Fornander
Jesper Kurlandsky Lukas Moodysson
Karl Strandlind | | | Shot digitally using DVCAM cameras, later transferred to 35mm for theatrical distribution |
| 2004 | Collateral | Paul Cameron
Dion Beebe | Sony CineAlta F900, Thomson Viper | | 35mm used for some scenes |
| 2004 | Land of Plenty | Franz Lustig | Panasonic AG-DVX100 | | |
| 2004 | The World | Yu Lik-wai | Sony CineAlta F900 | | |
| 2003 | The Ghouls | Nicholas Loizides | Canon XL-1s | | |
| 2003 | Dogville | Anthony Dod Mantle | Sony CineAlta F900 | | Some scenes shot with Sony DSR-PD100 |
| 2003 | Spy Kids 3-D: Game Over | Robert Rodriguez | Sony CineAlta F900 | | |
| 2003 | Once Upon A Time in Mexico | Robert Rodriguez | Sony CineAlta F900 | | Was filmed in 2001 but released theatrically in 2003 |
| 2003 | Red Cockroaches | Miguel Coyula | Canon GL1 | | |
| 2003 | Pieces of April | Tami Reiker | Sony DSR-PD150 | | Filmed in 2002 and released in 2003 |
| 2003 | Virgin | Benjamin Wolf | Sony DSR-PD150 | | Shot in 2002 and released in 2003 |
| 2002 | Unknown Pleasures | Yu Lik-wai | Sony DSR-PD150 | | Other scenes shot in Digital Betacam |
| 2002 | Spy Kids 2: The Island of Lost Dreams | Robert Rodriguez | Sony CineAlta F900 | | |
| 2002 | Russian Ark | Tilman Büttner | Sony CineAlta F900 | Canon ENG | |
| 2002 | Star Wars: Episode II – Attack of the Clones | David Tattersall | Sony CineAlta F900 | | Cited by the British Film Institute as "the first digitally shot blockbuster to hit cinemas." |
| 2002 | 9 Songs | Marcel Zyskind | Panasonic AG-DVX100 | | Other scenes shot with Sony DSR-PD150 |
| 2002 | Full Frontal | Steven Soderbergh | Canon XL-1s | | |
| 2002 | Personal Velocity: Three Portraits | Ellen Kuras | Sony DSR-PD150 | | |
| 2002 | Tadpole | Hubert Taczanowski | Sony DSR-PD150 | | Shot with three digital cameras |
| 2002 | 24 Hour Party People | Robby Muller | Sony DSR-PD150 | | |
| 2002 | 28 Days Later | Anthony Dod Mantle | Canon XL-1s | | Some shots in 35mm |
| 2001 | Things Behind the Sun | Terry Stacey | Sony DSR-500 | | |
| 2001 | Xuxa e os Duendes | Cezar Moraes | Sony CineAlta F900 | | |
| 2001 | All About Lily Chou-Chou | Noboru Shinoda | Sony CineAlta F900 | | |
| 2001 | The Anniversary Party | John Bailey | Sony DSR-500 | | |
| 2001 | By Hook or By Crook | Ann T. Rossetti | Sony vx2000 | | |
| 2001 | The King Is Alive | Jens Schlosser | Sony DSR-PD150 | | |
| 2001 | The Center of the World | The Chau Ngo | Sony DVW-700, Sony DSR-PD100 | | Used Digital Betacam for some scenes and the Sony DRV-100for others |
| 2001 | The Wager | Arnar Thor Thorisson | Sony CineAlta F900 | | Shot in 2001, released in 2004 |
| 2001 | Vidocq | Jean-Pierre Sauvaire
Jean-Claude Thibaut | Sony HDW-F900 CineAlta | | |
| 2001 | You Got Nothin' | Cliff Hsui
Jonathan Zames | Sony HDW-F900 CineAlta | | Shot in 2001, released in 2002. |
| 2001 | Xtracurricular | J.P. Lipa | Sony HDW-F900 CineAlta | | Some scenes shot on Panasonic AJ-HDC27 Varicam and Sony DSR-500WS. Shot in 2001, released in 2003 |
| 2001 | Tortilla Soup | Xavier Pérez Grobet | Panasonic AJ-HDC27 Varicam | | Home video release from 35mm Interpostive |
| 2000 | Italian for Beginners | Jørgen Johansson | Sony DVW-700WS | | |
| 2000 | Bamboozled | Ellen Kuras | Sony DCR-VX1000 | | Some scenes shot in 16mm |
| 2000 | Fuckland | José Luis Márques | Sony DCR-TRV900 | | |
| 2000 | Chuck & Buck | Chuy Chávez | Sony DCR-VX1000 | | |
| 2000 | Dancer in the Dark | Robby Müller | Sony DXC-D30WS | | Musical numbers shot with 100 Sony DSR-PD100s |
| 2000 | Our Lady of the Assassins | Barbet Schroeder | Sony HDW-700 | | Premiered September 1, 2000 |
| 2000 | Ivans Xtc | Bernard Rose | Sony HDW-700A | | Premiered September 12, 2000 |
| 2000 | Everything Put Together | Roberto Schaefer | Sony DCR-VX1000 | | Shot entirely on HD in the summer of 1999, premiered in 2000 |
| 1999 | Solid Ones | Matthew W. David | Sony HDW-700A | | Shot entirely on HD in the summer of 1999, premiered in 2000 |
| 1999 | God Wears My Underwear | Leslie Streit | Canon XL-1 | Canon EOS zoom | Shot in 1999, released in 2005 |
| 1999 | The New Women | Larra Anderson | Canon XL-1 | Canon EOS zoom | Shot in 1999, released in 2001 |
| 1999 | Julien Donkey-Boy | Anthony Dod Mantle | Canon XL-1 | | Shot with a Canon XL-1 on MiniDV tape, then transferred to 16mm film and blown up to 35mm film for master print |
| 1998 | Love & Pop | Takahide Shibanushi | Sony DCR-VX1000 | | The film was shot almost entirely on handheld digital cameras. Specified as a Sony DCR-VX1000 camera. |
| 1998 | The Last Broadcast | Lance Weiler | Sony DCR-VX1000 | | For some sequences a toy video camera from Tyco was used |
| 1998 | The Book of Life | Jim Denault | Sony DCR-VX1000 | | |
| 1998 | The Celebration | Anthony Dod Mantle | Sony DCR-PC3 | | |
| 1997 | The Idiots | Lars von Trier | Sony DCR-VX1000 | | |
| 1997 | Hope | Pete Anderson | Canon GL1 | | |
| 1996 | Windhorse | Steve Schecter | Sony DVW-700WS
Sony DCR-VX1000 | | Premiered 1998 at the Santa Barbara Film Festival |
| 1996 | The Demons in My Head | Grant Hoy | Sony DVW-700WS | | Premiered 15 June 1997 at the Sanctuary Cove Village Theater, Queensland, Australia. Also first feature film to be online edited in a computer and projected digitally |