I think ALEXA is the best system out there, with different camera models and recording options to choose from, all offering – to my eye – the highest image quality.

With 12 Oscar nominations under his belt, Roger Deakins’ impressive filmography includes such titles as SKYFALL, UNBROKEN and SICARIO, all of which were captured with ALEXA. Deakins made his switch to ALEXA with the 2011 movie IN TIME and it remains his camera of choice. “It was the first digital camera I had seen where I thought the technology had crossed the knife edge and taken us into a new world.”

The ALEXA camera system allowed us to shoot with very low light levels and make the movie even more immersive.

Emmanuel “Chivo” Lubezki is known for his groundbreaking technical achievements in filmmaking. Among his many accolades are five ASC Awards, four BAFTAs and an astonishing three consecutive Best Cinematography Oscars for BIRDMAN, GRAVITY and THE REVENANT, all of which were captured in ARRIRAW with ALEXA and utilized ARRI lenses.

No matter what happens with digital cinema, ALEXA is the camera I can rely on…I like ARRIRAW as it gives me the greatest range and the most possibility to achieve the look i want.

Award-winning cinematographer Phedon Papamichael has shot over 40 films, relying on ALEXA for titles such as NEBRASKA, THE HUNTSMAN: WINTER’S WAR and THIS IS 40. In THE MONUMENTS MEN, he switched between 35 mm with an ARRICAM and digital with ALEXA, as well as between anamorphic and sperical lenses. The end result was, in his own words, “a very smooth combination of all those optical elements.”

The ARRIRAW images from the ALEXA were clean, rich in detail and highly pliable in the VFX environment; essential for what we needed on GRAVITY.

Tim Webber has received many awards for his work in visual effects, including four Emmys and the 2014 Best VFX Oscar for GRAVITY. Initially, the objective of the filmmakers was to find a camera that behaved well under a variety of light sources. ALEXA was selected because of its sensitivity to low light, as the camera would be required to capture clean images in an LED-illuminated lightbox, which had less power than traditional lighting.

I think ARRI cameras are the best in the world at the moment to capture skin tones.

German-born cinematographer Friede Clausz has won prizes at various prestigous film festivals for works including the movie LOS ANGELES. Additionally, he has received the LA Muse Award at the LA Film Fest, the First Steps Award and Best Debut Feature at the Guadalajara International Film Festival. His latest film, 24 WEEKS, was nominated for the Berlinale’s top prize, the Golden Bear.

I did a test with lots of different cameras…we finally settled on ALEXA and ProRes, as this is the best combination of image quality and smaller file size.

South Korean cinematographer Chun-Seok Kim opted to capture with ALEXA for a cinematic look on the television productions THAT WINTER, THE WIND BLOWS and DESCENDANTS OF THE SUN, which garnered him national acclaim and a series of awards. “ALEXA is like my own vision… it is the only camera that matches my vision,” notes Kim. “I understand ALEXA and she understands me.”