# List of films shot on digital video prior to 2012

Starting in the 1990s, films had been shot on digital video and videotape rather than film stock. Some of them are independent, low-budget productions, while others are major studio productions. Since the mid-2010s, most films are captured and distributed digitally. Among the 200 highest grossing theatrically released films each year, a majority of films were shot on digital video for the first time in 2013, in 2014 over 80% were shot digitally, and by 2016 over 90% of films were shot digitally.

## Notable firsts

* First major studio film shot primarily on digital video: Star Wars: Episode II – Attack of the Clones (2002)
* First film shot digitally in Official Competition at Cannes Film Festival: Russian Ark (2002)
* First nominees for the Academy Award for Best Cinematography shot mainly on digital video: The Curious Case of Benjamin Button and Slumdog Millionaire (2008)
* First winner of the Academy Award for Best Cinematography shot mainly on digital video: Slumdog Millionaire (2008)
* First winner of the Academy Award for Best Cinematography shot entirely on digital video: Avatar (2009)
* First film shot with the Red One Camera: Che (2008)
* First film shot with the Red One MX, and first film projected in 4K theatrical distribution: The Social Network (2010)
* First film to be shot mainly with the Arri Alexa: Anonymous (2011)
* First film to be shot mainly with the Red Epic Dragon and in 6K resolution: Gone Girl (2014)
* First film shot mainly with the Arri Alexa 65: The Revenant (2015)
* First film shot mainly with digital IMAX cameras: Avengers: Infinity War (2018) and Avengers: Endgame (2019)
* First film shot mainly with the Red Weapon Vista Vision and in 8K resolution: Guardians of the Galaxy Vol. 2 (2017)

## List of films

The movies listed are shot mainly digitally. The list includes films released before 2012.
| 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 | 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 (film) | 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 | 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 | Fusion Camera System | | |
| 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 | Samantha 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 | | |
| 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-21 | | |
| 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 (Andromeda Modification) | | 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 | | |
| 2004 | Sky Captain and the World of Tomorrow | Eric Adkins | Sony CineAlta F900 | | |
| 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 | 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 | 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: 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 | 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 DSR-PD100Sony DVW-700 | | Used Digital Betacam for some scenes and the Sony DRV-100 for 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 | Bamboozled | Ellen Kuras | Sony DCR-VX1000 | | Some scenes shot in 16mm |
| 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 (Telluride Film Festival) |
| 2000 | Ivans Xtc | Bernard Rose | Sony HDW-700A | | Premiered September 12, 2000 (Toronto International Film Festival) |
| 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 |
| 1998 | Love & Pop | Takahide Shibanushi | | | The film was shot almost entirely on handheld digital cameras |
| 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 | Festen | Thomas Vinterberg | Sony DCR-PC3 | | |
| 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 |