ARRI 765

Title	Released	Cinema	Notes

BMW 850i (S)	1989		German. Commercial
Far and Away	22.05.1992	Ziegfeld, NYC, USA	The ARRI 765 was used for short segments
Jesus was his Name (S)	1992		30 frames per second
Little Buddha (P)	1993		Only parts in 65mm
Tour Eiffel (S)	1994		German
Hamlet	22.12.1996	Ziegfeld, NYC, USA	The ARRI 765 was used for short segments
Pic du Midi (S)	1996		French. Made for Futuroscope
The Witness (S)	1999	CT, USA	Some parts filmed in Super Panavision 70
100% (S)	1999
Testaments (S)	2000	Salt Lake City, USA	Some parts filmed in Super Panavision 70
As Good as it Gets (S)	2006	7. November 2006, James Bridges Theatre, Los Angeles, USA	70mm demonstration film
Elements, part 1: The Air Over Bernina	2008		German short film
The International	2008		Less than 5 minutes in the final film was photographed with ARRI 765
Several short demonstration films for Venice film festival	2008
Nanga Parbat	2010
Shutter Island	2010		Short sequences filemd in Panavision PFX System 65 & Arri 765 From American Cinematographer: In prep, the filmmakers tested various methods of further enhancing the hyper-real look of Teddy’s visions; 65mm, anamorphic 35mm and high-definition video were all considered as mates for the project’s main format, Super 35mm. “The goal was to capture as much detail as possible for the DI suite,” says Richardson. “There weren’t as many differences among the filmouts as you might expect — the DI was the great equalizer — but 65mm had a definitive edge. We could wrestle with it in the digital world without the normal side effects encountered with a smaller negative. After he saw the tests, Marty agreed to shoot Teddy’s dream states on 65mm.” Unfortunately, after filming one day with a Panavision PFX System 65 Studio and an Arri 765, both cameras broke down on a frigid night. “Only a few of those shots remain,” says Richardson. (Ed. Note: These can be seen in a dream sequence that shows Teddy in Dachau in civilian clothes.)
Unknown	18.02.2011		Arri 765 for some scenes most of the film is Super 35