SXSW (South by Southwest) has never operated within the traditional festival model. It doesn’t compete with the high-gloss of Cannes, the prestige of the Oscars, or the industry-fueled marketplace of Sundance. Instead, SXSW functions as a convergence zone—where tech, music, and media intersect with bold independent cinema. It’s where new directors, genre disruptors, and risk-taking creators bring their work to a deeply engaged audience that values originality over convention. The festival is often a testing ground for new narrative voices and experimental production strategies, which makes it particularly valuable when analyzing cinematographic choices. Here, filmmakers often operate outside studio systems and are free to choose their gear based on function, aesthetics, and necessity—not industry pressure or legacy optics. To accurately analyze what cameras powered SXSW 2025, we rely on data from IndieWire’s indispensable annual camera survey, which has become the most comprehensive look into production technology trends at major festivals. Their work in compiling and confirming camera choices for all 45 features screened at SXSW this year is a crucial service to the film community, and this article would not be possible without IndieWire’s data. Full credit is due to their detailed reporting, which you can access directly here. With that foundation, let’s examine the real story behind the gear used at SXSW 2025—what cameras led the field, what that tells us about the current state of independent production, and what trends are emerging from one of the most unpredictable festivals in North America.

ALEXA 35 Sets the Standard

At the 2025 edition of SXSW, the ARRI ALEXA 35 emerged as the overwhelmingly dominant camera system, used in more than half of all feature-length productions screened at the festival. Out of 45 films, 24 were shot on theALEXA 35, confirming its current status as the go-to digital cinema camera for independent filmmakers seeking high-end image quality and reliability. This number is significant not only for its majority share but also for what it suggests about the direction of indie film production: the ALEXA 35 has effectively replaced the ARRI ALEXA Mini as the most trusted tool in this segment. The ALEXA Mini, once a mainstay at festivals like SXSW and Sundance, was only used in 4 features this year—down from previous years where it often led the charts.

Camera Breakdown at SXSW 2025

A total of over 20 camera models were used across the 45 features. Here’s the full breakdown:

1. “$POSITIONS”: DP: Drew Angle. Camera: ARRI Amira. Lenses: Angenieux 30 – 80mm Optimo Cooke S4i
2. “40 Acres”: DP: Jeremy Benning, ASC, CSC. Camera: ARRI ALEXA 35. Lenses: Master Built Primes
3. “The Accountant 2”: DP: Seamus McGarvey, ASC, BSC. Camera: ARRI ALEXA 35. Lenses: Cooke Speed Panchro Primes 18, 25, 35, 75, 100, 150mm, Nikkor 200mm,
4. 300mm, Cooke 18-100mm Zoom, Cooke 25-250mm Zoom. Canon 50mm T .95 Dream. Lens
5. “American Sweatshop”: DP: Joerg Widmer. Camera: RED V-Raptor [X]. Lenses: Zeiss Supremes and Angenieux EAZY Zooms
6. “Ash”: DP: Richard Bluck, NZCS. Camera: ARRI ALEXA 35. Lenses: Atlas Orion Silver Anamorphic Primes
7. “The Astronaut”: DP: Dave Garbett. Camera: ARRI ALEXA 35. Lenses: Panavision G-series Anamorphic
8. “The Baltimorons”: DP: Jon Bregel. Camera: Sony FX6. Lenses: Sony 28-135mm F4 G OSS
9. “Bunny”: DP: Jackson Hunt. Camera: Sony FX3. Lenses: Canon K35
10. “Caper”: DP: Andrew Pulaski. Camera: ARRI ALEXA 35. Lenses: Cooke Panchro S2
11. “Cotton Candy Bubble Gum”: DP: J Pinder. Camera: RED Komodo. Lenses: Tokina Cinema Vista Primes (25mm & 40mm) & Zeiss Superspeeds
12. “Death of a Unicorn”: DP: Larry Fong, ASC. Camera: ARRI ALEXA 35. Lenses: Zeiss Master Anamorphics
13. “Descendent”: DP: Alexander Chinnici. Camera: ARRI ALEXA 35. Lenses: TLS Canon Rangefinder (OFG) & Lensbaby Tilt Shift lens
14. “Drop”: DP: Marc Spicer, ACS. Camera: ARRI ALEXA 35. Lenses: Atlas Orion Anamorphic
15. “Fantasy Life”: DP: Conor Murphy. Camera: ARRI ALEXA Mini LF. Lenses: Panavision H Series
16. “Forge”: DP: Leo Purman. Camera: Sony VENICE. Lenses: Canon K35’s, Canon FD 50-300mm Zoom
17. “Friendship”: DP: Andy Rydzewski: Camera: ARRI ALEXA Mini. Lenses: Angenieux Optimo 24-290 & 28-76, some Zeiss Master Primes
18. “Fucktoys”: DP: Cory Fraiman Lott. Camera: ARRI SR3. Lenses: Hawk V-Lite 16 Anamorphics, Canon 8 – 64mm S16 Zoom
19. “Good Boy”: DP: Ben Leonberg. Camera: RED Dragon-X. Lenses: Nikon AIS
20. “Hallow Road”: DP: Kit Fraser. Camera: ARRI 416, Sony VENICE 2. Lenses: Zeiss Supreme Primes and Zeiss Ultra 16 Primes
21. “Holland”: DP: Pawel Pogorzelski. Camera: ARRI ALEXA 35. Lenses: Ben Hur Prism from Panavision
22. “The Home”: DP: Malin LQ. Camera: ARRI ALEXA 35. Lenses: Angenieux Optimo 24-290mm, Fujinon 18-85mm and Zeiss High Speeds.
23. “I Really Love My Husband”: DP: Ryan Thomas. Camera: ARRI ALEXA 35. Lenses: Optimo DP Zooms and Optimo Primes
24. “Idiotka”: DP: Kristen “KII” Correll. Camera: ARRI ALEXA 35. Lenses: 16mm Format Super Speeds & Panavision VA Primes
25. “The Infinite Husk”: DP: Mitchel McKenzie. Camera: Sony A7rV. Lenses: G-Master primes
26. “LifeHack”: DP: Ciaron Craig. Camera: iPhone 12Pro. Lenses: Stock + C-Mount Kowa s16
27. “Magic Hour”: DP: Sarah Whelden. Camera: ARRI ALEXA 35, iPhone. Lenses: Atlas Orion Anamorphics & Sirius Lenses
28. “Mermaid”: DP: Joel Lavold. Camera: ARRI ALEXA Mini. Lenses: ARRI Master Anamorphics
29. “My Uncle Jens”: DP: Jørgen Klüver. Camera: ARRI ALEXA Mini. Lenses: ARRI Master Primes
30. “New Jack Fury”: DP: Jonathan Rigattieri. Camera: Sony FX3. Lenses: Sony FE 24-70mm F2.8 GMaster
31. “Nirvana The Band The Show The Movie”: DP: Jared Raab. Camera: Sony PXW-Z280, Panasonic HVX, Bolex Rex5. Lenses: Mostly the fixed Sony Zoom on the Z-280!
32. “O’dessa”: DP: Rina Yang, BSC: Camera: ARRI ALEXA 35. Lenses: Panavision E & B series, USZ, and Tribe7 BlackWing
33. “Odyssey”: DP: Korsshan Schlauer. Camera: ARRI ALEXA 35. Lenses: Todd-AO Anamorphic 35mm, 55mm, 75mm 100mm & Cineovision 25mm Anamorphic
34. “One More Shot”: DP: Simon Ozolins. Camera: ARRI ALEXA 35. Lenses: Cooke Anamorphic
35. “Outerlands”: DP: Lucia Zavarcikova. Camera: Sony VENICE. Lenses: GL Optics Canon FDs
36. “Reeling”: DP: Rafael Levya. Camera: ARRIFLEX 235, ARRI ALEXA 35. Lenses: Cooke S4’s
37. “Satisfaction”: DP: Mate Herbai. Camera: ARRI ALEXA 35. Lenses: Cooke Panchro S2/S3, Cooke Anamorphic S35, ARRI Master Prime.
38. “She’s The He”: DP: Bethany Michalski. Camera: ARRI ALEXA Mini. Lenses: ARRI Ultra Primes
39. “Slanted”: DP: Ed Wu. Camera: ARRI ALEXA 35, RED Komodo. Lenses: Panavision PVintage Series
40. “Summer of ’69”: DP: Maria Rusche. Camera: ARRI ALEXA 35. Lenses: G Series
41. “Surviving Earth”: DP: Olan Collardy. Camera: ARRI ALEXA Mini LF. Lenses: Tribe7 BlackWings X-Tuned
42. “Sweetness”: DP: Mat Barkley. Camera: ARRI ALEXA 35. Lenses: Cooke Panchro’s
43. “The Threesome”: DP: Sing Howe Yam. Camera: ARRI ALEXA 35. Lenses: Modified Primo Primes and Primo Zooms
44. “Touch Me”: DP: Dustin Supencheck. Camera: ARRI ALEXA 35. Lenses: Zeiss Standard & Super Speed, Angenieux 24-290
45. “The True Beauty of Being Bitten by a Tick”: DP: Pete Ohs. Camera: Canon 5D Mark III. Lenses: Canon EF L-Series
46. “We Bury the Dead”: DP: Steven Annis. Camera: ARRI ALEXA 35. Lenses: Orion anamorphic

Explore the Camera Chart below (click the image for a full resolution view):

The Super 35 Statement

One of the most notable technical trends is the dominance of Super 35 sensors over full-frame. The ALEXA 35, a Super 35 camera, clearly led the field—contrary to the growing industry push for full-frame cinematography. This indicates a preference among SXSW filmmakers for more traditional, tighter depth-of-field control and classic framing, potentially linked to budget constraints, lens availability, and storytelling style. Super 35 may also align better with SXSW’s content tendencies—grounded, character-driven narratives where intimacy and precision matter more than format prestige.

Why the ALEXA 35?

ARRI’s ALEXA 35 has quickly become a production standard because of its combination of robust color science, dynamic range (17 stops), and flexible form factor. The camera’s new REVEAL color science and native 4.6K resolution provide the kind of organic digital image that closely mimics film, which remains a top priority for independent filmmakers looking to maximize aesthetic without compromising control. Its Super 35 sensor also means better compatibility with a vast range of cinema lenses without requiring expensive full-frame glass, making it both an artistic and economic choice.

The Supporting Cast

While the ALEXA 35 led the pack, other cameras were chosen for specific reasons—ranging from form factor to access and budget.

• ARRI ALEXA Mini: Though showing signs of being phased out, it remains a trusted B-camera or gimbal unit due to its compact build and proven ALEV III sensor.

• Sony VENICE: Used in 3 productions, this full-frame powerhouse remains relevant due to its dual base ISO, strong color fidelity, and superior codec (X-OCN). It appeals to higher-budget indies pushing for cinematic scale.

• ARRI ALEXA Mini LF: Selected in 2 features, likely for its full-frame image and compatibility with high-end ARRI workflows, though its heavier weight and higher cost limit widespread use.

• Sony FX3: A more affordable, compact mirrorless full-frame camera, chosen in 2 films, likely for its mobility, low-light capability, and minimal crew requirements. Often used in run-and-gun scenarios or docu-style narratives.

• RED Komodo: A lightweight 6K Super 35 camera known for modularity and REDCODE RAW workflow. Its two appearances suggest niche use—either in high-action, compact rigs or for stylized content.

• iPhone: The fact that two feature films were shot using iPhones is less about image quality and more about access, aesthetic intent, and mobility. Filmmakers embracing the smartphone likely used it to make a creative statement or as a practical necessity. It also reflects the growing capability of computational photography in narrative cinema.

SXSW vs. Other Festivals

SXSW isn’t Sundance, Toronto, Cannes, or the Oscars. It exists at a different intersection—between innovation and raw authenticity. Its focus is not on prestige or red-carpet glamour but rather on emerging voices, genre experimentation, and creative freedom. Filmmakers premiering at SXSW are often more technologically nimble, budget-conscious, and artistically daring. This is reflected not just in their stories but in how they’re shot. There is a distinct lack of obligation to conform to “award-friendly” visual tropes. Instead, the choices are dictated by need, narrative style, and often the filmmaker’s direct involvement in camera operation or post workflows.

Conclusion: ALEXA 35 Is the New Indie Workhorse

SXSW 2025 confirms what many industry watchers anticipated—the ALEXA 35 has become the default camera for serious independent filmmaking. Its adoption reflects more than brand loyalty; it’s a convergence of performance, reliability, and format suitability for a modern indie filmmaker’s demands. Yet, the presence of alternatives like the FX3, Komodo, and even smartphones shows that there’s no single way to shoot a film today. SXSW continues to serve as a lens into the evolving toolkit of contemporary creators—defined less by price tags and more by adaptability, intent, and vision.