Digital Cinema | 1863 Titles
Infinitely Polar Bear (2014)
Directed by | Maya Forbes | Cinematography by | Bobby Bukowski | Editing by | Michael R. Miller
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo Style Lenses
Les yeux jaunes des crocodiles (2014)
Directed by | Cécile Telerman | Cinematography by | Colin Houben, Pascal Ridao
Cameras | ARRI ALEXA Camera
L’homme qu’on aimait trop (2014)
Directed by | André Téchiné | Cinematography by | Julien Hirsch | Editing by | Hervé de Luze
Cameras | ARRI ALEXA Camera
Beyond the Lights (2014)
Directed by | Gina Prince-Bythewood | Cinematography by | Tami Reiker | Editing by | Terilyn A. Shropshire
Cameras | ARRI ALEXA M Camera
La lampe au beurre de yak (2013)
Directed by | Wei Hu | Cinematography by | Stéphane Degnieau, Jean Legrand | Editing by | Wei Hu
Cameras | Red Epic Camera
Lenses | Red Pro Prime Lenses
L’ex de ma vie (2014)
Directed by | Dorothée Sebbagh | Cinematography by | Gilles Porte | Editing by | Laurent Rouan
Cameras | Red Epic Camera
Lenses | Angenieux HR 25-250 mm T3.5 Lens, Angenieux HR Zoom Lenses, Panavision G Series Anamorphic Lenses
La ritournelle (2014)
Directed by | Marc Fitoussi | Cinematography by | Agnès Godard | Editing by | Laure Gardette
Cameras | Red Epic Camera
Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, Kowa Cine Prominar Spherical Lenses, Zeiss Super Speed Lenses
Deux jours, une nuit (2014)
Directed by | Jean-Pierre Dardenne, Luc Dardenne | Cinematography by | Alain Marcoen | Editing by | Marie-Hélène Dozo
Cameras | ARRI ALEXA M Camera
Kingsman: The Secret Service (2014)
Directed by | Matthew Vaughn | Cinematography by | George Richmond | Editing by | Eddie Hamilton, Jon Harris
If I Stay (2014)
Directed by | R.J. Cutler | Cinematography by | John de Borman | Editing by | Keith Henderson
Cameras | ARRI ALEXA Plus 4:3 Camera, Canon EOS-C500 Camera
Tusk (2014)
Directed by | Kevin Smith | Cinematography by | James Laxton | Editing by | Kevin Smith
Cameras | ARRI ALEXA Camera, Red Epic Camera
I Origins (2014)
Directed by | Mike Cahill | Cinematography by | Markus Förderer | Editing by | Mike Cahill
Cameras | Red Epic Camera
Dumb and Dumber To (2014)
Directed by | Bobby Farrelly, Peter Farrelly | Cinematography by | Matthew F. Leonetti | Editing by | Steven Rasch
Cameras | ARRI ALEXA Camera
Paddington (2014)
Directed by | Paul King | Cinematography by | Erik Wilson | Editing by | Mark Everson
Cameras | ARRI ALEXA Studio Camera, ARRI ALEXA XT Camera
Lenses | Cooke S4 Lenses
A Walk Among the Tombstones (2014)
Directed by | Scott Frank | Cinematography by | Mihai Malaimare Jr. | Editing by | Jill Savitt
Cameras | ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses | Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision Ultra Speed MKII Lenses
The Gambler (2014)
Directed by | Rupert Wyatt | Cinematography by | Greig Fraser | Editing by | Pete Beaudreau
Cameras | ARRI ALEXA XT Camera
Predestination (2014)
Directed by | Michael Spierig, Peter Spierig | Cinematography by | Ben Nott | Editing by | Matt Villa
Cameras | ARRI ALEXA Camera
The Maze Runner (2014)
Directed by | Wes Ball | Cinematography by | Enrique Chediak | Editing by | Dan Zimmerman
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
The Interview (2014)
Directed by | Evan Goldberg, Seth Rogen | Cinematography by | Brandon Trost | Editing by | Zene Baker, Evan Henke
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses
La vie très privée de Monsieur Sim (2015)
Directed by | Michel Leclerc | Cinematography by | Guillaume Deffontaines | Editing by | François Gédigier
Cameras | Red Epic Dragon Camera
