Chapman / Leonard Dollies | 243 Titles
Whiplash (2014)
Directed by | Damien Chazelle | Cinematography by | Sharone Meir | Editing by | Tom Cross
Cameras | ARRI ALEXA Camera, Canon EOS-7D Camera
Mindhunter (2017)
| Cinematography by | Erik Messerschmidt, Christopher Probst | Editing by | Tyler Nelson, Kirk Baxter, Grant Surmi, Byron Smith, Eric Zumbrunnen
Cameras | Red Xenomorph Camera
Lenses | Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 Lens, Fujinon Premier Lenses, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens
Designated Survivor (2016)
| Cinematography by | Jeffrey C. Mygatt, Michael Storey, Adam Suschitzky, Cort Fey, Colin Hoult, Darran Tiernan, M. David Mullen, David A. Harp, Michael McMurray | Editing by | Damien Smith, Charissa Sanjarernsuithikul, Ned Bastille, Pamela Malouf, David Beatty, John L. Roberts, Michael Schweitzer, James Coblentz, Monty DeGraff, Jennifer Van Goethem, Roy C. Poole, Bryan Darling
Cameras | ARRI ALEXA LF Camera
Nixon (1995)
Directed by | Oliver Stone | Cinematography by | Robert Richardson | Editing by | Brian Berdan, Hank Corwin
Mr. Robot (2015)
| Cinematography by | Tod Campbell, Tim Ives | Editing by | Franklin Peterson, John Petaja, Justin Krohn, Philip Harrison, Rosanne Tan, Joel T. Pashby, Sam Seig, Sharidan Williams-Sotelo, Joe Bini, Andrew Thompson
Cameras | Red Epic Dragon Camera
Queen of the South (2016)
| Cinematography by | Abraham Martinez, John Brawley, Cameron Duncan, Alejandro Martínez | Editing by | Matthew Philip Smith, Priscilla Nedd-Friendly, Briana London, Juan Carlos Garza, Philip Carr Neel, Nicole Brik, Amy M. Fleming, Betsy C. Thompson, Harvey Rosenstock, Benjamin Howdeshell
Cameras | ARRI ALEXA Mini Camera, Blackmagic Design Cameras
Lenses | Panavision PVintage 100 mm T1.6 Lens, Panavision PVintage 14 mm T1.9 Lens, Panavision PVintage 17 mm T1.9 Lens, Panavision PVintage 24 mm T1.2 Lens, Panavision PVintage 29 mm T1.2 Lens, Panavision PVintage 35 mm T1.6 Lens, Panavision PVintage 40 mm T1.3 Lens, Panavision PVintage 50 mm T1.0 Lens, Panavision PVintage 75 mm T1.6 Lens
The Resident (2018)
| Cinematography by | John Brawley, Hilda Mercado, Elliot Davis | Editing by | Timothy A. Good, William Paley, Nicole Vaskell, Greg Babor, Amanda Panella, Emily Mendez, Patrick McMahon
Cameras | ARRI ALEXA Mini Camera, Blackmagic Micro Cinema Camera, Blackmagic Pocket Cinema 4K Camera, Blackmagic URSA Mini Pro 4.6K G2 Camera, Blackmagic URSA Mini Pro Camera
Lenses | Leitz Summicron-C 135 mm T2.0 Lens, Leitz Summicron-C 18 mm T2.0 Lens, Leitz Summicron-C 21 mm T2.0 Lens, Leitz Summicron-C 25 mm T2.0 Lens, Leitz Summicron-C 29 mm T2.0 Lens, Leitz Summicron-C 35 mm T2.0 Lens, Leitz Summicron-C 40 mm T2.0 Lens, Leitz Summicron-C 50 mm T2.0 Lens, Leitz Summicron-C 75 mm T2.0 Lens, Panavision Primo Primes Spherical Lenses, SLR Magic APO HyperPrime Cine 25mm T2.1 Lens, SLR Magic APO HyperPrime Cine 32mm T2.1 Lens, SLR Magic APO HyperPrime Cine 50mm T2.1 Lens, SLR Magic APO HyperPrime Cine 85mm T2.1 Lens, Zeiss Lenses
The Fast and the Furious (2001)
Directed by | Rob Cohen | Cinematography by | Ericson Core | Editing by | Peter Honess
Lenses | Zeiss Ultra Prime Lenses
Rattlesnake (2019)
Directed by | Zak Hilditch | Editing by | Merlin Eden
Cameras | Sony CineAlta VENICE Camera
Lenses | Kowa Cine Prominar Spherical Lenses
Dinosaur (2000)
Directed by | Eric Leighton, Ralph Zondag | Cinematography by | David R. Hardberger, Steven Douglas Smith | Editing by | H. Lee Peterson
Cameras | VistaVision Cameras
How the Grinch Stole Christmas (2000)
Directed by | Ron Howard | Cinematography by | Donald Peterman | Editing by | Daniel P. Hanley, Mike Hill
Lenses | Panavision SL10 10 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL35-CF 35 mm T1.8 Lens
The Rock (1996)
Directed by | Michael Bay | Cinematography by | John Schwartzman | Editing by | Richard Francis-Bruce
Cameras | Pan-Arri III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Altered Carbon (2018)
| Cinematography by | Corey Robson, Martin Ahlgren, Neville Kidd, Bernard Couture, P.J. Dillon | Editing by | Amy M. Fleming, Byron Smith, Erin Deck, Barry Alexander Brown, Jonathan Chibnall, Julian Clarke, Michael Ruscio, Geoff Ashenhurst, Stephen Philipson, Jay Prychidny
Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Lenses | Canon Lenses, Cooke 5/i Lenses, Cooke S4/i Lenses, Hawk 150-450 mm T2.8 Lens, Zeiss Compact Prime Lenses
The Precipice Game (2016)
Directed by | Zao Wang | Cinematography by | Joewi Verhoeven | Editing by | Hua Tang, Jolin Zhu
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA Studio Camera
Postpartum (2016)
Directed by | Richard Bakewell, Lale Arpaci | Cinematography by | Chun Ming Huang
Cameras | Panasonic VariCam 35
Status Update (2018)
Directed by | Scott Speer | Cinematography by | Russ T. Alsobrook | Editing by | Sean Valla
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4/i Lenses, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Fujinon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses
Good Boys (2019)
Directed by | Gene Stupnitsky | Cinematography by | Jonathan Furmanski | Editing by | Daniel Gabbe
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera
Lenses | Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 mm T1.9 Lens, Zeiss Master Anamorphic 180 mm T2.8 Lens, Zeiss Master Anamorphic 28 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 40 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 60 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens
Finding Carter (2014)
| Cinematography by | Alison Kelly, Bradford Lipson, Karsten Gopinath | Editing by | Jim Towne, John Wesley Whitton, Tad Dennis, Brandon Lott, Tammis Chandler, Robin Katz, Evan Henke
Lenses | Leitz Summilux-C Series Lenses
Deliverance Creek (2014)
Directed by | Jon Amiel | Cinematography by | Theo van de Sande | Editing by | Josh Beal
Cameras | ARRI ALEXA Camera
Gortimer Gibbon’s Life on Normal Street (2014)
| Cinematography by | Eduardo Enrique Mayén, Francisco Bulgarelli | Editing by | Cheryl Campsmith, Marcelo Sansevieri, Kevin Gasca
Cameras | Sony PMW-F55 Camera
Lenses | Cooke S4 Lenses
