Technocrane | 49 Titles
Dunkirk (2017)
Directed by | Christopher Nolan | Cinematography by | Hoyte Van Hoytema | Editing by | Lee Smith
Cameras | IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Quantum of Solace (2008)
Directed by | Marc Forster | Cinematography by | Roberto Schaefer | Editing by | Matt Chesse, Richard Pearson
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Star Wars: The Force Awakens (2015)
Directed by | J.J. Abrams | Cinematography by | Dan Mindel | Editing by | Maryann Brandon, Mary Jo Markey
Cameras | ARRI ALEXA Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses | Hasselblad Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Retro C 100mm T2.8 Lens, Panavision Retro C 35mm T2.8 Lens, Panavision Retro C 40mm T2.8 Lens, Panavision Retro C 50mm T2.8 Lens, Panavision Retro C 60mm T2.8 Lens, Panavision Retro C 75mm T2.8 Lens
Zombie Ed (2013)
Directed by | Ren Blood | Cinematography by | Shaun Dallas | Editing by | Scotty Baldwin, Russell Parks
Cameras | Nikon D4 Camera
Lenses | Nikon - Nikkor Lenses
Monster (2018)
Directed by | Anthony Mandler | Cinematography by | David Devlin | Editing by | Joe Klotz
Cameras | Red Epic Dragon Camera
Ophelia (2018)
Directed by | Claire McCarthy | Cinematography by | Denson Baker | Editing by | Luke Dunkley
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Plus Camera
Lenses | Angenieux Optimo Anamorphic 44-440 mm A2S T4.5 Lens, Hawk C-Series 100 mm T3.0 Lens, Hawk C-Series 40 mm T2.2 Lens, Hawk C-Series 50 mm T2.2 Lens, Hawk C-Series 75 mm T2.2 Lens, Hawk Super Wide Angle Zoom 10-24 mm T2.5 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Series 180 mm T3.0 Lens, Hawk V-Series 250 mm T3.0 Lens
Live Free or Die Hard (2007)
Directed by | Len Wiseman | Cinematography by | Simon Duggan | Editing by | Nicolas De Toth
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Second Act (2018)
Directed by | Peter Segal | Cinematography by | Ueli Steiger | Editing by | Jason Gourson
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, ARRI Ultra Wide Zoom 9.5-18mm T2.9 Lens
Transformers (2007)
Directed by | Michael Bay | Cinematography by | Mitchell Amundsen | Editing by | Tom Muldoon, Paul Rubell, Glen Scantlebury
Cameras | ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses | Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
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
Ice (2016)
| Cinematography by | Robert Aschmann, Christos Bitsakos, Maz Makhani | Editing by | Lisa Binkley, Stein Myhrstad, Jamie Alain, Daria Ellerman, Luis Carballar, William Paley, Adina Moore
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Anamorphic 44-440 mm A2S T4.5 Lens, Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 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, Zeiss Master Prime Lenses
Bright (2017)
Directed by | David Ayer | Cinematography by | Roman Vasyanov | Editing by | Aaron Brock, Geoffrey O'Brien, Michael Tronick
Lenses | Panavision Lenses
Legends of the Hidden Temple: The Movie (2016)
Directed by | Joe Menendez | Cinematography by | Tom Harting | Editing by | Damon Fecht
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera
Lenses | Panavision Lenses, Panavision PMZ 14.5-50 mm T2.2 Lens, Panavision Primo Primes Spherical Lenses, Panavision SLZ11 24-275 mm T2.8 Lens
Before I Fall (2017)
Directed by | Ry Russo-Young | Cinematography by | Michael Fimognari | Editing by | Joe Landauer
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Lite Lenses, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Plus Lenses
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
Don’t Breathe (2016)
Directed by | Fede Alvarez | Cinematography by | Pedro Luque | Editing by | Eric L. Beason, Louise Ford, Gardner Gould
Cameras | ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses | Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens, Zeiss Super Speed Lenses, Zeiss Super Speeds Mk II 18 mm T1.3 Lens, Zeiss Super Speeds Mk II 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 12 mm T1.3 Lens, Zeiss Ultra 16 Distagon 14 mm T1.3 Lens, Zeiss Ultra 16 Distagon 18 mm T1.3 Lens, Zeiss Ultra 16 Distagon 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 6 mm T1.3 Lens, Zeiss Ultra 16 Distagon 8 mm T1.3 Lens, Zeiss Ultra 16 Distagon 9.5 mm T1.3 Lens, Zeiss Ultra 16 Planar 35 mm T1.3 Lens
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
The Finest Hours (2016)
Directed by | Craig Gillespie | Cinematography by | Javier Aguirresarobe | Editing by | Tatiana S. Riegel
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Leitz Summilux-C Series Lenses
Nosso Lar (2010)
Directed by | Wagner de Assis | Cinematography by | Ueli Steiger | Editing by | Marcelo Moraes
Lenses | Angenieux Lenses, Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Lenses
