Aaton Cameras | 135 Titles
Sound of Metal (2019)
Directed by | Darius Marder | Cinematography by | Daniël Bouquet | Editing by | Mikkel E.G. Nielsen
Cameras | Aaton Penelope Camera
The Last Dance (2020)
| Cinematography by | Thomas McCallum | Editing by | Chad Beck, Devin Concannon, Abhay Sofsky, Ben Sozanski
Cameras | Aaton XTR Camera
The Enchantress of Number (2018)
Directed by | Rebecca Murga | Cinematography by | David Auner
Cameras | Aaton Penelope Camera, ARRI AMIRA Premium Camera
Lenses | Cooke Speed Panchro (S2) 32mm f2.3 Lens, Cooke Speed Panchro (S2) 40mm f2.3 Lens, Cooke Speed Panchro (S2) 50mm f2.3 Lens, Cooke Speed Panchro (S2) 75mm f2.3 Lens, Cooke Speed Panchro (S3) 18mm T2.2 Lens, Cooke Speed Panchro (S3) 25mm T2.2 Lens
A Good Reason (2018)
Directed by | August Holt Markwardt | Cinematography by | David J. Schweitzer | Editing by | August Holt Markwardt
Cameras | Aaton Penelope Camera
Lenses | Cooke Speed Panchro (S2) 32mm f2.3 Lens, Cooke Speed Panchro (S2) 40mm f2.3 Lens, Cooke Speed Panchro (S2) 50mm f2.3 Lens, Cooke Speed Panchro (S2) 75mm f2.3 Lens, Cooke Speed Panchro (S3) 18mm T2.2 Lens, Cooke Speed Panchro (S3) 25mm T2.2 Lens
Ad Astra (2019)
Directed by | James Gray | Cinematography by | Hoyte Van Hoytema | Editing by | John Axelrad, Lee Haugen
Cameras | Aaton Penelope Camera, ARRI ALEXA XT Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX Camera
Lenses | CamTec Lenses, Zeiss Master Prime Lenses
Velvet Goldmine (1998)
Directed by | Todd Haynes | Cinematography by | Maryse Alberti | Editing by | James Lyons
Cameras | Aaton Cameras, Panavision Panaflex Gold Camera
Pi (1998)
Directed by | Darren Aronofsky | Cinematography by | Matthew Libatique | Editing by | Oren Sarch
Cameras | Aaton XTR Prod Camera, Bolex H16 Camera
Lenses | Angenieux Lenses, Canon Lenses
Paradise Now (2005)
Directed by | Hany Abu-Assad | Cinematography by | Antoine Héberlé | Editing by | Sander Vos
Cameras | Aaton 35-III Camera, ARRIFLEX 535 Camera
Lenses | Cooke Varotal Lenses, Zeiss Ultra Prime Lenses
Under solen (1998)
Directed by | Colin Nutley | Cinematography by | Jens Fischer | Editing by | Perry Schaffer
Cameras | Aaton 35-III Camera, Moviecam Compact Camera
Lenses | Canon Lenses, Zeiss Super Speed Lenses
First Man (2018)
Directed by | Damien Chazelle | Cinematography by | Linus Sandgren | Editing by | Tom Cross
Cameras | Aaton A-Minima Camera, Aaton Penelope Camera, Aaton Xterà Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 416 Plus, ARRIFLEX 435 Camera, Imax MSM 9802 Camera
Lenses | CamTec Vintage Series Ultra Prime Lenses, Canon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses, Hasselblad Lenses, Kowa Cine Prominar Anamorphic Lenses
BlacKkKlansman (2018)
Directed by | Spike Lee | Cinematography by | Chayse Irvin | Editing by | Barry Alexander Brown
Cameras | Aaton Penelope Camera, Aaton XTR Prod Camera, ARRICAM Lite (LT) Camera, Panavision Panaflex Millennium XL2 Camera
Lenses | Panavision PVintage Prime Lenses, Panavision Super Speed Lenses, Panavision Ultra Speed MKII Lenses, Zeiss Master Prime Lenses
Gladiator (2000)
Directed by | Ridley Scott | Cinematography by | John Mathieson | Editing by | Pietro Scalia
Cameras | Aaton 35-III Camera, Pan-Arri III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Lenses | Panavision Primo Primes Spherical Lenses, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens
Toto le héros (1991)
Directed by | Jaco Van Dormael | Cinematography by | Walther van den Ende | Editing by | Susana Rossberg
Cameras | Aaton Cameras
La La Land (2016)
Directed by | Damien Chazelle | Cinematography by | Linus Sandgren | Editing by | Tom Cross
Lenses | Panavision C Series Anamorphic Lenses, Panavision C35 35 mm T2.3 Lens, Panavision C50 50 mm T2.3 Lens, Panavision E Series Anamorphic Lenses, Panavision E35 35 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens
Jason Bourne (2016)
Directed by | Paul Greengrass | Cinematography by | Barry Ackroyd | Editing by | Christopher Rouse
Cameras | Aaton Penelope Camera, Aaton XTR Prod Camera, ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Canon EOS-C500 Camera, Codex Action Cam, Red Epic Dragon Camera
Lenses | Angenieux Optimo Zoom Lenses, Canon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses, Kowa Cine Prominar Spherical Lenses, Panavision Lenses, Zeiss Super Speed Lenses, Zeiss Ultra Prime Lenses
Everything in This Country Must (2004)
Directed by | Gary McKendry | Cinematography by | Jim Whitaker | Editing by | Paul Martinez
Cameras | Aaton Cameras, ARRIFLEX Camera
The Time That Remains (2016)
Directed by | B.T. Crue | Cinematography by | David J. Schweitzer | Editing by | Sean Pollaro
Cameras | Aaton XTR Prod Camera
Lenses | Canon EC Series Lenses
Silent Ones (2013)
Directed by | Ricky Rijneke | Cinematography by | Jean-Paul de Zaetijd, Gergely Pohárnok, Dirk Rijneke | Editing by | Nina Petrovna, Ricky Rijneke
Cameras | Aaton Penelope Camera
Lenses | Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Lenses, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Ultra Prime Distagon 12 mm T1.9 Lens, Zeiss Ultra Prime Distagon 20 mm T1.9 Lens, Zeiss Ultra Prime Distagon 28 mm T1.9 Lens, Zeiss Ultra Prime Distagon 40 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens
Keepsake (2008)
Directed by | Paul Moore | Cinematography by | Todd Gilpin | Editing by | Todd Gilpin
Cameras | Aaton XTR Prod Camera
Lenses | Cooke S4 Lenses
Le dernier des injustes (2013)
Directed by | Claude Lanzmann | Cinematography by | Caroline Champetier, William Lubtchansky | Editing by | Chantal Hymans
Cameras | Aaton Penelope Camera, Aaton Xterà Camera
Lenses | Angenieux Optimo 17-80mm T2.2 Lens
