ARRICAM Lite (LT) Camera | 363 Titles
True Blood (2008)
Country | USA
Type | Television Series
Running Time | 800 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | Romeo Tirone, David Klein, Matthew Jensen, Evans Brown, John B. Aronson, Checco Varese, Joseph E. Gallagher, Stephen St. John, Cort Fey, Amy Vincent, Uta Briesewitz | Editing by | Michael Ruscio, Louise Innes, Lynne Willingham, Mark Hartzell, Andy Keir, Carol Stutz, Peter B. Ellis, Debra F. Simone
Lenses | Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 17-80mm T2.2 Lens, Angenieux Optimo 28-76mm T2.6 Lens, Angenieux Optimo Zoom Lenses, ARRI / Zeiss Lenses, Clairmont Anamorphic Lenses, Cooke S4 Lenses
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Rocky Balboa (2006)
Country | USA
Type | Motion Picture
Running Time | 102 Minutes
Aspect Ratio | 1.85:1
Directed by | Sylvester Stallone | Cinematography by | Clark Mathis | Editing by | Sean Albertson
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Sony HDW-F900R Camera
Lenses | Zeiss Master Prime Lenses
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Good Time (2017)
Country | USA
Type | Motion Picture
Running Time | 101 Minutes
Aspect Ratio | 2.39:1
Directed by | Benny Safdie, Josh Safdie | Cinematography by | Sean Price Williams | Editing by | Ronald Bronstein, Benny Safdie
Cameras | ARRICAM Lite (LT) Camera
Lenses | Zeiss Super Speed Lenses
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It’s Only the End of the World (2016)
Country | Canada, France
Type | Motion Picture
Running Time | 97 Minutes
Aspect Ratio | 1.85:1
Directed by | Xavier Dolan | Cinematography by | André Turpin | Editing by | Xavier Dolan
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American Honey (2016)
Country | UK, USA
Type | Motion Picture
Running Time | 163 Minutes
Directed by | Andrea Arnold | Cinematography by | Robbie Ryan | Editing by | Joe Bini
Cameras | ARRI ALEXA Camera, ARRICAM Lite (LT) Camera
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Clouds of Sils Maria (2014)
Country | France, Germany, Switzerland
Type | Motion Picture
Running Time | 124 Minutes
Directed by | Olivier Assayas | Cinematography by | Yorick Le Saux | Editing by | Marion Monnier
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Sing Street (2016)
Country | Ireland, UK, USA
Type | Motion Picture
Running Time | 106 Minutes
Aspect Ratio | 2.39:1
Directed by | John Carney | Cinematography by | Yaron Orbach | Editing by | Andrew Marcus, Julian Ulrichs
Cameras | ARRICAM Lite (LT) Camera, Red Epic Camera
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Taken 3 (2014)
Country | France, USA, Spain
Type | Motion Picture
Running Time | 108 Minutes
Directed by | Olivier Megaton | Cinematography by | Eric Kress | Editing by | Audrey Simonaud, Nicolas Trembasiewicz
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses
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Furious 7 (2015)
Country | USA, China, Japan, Canada, United Arab Emirates
Type | Motion Picture
Running Time | 137 Minutes
Capture Resolution | 2880x2160 - (1.33:1) Capture Resolution
Directed by | James Wan | Cinematography by | Marc Spicer, Stephen F. Windon | Editing by | Leigh Folsom Boyd, Dylan Highsmith, Kirk M. Morri, Christian Wagner
Cameras | ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses | Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 28-340mm T2.9 Lens, Angenieux Optimo 28-76mm T2.6 Lens, Fujinon Alura Zoom 15.5-45mm T2.8 Lens, Fujinon Alura Zoom 30-80mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, 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 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, 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 Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
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Hail, Caesar! (2016)
Country | UK, Japan, USA
Type | Motion Picture
Running Time | 106 Minutes
Aspect Ratio | 1.85:1
Directed by | Ethan Coen, Joel Coen | Cinematography by | Roger Deakins | Editing by | Ethan Coen, Joel Coen
Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera
Lenses | Zeiss Master Prime Lenses
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Milk (2008)
Country | USA
Type | Motion Picture
Running Time | 128 Minutes
Aspect Ratio | 1.85:1
Directed by | Gus Van Sant | Cinematography by | Harris Savides | Editing by | Elliot Graham
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The Visitor (2007)
Country | USA
Type | Motion Picture
Running Time | 104 Minutes
Aspect Ratio | 1.85:1
Directed by | Tom McCarthy | Cinematography by | Oliver Bokelberg | Editing by | Tom McArdle
Cameras | ARRICAM Lite (LT) Camera
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Embrace of the Serpent (2015)
Country | Colombia, Venezuela, Argentina
Type | Motion Picture
Running Time | 125 Minutes
Aspect Ratio | 2.39:1
Directed by | Ciro Guerra | Cinematography by | David Gallego | Editing by | Etienne Boussac
Cameras | ARRICAM Lite (LT) Camera
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The Messenger (2009)
Country | USA
Type | Motion Picture
Running Time | 113 Minutes
Aspect Ratio | 2.39:1
Directed by | Oren Moverman | Cinematography by | Bobby Bukowski | Editing by | Alex Hall
Cameras | ARRICAM Lite (LT) Camera
Lenses | Angenieux Optimo Style Lenses, Cooke S4 Lenses
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Sette opere di misericordia (2011)
Country | Italy, Romania, France
Type | Motion Picture
Running Time | 100 Minutes
Aspect Ratio | 2.39:1
Directed by | Gianluca De Serio, Massimiliano De Serio | Cinematography by | Piero Basso | Editing by | Stefano Cravero
Cameras | ARRICAM Lite (LT) Camera
Lenses | Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
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Saul fia (2015)
Country | Hungary
Type | Motion Picture
Running Time | 107 Minutes
Aspect Ratio | 1.37:1
Directed by | László Nemes | Cinematography by | Mátyás Erdély | Editing by | Matthieu Taponier
Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses | Zeiss Master Prime Lenses
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Joy (2015)
Country | USA
Type | Motion Picture
Running Time | 124 Minutes
Aspect Ratio | 1.85:1
Directed by | David O. Russell | Cinematography by | Linus Sandgren | Editing by | Alan Baumgarten, Jay Cassidy, Tom Cross, Christopher Tellefsen
Lenses | Zeiss Ultra Prime Lenses
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The Big Short (2015)
Country | USA
Type | Motion Picture
Running Time | 130 Minutes
Aspect Ratio | 2.39:1
Directed by | Adam McKay | Cinematography by | Barry Ackroyd | Editing by | Hank Corwin
Cameras | ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera
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Steve Jobs (2015)
Country | UK, USA
Type | Motion Picture
Running Time | 122 Minutes
Aspect Ratio | 2.39:1
Directed by | Danny Boyle | Cinematography by | Alwin H. Küchler | Editing by | Elliot Graham
Cameras | ARRI ALEXA XT Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 416 Plus, Red Epic Dragon Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke Speed Panchro Lenses, Zeiss Compact Prime Lenses, Zeiss Master Prime Lenses, Zeiss Standard Speed Prime Lenses
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Bridge of Spies (2015)
Country | Germany, India, USA
Type | Motion Picture
Running Time | 142 Minutes
Aspect Ratio | 2.39:1
Directed by | Steven Spielberg | Cinematography by | Janusz Kaminski | Editing by | Michael Kahn
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