ARRIFLEX 35 III Camera | 59 Titles
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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Léon: The Professional (1994)
Country | France
Type | Motion Picture
Running Time | 110 Minutes
Aspect Ratio | 2.35:1
Directed by | Luc Besson | Cinematography by | Thierry Arbogast | Editing by | Sylvie Landra
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 III Camera
Lenses | Angenieux HR Zoom Lenses, Technovision Lenses
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Toto (2011)
Country | Czech Republic
Type | Motion Picture
Running Time | 9 Minutes
Directed by | Andoni Elias Nava | Cinematography by | Alex Gallitano | Editing by | Andoni Elias Nava
Cameras | ARRIFLEX 35 III Camera
Lenses | Zeiss Super Speed Lenses
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Snowboard Academy (1996)
Country | USA, Canada
Type | Direct to Video, Motion Picture
Running Time | 88 Minutes
Aspect Ratio | 1.33:1 (4x3)
Directed by | John Shepphird | Cinematography by | Bruno Philip | Editing by | Richard Comeau
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 III Camera
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Arrival II (1998)
Country | Canada, USA
Type | Motion Picture
Running Time | 101 Minutes
Directed by | Kevin Tenney | Cinematography by | Bruno Philip | Editing by | Gregory Fine, Heidi Haines
Lenses | Angenieux HR 17-102mm T2.9 Lens, Angenieux HR 25-250mm T3.5 Lens, Angenieux HR Zoom Lenses, Angenieux Lenses, Zeiss Standard Speed Prime Lenses
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Unstoppable (2010)
Country | USA
Type | Motion Picture
Running Time | 98 Minutes
Aspect Ratio | 2.39:1
Directed by | Tony Scott | Cinematography by | Ben Seresin | Editing by | Robert Duffy, Chris Lebenzon
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
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Gremlins 2: The New Batch (1990)
Country | USA
Type | Motion Picture
Running Time | 106 Minutes
Aspect Ratio | 1.85:1
Directed by | Joe Dante | Cinematography by | John Hora | Editing by | Kent Beyda
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Death Race (2008)
Country | USA, Germany, UK
Type | Motion Picture
Running Time | 105 Minutes
Aspect Ratio | 2.35:1
Directed by | Paul W.S. Anderson | Cinematography by | Scott Kevan | Editing by | Niven Howie
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
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The Golden Seal (1983)
Country | USA
Type | Motion Picture
Running Time | 94 Minutes
Aspect Ratio | 1.85:1
Directed by | Frank Zuniga | Cinematography by | Eric Saarinen | Editing by | Robert Q. Lovett
Cameras | ARRIFLEX 35 III Camera
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A Cry in the Wild (1990)
Country | USA
Type | Motion Picture
Running Time | 82 Minutes
Aspect Ratio | 1.85:1
Directed by | Mark Griffiths | Cinematography by | Gregg Heschong | Editing by | Carol Oblath
Cameras | ARRIFLEX 35 BL4s Camera, ARRIFLEX 35 III Camera
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The Cell (2000)
Country | USA, Germany
Type | Motion Picture
Running Time | 107 Minutes
Aspect Ratio | 2.39:1
Directed by | Tarsem Singh | Cinematography by | Paul Laufer | Editing by | Robert Duffy, Paul Rubell
Cameras | ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Panavision Panaflex Platinum Camera
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Gone in Sixty Seconds (2000)
Country | USA
Type | Motion Picture
Running Time | 118 Minutes
Aspect Ratio | 2.35:1
Directed by | Dominic Sena | Cinematography by | Paul Cameron | Editing by | Roger Barton, Chris Lebenzon, Tom Muldoon
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Ballistic: Ecks vs. Sever (2002)
Country | USA, Germany
Type | Motion Picture
Running Time | 91 Minutes
Aspect Ratio | 2.35:1
Directed by | Wych Kaosayananda | Cinematography by | Julio Macat | Editing by | Jay Cassidy, Caroline Ross
Lenses | Cooke S4 Lenses
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Con Air (1997)
Country | USA
Type | Motion Picture
Running Time | 115 Minutes
Aspect Ratio | 2.39:1
Directed by | Simon West | Cinematography by | David Tattersall | Editing by | Chris Lebenzon, Steve Mirkovich, Glen Scantlebury
Cameras | ARRIFLEX 35 III Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses | Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
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Terminator Salvation (2009)
Country | USA, Germany, UK, Italy
Type | Motion Picture
Running Time | 115 Minutes
Aspect Ratio | 2.35:1
Directed by | McG | Cinematography by | Shane Hurlbut | Editing by | Conrad Buff IV
Cameras | ARRIFLEX 235 Camera, ARRIFLEX 35 III Camera, Pan-Arri 435 Xtreme Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses | Panavision Primo Anamorphic Lenses
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Zelary (2003)
Country | Czech Republic, Slovakia, Austria
Type | Motion Picture
Running Time | 150 Minutes
Aspect Ratio | 1.85:1
Directed by | Ondrej Trojan | Cinematography by | Asen Sopov | Editing by | Vladimír Barák
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The Naked Man (1998)
Country | USA
Type | Motion Picture
Running Time | 98 Minutes
Aspect Ratio | 1.85:1
Directed by | J. Todd Anderson | Cinematography by | Jeff Barklage | Editing by | Tricia Cooke, Mark Cretcher
Cameras | ARRIFLEX 35 III Camera, Moviecam Compact Camera
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Lung joi gong woo (1998)
Country | Hong Kong
Type | Motion Picture
Running Time | 112 Minutes
Aspect Ratio | 1.85:1
Directed by | Jing Wong | Cinematography by | Siu-Keung Cheng | Editing by | Marco Mak
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 III Camera
Lenses | Angenieux Lenses, Cooke Lenses
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The NeverEnding Story (1984)
Country | West Germany, USA
Type | Motion Picture
Running Time | 102 Minutes
Aspect Ratio | 2.39:1
Directed by | Wolfgang Petersen | Cinematography by | Jost Vacano | Editing by | Jane Seitz
Lenses | Technovision Lenses
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Artworks (2003)
Country | USA
Type | Motion Picture
Running Time | 96 Minutes
Aspect Ratio | 1.85:1
Directed by | Jim Amatulli | Cinematography by | Jeff Barklage | Editing by | Howard Heard
Cameras | ARRIFLEX 35 III Camera, Moviecam Compact Camera
Lenses | Cooke Lenses
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