Blackmagic Design Cameras | 43 Titles
Skull (2018)
107 Minutes
Capture Resolution | 2112x1728 - (1.22:1) Capture Resolution
Directed by | Yusron Fuadi | Editing by | Yusron Fuadi Lenses | Nikon - Nikkor Lenses, Samyang VDSLR II Cine 85mm T1.5 Lens, Zeiss Distagon T* 25mm f2.0 ZE
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Family Obligations (2019)
81 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Kenneth R. Frank | Cinematography by | Kenneth R. Frank | Editing by | Chris Mollica, Kevin Wolfring Cameras | Blackmagic Pocket Cinema Camera
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Other Halves (2015)
90 Minutes
Directed by | Matthew T. Price | Cinematography by | Tobias Deml | Editing by | Don Stroud Cameras | Blackmagic Pocket Cinema Camera
Lenses | Canon Lenses, Samyang Lenses
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Missing Girl (2017)
8 Minutes
Directed by | Jimmy Barranco | Cinematography by | Jimmy Barranco | Editing by | Jimmy Barranco Cameras | Blackmagic Pocket Cinema Camera
Lenses | Canon Lenses, Sigma Lenses
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Black Wedding (2015)
70 Minutes
Directed by | Thomas Bohn | Cinematography by | Frank Glencairn Cameras | Blackmagic Cinema Camera
Lenses | Zeiss Lenses
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Natural Born Pranksters (2016)
90 Minutes
Directed by | Roman Atwood, Ben Pluimer | Cinematography by | Donny Anderson | Editing by | Ben Daughtrey, Benjamin Mitnick Cameras | Blackmagic Cinema Camera
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The Radicalization of Jeff Boyd (2017)
117 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Uwe Schwarzwalder | Cinematography by | Brian Pinkus, Uwe Schwarzwalder | Editing by | Uwe Schwarzwalder Cameras | Blackmagic Pocket Cinema Camera
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Queen of the South (2016)
42 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
| 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
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The Resident (2018)
60 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
| 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 | Leica Summicron-C 135 mm T2.0 Lens, Leica Summicron-C 18 mm T2.0 Lens, Leica Summicron-C 21 mm T2.0 Lens, Leica Summicron-C 25 mm T2.0 Lens, Leica Summicron-C 29 mm T2.0 Lens, Leica Summicron-C 35 mm T2.0 Lens, Leica Summicron-C 40 mm T2.0 Lens, Leica Summicron-C 50 mm T2.0 Lens, Leica 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
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Sharknado 2: The Second One (2014)
95 Minutes
Directed by | Anthony C. Ferrante | Cinematography by | Ben Demaree | Editing by | Ana Florit, Vashi Nedomansky Cameras | Blackmagic Cinema Camera, Red Epic Camera
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Everybody Happy (2016)
93 Minutes
Directed by | Nic Balthazar | Cinematography by | Robrecht Heyvaert | Editing by | Philippe Ravoet Cameras | ARRI ALEXA Camera, ARRI ALEXA XT Camera, ARRI AMIRA Camera, Blackmagic Pocket Cinema Camera
Lenses | ARRI Lenses, Canon Lenses
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Under the Bed (2017)
120 Minutes
Directed by | Daniel Myrick | Cinematography by | Stephanie Martin | Editing by | Daniel Myrick, Byron Wong Cameras | Blackmagic Pocket Cinema Camera
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Logan (2017)
137 Minutes
Directed by | James Mangold | Cinematography by | John Mathieson | Editing by | Michael McCusker, Dirk Westervelt Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Blackmagic Pocket Cinema Camera, Sony α7S II Camera
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Tailgate (2015)
83 Minutes
Directed by | Jai Hogg | Cinematography by | Mark Broadbent | Editing by | Joe Lancaster Lenses | Zeiss ZF.2 21mm Distagon f2.8 Lens, Zeiss ZF.2 28mm Distagon f2.0 Lens, Zeiss ZF.2 35mm Distagon f1.4 Lens, Zeiss ZF.2 50mm Micro Planar f2.0 Lens, Zeiss ZF.2 85mm Planar f1.4 Lens
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Allt sem fer upp (2018)
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Starring | Katrín Björg Hjálmarsdóttir, Sigurjón Jónsson, Magnus E. Halldorsson, Kristín Ísold Jóhannesdóttir
Directed by | Kristján Jónsson | Cinematography by | Kristján Jónsson | Editing by | Kristján Jónsson Lenses | Zeiss Lenses
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El Último Suspiro (2017)
5 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Joan Girbau Xalabarder | Cinematography by | Joan Girbau Xalabarder | Editing by | Xavi Morcillo Cameras | Blackmagic Design Cameras, Canon Cameras
Lenses | Canon Lenses, Leica Lenses
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Revelator (2017)
109 Minutes
Capture Resolution | 4096x2160 - (1.90:1) Capture Resolution
Directed by | J. Van Auken | Cinematography by | Dan Clarke | Editing by | J. Van Auken Cameras | Blackmagic URSA Camera
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Silent Hero(Es) (2015)
Don’t Breathe (2016)
88 Minutes
Capture Resolution | 2048x1152 - (1.78:1) Capture Resolution
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 15.5-45mm T2.8 Lens, Fujinon Alura Zoom 45-250mm T2.8 Lens, Leica Summilux-C 100 mm T1.4 Lens, Leica Summilux-C 16 mm T1.4 Lens, Leica Summilux-C 18 mm T1.4 Lens, Leica Summilux-C 21 mm T1.4 Lens, Leica Summilux-C 25 mm T1.4 Lens, Leica Summilux-C 29 mm T1.4 Lens, Leica Summilux-C 35 mm T1.4 Lens, Leica Summilux-C 40 mm T1.4 Lens, Leica Summilux-C 50 mm T1.4 Lens, Leica Summilux-C 65 mm T1.4 Lens, Leica 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
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Jason Bourne (2016)
123 Minutes
Capture Resolution | 2880x2160 - (1.33:1) Capture Resolution, 4096x2160 - (1.90:1) Capture Resolution, 6144x3160 - (1.94:1) Capture Resolution
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
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