Moviecam Cameras | 167 Titles
Training Day (2001)
Directed by | Antoine Fuqua | Cinematography by | Mauro Fiore | Editing by | Conrad Buff IV
Lenses | Hawk C-Series Lenses
Vampire Effect (2003)
Directed by | Dante Lam | Cinematography by | Man Po Cheung | Editing by | Ki-Hop Chan
Lenses | Angenieux Lenses, Zeiss Lenses
A Rumor of Angels (2000)
Directed by | Peter O'Fallon | Cinematography by | Roy H. Wagner | Editing by | Louise Rubacky
Cameras | Moviecam Compact Camera
Lenses | Hawk C-Series Lenses
Apocalypse and the Beauty Queen (2005)
Directed by | Thomas Smugala | Cinematography by | Jeff Barklage | Editing by | Daniel Hirsh, Michael Matassa, Jack Snyder
Cameras | ARRIFLEX 35 III Camera, Moviecam 3N Camera
Lenses | Angenieux HP Zoom Lenses, Cooke Cine Varotal Mark II 25-250mm T3.9 Lens, Cooke Speed Panchro (S1) 32mm f2.0 Lens, Cooke Speed Panchro (S1) 40mm f2.0 Lens, Cooke Speed Panchro (S1) 50mm f2.0 Lens, Cooke Speed Panchro (S1) 75mm f2.0 Lens, Cooke Speed Panchro (S3) 18mm T2.2 Lens, Cooke Speed Panchro (S3) 25mm T2.2 Lens, Cooke Zoom Lenses
Box of Moon Light (1996)
Directed by | Tom DiCillo | Cinematography by | Paul Ryan | Editing by | Camilla Toniolo
Cameras | ARRIFLEX 35 III Camera, Moviecam Compact Camera
Lost in Translation (2003)
Directed by | Sofia Coppola | Cinematography by | Lance Acord | Editing by | Sarah Flack
Cameras | Aaton 35-III Camera, Moviecam Compact Camera
Lenses | Angenieux Lenses, Zeiss Super Speed Lenses
It’s All About Love (2003)
Directed by | Thomas Vinterberg | Cinematography by | Anthony Dod Mantle | Editing by | Valdís Óskarsdóttir
Cameras | Moviecam Superlight Camera
Lenses | Zeiss Lenses, Zeiss Ultra Prime Lenses
All the Real Girls (2003)
Directed by | David Gordon Green | Cinematography by | Tim Orr | Editing by | Zene Baker, Steven Gonzales
8 Mile (2002)
Directed by | Curtis Hanson | Cinematography by | Rodrigo Prieto | Editing by | Craig Kitson, Jay Rabinowitz
Lenses | Zeiss Ultra Prime Lenses
Attraction (2000)
Directed by | Russell DeGrazier | Cinematography by | Michael A. Price | Editing by | Glenn Garland
Cameras | Moviecam Compact Camera
Lenses | Cooke S4 Lenses
Hellboy II: The Golden Army (2008)
Directed by | Guillermo del Toro | Cinematography by | Guillermo Navarro | Editing by | Bernat Vilaplana
Cameras | ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses | Zeiss Ultra Prime Lenses
Les émotifs anonymes (2010)
Directed by | Jean-Pierre Améris | Cinematography by | Gérard Simon | Editing by | Philippe Bourgueil
Cameras | Moviecam Compact MK2 Camera
The Village (2004)
Directed by | M. Night Shyamalan | Cinematography by | Roger Deakins | Editing by | Christopher Tellefsen
Cameras | ARRIFLEX 535 B Camera, Moviecam Superlight Camera
Lenses | Cooke S4 Lenses
The Shawshank Redemption (1994)
Directed by | Frank Darabont | Cinematography by | Roger Deakins | Editing by | Richard Francis-Bruce
Cameras | ARRIFLEX 35 BL4 Camera, Moviecam Compact Camera
Lenses | ARRI / Zeiss Lenses
Frida (2002)
Directed by | Julie Taymor | Cinematography by | Rodrigo Prieto | Editing by | Françoise Bonnot
Cameras | ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses | Zeiss Ultra Prime Lenses
La conquête (2011)
Directed by | Xavier Durringer | Cinematography by | Gilles Porte | Editing by | Catherine Schwartz
Cameras | Moviecam Compact Camera
Le code a changé (2009)
Directed by | Danièle Thompson | Cinematography by | Jean-Marc Fabre | Editing by | Sylvie Landra
Cameras | Moviecam Compact MK2 Camera
The Craft (1996)
Directed by | Andrew Fleming | Cinematography by | Alexander Gruszynski | Editing by | Jeff Freeman
Cameras | Moviecam Compact Camera
Lenses | Zeiss Lenses
The Pelican Brief (1993)
Directed by | Alan J. Pakula | Cinematography by | Stephen Goldblatt | Editing by | Tom Rolf, Trudy Ship
Hollow Man (2000)
Directed by | Paul Verhoeven | Cinematography by | Jost Vacano | Editing by | Mark Goldblatt, Ron Vignone
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Moviecam Compact Camera
Lenses | Zeiss Standard Speed Prime Lenses
