Sony α7 Series Cameras | 20 Titles
Towards the light (2022)
Directed by | Alexander Popov | Cinematography by | Alexander Popov | Editing by | Alexander Popov
Cameras | Sony α7 Series Cameras
The Man in Room 6 (2022)
Directed by | Trevor Juenger | Cinematography by | Dylan Schnitker, Joe Tello, Rexx Villotti | Editing by | Abbey Heise, Trevor Juenger
Cameras | GoPro (Woodman Labs) Cameras, GoPro HERO4 Black, Panasonic Lumix DMC-GH5 Camera, Sony α7S II Camera
Lenses | Rokinon Lenses, SLR Magic Lenses
Return of the Thumb (2018)
Directed by | Florian Schmidt-Convey | Cinematography by | Costa Konstantinou | Editing by | Florian Schmidt-Convey
Cameras | Blackmagic Design Cameras, Blackmagic URSA Camera, Canon Cameras, Canon EOS-C100 Camera, Canon EOS-C300 Camera, Sony Cameras, Sony α7 Series Cameras, Sony α7S Camera
Lenses | Canon EF 16-35 mm f2.8L II Lens, Canon EF 24-105 mm f4.0 L IS Lens, Canon EF 24-70 mm f2.8L II Lens, Canon EF 70-200 mm f2.8 L IS II Lens, Canon EF Series Lenses, Canon L Series Lenses, Canon Lenses, Zeiss Lenses, Zeiss ZF.2 85mm Planar f1.4 Lens, Zeiss ZF.2 Prime Lenses
Cooper’s Treasure (2017)
| Cinematography by | Zach Driscoll, Phil Lott, Doug Dearth, Jeff Moriarty, Scott Gardner | Editing by | Mario Roman, Alexander Sanchez, Niccolo Roveda, Justin Inda, Diego J. Garza, Caton Clark, Paul McAleavey, Sally Jasso, Frank Keraudren, Kirk Kirkland, Tanner Roth
Operator (2016)
Directed by | Logan Kibens | Cinematography by | Steeven Petitteville | Editing by | Logan Kibens
Cameras | ARRI AMIRA Series Cameras, Sony α7S Camera
Lenses | Zeiss Lenses
Khaita Dance (2020)
Directed by | Alexander Popov | Cinematography by | Alexander Popov | Editing by | Alexander Popov
Cameras | Sony α7 II Camera
Lenses | Sony G Series Lenses
Nécrologies (2018)
Directed by | Fabien Chombart, Guillaume Defare, Nathalie Epoque, François Message, Alexis Wawerka | Cinematography by | Fabien Chombart, François Message, Guillaume Ogier | Editing by | Hugo Aribart, Fabien Chombart, Guillaume Defare, François Message
Cameras | Sony PMW-F3 Camera, Sony α7S Camera
Lenses | Sony Prime 35 mm T2.0 PL Lens, Sony Prime 50 mm T2.0 PL Lens, Sony Prime 85 mm T2.0 PL Lens, Tokina AT-X116 Pro DX 11-16 mm f2.8 Lens
Empire Hotel (2018)
Directed by | Ivo Ferreira | Cinematography by | Susana Gomes | Editing by | Sandro Aguilar
Cameras | Sony α7S II Camera
Lenses | ARRI / Zeiss Lenses, ARRI Macro 60mm T3.0 Lens, Zeiss ARRI Macro Lenses, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Distagon 40 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 65 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 100 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 135 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens
A Spark in Nothing (2021)
Better Call Saul (2015)
| Cinematography by | Arthur Albert, Marshall Adams | Editing by | Skip Macdonald, Kelley Dixon, Chris McCaleb, Curtis Thurber, Christopher M. Meagher, Joey Reinisch
Cameras | Panasonic Lumix DMC-GH4 Camera, Panasonic VariCam 35, Red Epic Dragon Camera, Red Helium (Weapon) 8K, Sony α7R II Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo 45-120 mm T2.8 Lens
The Bastard Sword (2018)
FML (2016)
Directed by | Jason Nash | Cinematography by | Tobias Deml
Cameras | Sony α7R II Camera, Sony α7S II Camera
Logan (2017)
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
The Flash (2014)
| Cinematography by | C. Kim Miles, Brenton Spencer, Stewart Whelan, Alwyn Kumst, Jeffrey C. Mygatt, Glen Winter, Jan Kiesser, Bruce Worrall, Craig Wright, Ronald Richard | Editing by | Nathan Draper, Felicia Mignon Livingston, Christopher Oakes, Chris Peppe, Chris Conlee, Harry Jierjian, Paul Karasick, Dan Wilken, Rhett Finch, Mike Jackson, Iris Hershner, Andrew Kasch, Derek Stricker
Cameras | ARRI ALEXA Camera, ARRI ALEXA Series Cameras, ARRI Cameras, Sony Cameras, Sony α7 Series Cameras, Sony α7S II Camera
Lenses | Angenieux Lenses, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke 5/i Lenses, Cooke Lenses, Cooke S4/i Lenses, Zeiss Ultra Prime 8R 8 mm T.2.8 Lens
Sad Hill Unearthed (2017)
Directed by | Guillermo de Oliveira | Cinematography by | Guillermo de Oliveira | Editing by | Guillermo de Oliveira, Javier Duch
Cameras | Sony α7S II Camera
Lenses | Canon EF 24-70 mm f2.8L II Lens
Pickings (2018)
Directed by | Usher Morgan | Cinematography by | Usher Morgan, Louis Obioha | Editing by | Usher Morgan
Prázdno (2016)
Directed by | Jakub Havlík | Cinematography by | Jan Výbora | Editing by | Jaroslav Svoboda
Cameras | Sony α7S II Camera
The Box (2018)
Directed by | Jack O'Donoghue, Isaac Stewart | Cinematography by | Isaac Stewart | Editing by | Isaac Stewart
Cameras | Canon EOS-7D Camera, Sony α7S Camera
Annabelle Hooper and the Ghosts of Nantucket (2016)
Directed by | Paul Serafini | Cinematography by | Ryan Patrick Dean
Cameras | Sony PXW-FS7 Camera, Sony α7R II Camera
Lenses | Zeiss Compact Prime Lenses
