4:4:4 Chroma Subsampling | 161 Titles
The Veil (2016)
Directed by | Phil Joanou | Cinematography by | Steeven Petitteville | Editing by | Paul Norling
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Plus Camera, Bolex H16 Camera, Phantom Flex Camera
Lenses | Angenieux Optimo 24-290mm T2.8 Lens, Angenieux Optimo Anamorphic Lenses, CamTec Lenses, Cineovision Lenses, Kowa Cine Prominar Anamorphic 100mm T3.4 Lens, Kowa Cine Prominar Anamorphic 40mm T2.3 Lens, Kowa Cine Prominar Anamorphic 50mm T2.3 Lens, Kowa Cine Prominar Anamorphic 75mm T2.8 Lens
The Stroller Strategy (2012)
Directed by | Clément Michel | Cinematography by | Steeven Petitteville | Editing by | Julie Dupré
Cameras | ARRI ALEXA Plus Camera
Lenses | Panavision PMZ 14.5-50 mm T2.2 Lens, Panavision SL100 100 mm T1.9 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 SL75 75 mm T1.9 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
The Enchantress of Number (2018)
Directed by | Rebecca Murga | Cinematography by | David Auner
Cameras | Aaton Penelope Camera, ARRI AMIRA Premium Camera
Lenses | Cooke Speed Panchro (S2) 32mm f2.3 Lens, Cooke Speed Panchro (S2) 40mm f2.3 Lens, Cooke Speed Panchro (S2) 50mm f2.3 Lens, Cooke Speed Panchro (S2) 75mm f2.3 Lens, Cooke Speed Panchro (S3) 18mm T2.2 Lens, Cooke Speed Panchro (S3) 25mm T2.2 Lens
Mad Men (2007)
| Cinematography by | Chris Manley, Don Devine, Phil Abraham, Steve Mason, Frank G. DeMarco, Bill Roe, Jeffrey Jur, M. David Mullen | Editing by | Tom Wilson, Malcolm Jamieson, Christopher Gay, Leo Trombetta, Christopher Nelson, Chris Figler, David Siegel, Cindy Mollo, Pattye Rogers, Conrad Smart, Patricia Rafferty
Homeland (2011)
| Cinematography by | David Klein, Nelson Cragg, Giorgio Scali, Chris Manley | Editing by | Jordan Goldman, Philip Carr Neel, Harvey Rosenstock, Joe Hobeck, Terry Kelley, Michael Ruscio, Sarah Zeitlin, Garret Donnelly, Victoria Grimsley, David Latham
Cameras | ARRI ALEXA Camera, Red Epic Camera
Lenses | Angenieux Optimo Zoom Lenses, ARRI Shift & Tilt System Lens, Canon Lenses, Nikon - Nikkor Lenses, Zeiss Ultra Prime Lenses
High School Musical: The Musical – The Series (2019)
| Cinematography by | Matthew Williams, Larry Reibman | Editing by | Tod Modisett, Melissa Gearhart
Cameras | ARRI ALEXA Mini Camera
Skull (2018)
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
Sons of Anarchy (2008)
| Cinematography by | Paul Maibaum, David Boyd, John C. Flinn III, Jonathan Freeman, Edward J. Pei | Editing by | Paul Fontaine, Lauren Pendergrass, Etienne Des Lauriers, Hunter M. Via, Jordan Goldman, Jacques Gravett, Doc Crotzer, Tamara Luciano, Sidney Wolinsky
Lenses | Angenieux Optimo 45-120mm T2.8 Lens, Panavision Lightweight Zoom Lenses, Panavision Primo Primes Spherical Lenses
Il ragazzo invisibile: Fratelli (2018)
Directed by | Gabriele Salvatores | Cinematography by | Italo Petriccione
Cameras | ARRI ALEXA XT Camera
Whiplash (2014)
Directed by | Damien Chazelle | Cinematography by | Sharone Meir | Editing by | Tom Cross
Cameras | ARRI ALEXA Camera, Canon EOS-7D Camera
Family Obligations (2019)
Directed by | Kenneth R. Frank | Cinematography by | Kenneth R. Frank | Editing by | Chris Mollica, Kevin Wolfring
Cameras | Blackmagic Pocket Cinema Camera
The Curious Case of Benjamin Button (2008)
Directed by | David Fincher | Cinematography by | Claudio Miranda | Editing by | Kirk Baxter, Angus Wall
Lenses | Zeiss DigiPrime Lenses
The Resident (2018)
| 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 | Leitz Summicron-C 135 mm T2.0 Lens, Leitz Summicron-C 18 mm T2.0 Lens, Leitz Summicron-C 21 mm T2.0 Lens, Leitz Summicron-C 25 mm T2.0 Lens, Leitz Summicron-C 29 mm T2.0 Lens, Leitz Summicron-C 35 mm T2.0 Lens, Leitz Summicron-C 40 mm T2.0 Lens, Leitz Summicron-C 50 mm T2.0 Lens, Leitz 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
Second Act (2018)
Directed by | Peter Segal | Cinematography by | Ueli Steiger | Editing by | Jason Gourson
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 17-80mm T2.2 Lens, Angenieux Optimo 24-290mm T2.8 Lens, Angenieux Optimo 28-76mm T2.6 Lens, ARRI Ultra Wide Zoom 9.5-18mm T2.9 Lens
Rattlesnake (2019)
Directed by | Zak Hilditch | Editing by | Merlin Eden
Cameras | Sony CineAlta VENICE Camera
Lenses | Kowa Cine Prominar Spherical Lenses
Call the Midwife (2012)
| Cinematography by | Mark Waters, Stuart Biddlecombe, Toby Moore, Chris Seager, Simon Archer, James Aspinall, Gareth Hughes, Ulf Brantås, Nick Dance, Polly Morgan, Mark Garrett, Len Gowing, Sarah Bartles-Smith, Kate Reid, Richard Stoddard, John Rhodes, Michael Snyman, Henry Pierce | Editing by | Alex Kalmakrian, Beverley Mills, Jake Bernard, David Thrasher, Paul Brown, Jamie Trevill, Mary Finlay, Liz Webber, Lois Bygrave, Gareth C. Scales, Les Healey, Daniel Greenway, Simon Brasse, Rachel Hoult, Mark Thornton, Danielle Palmer, Vicky Tooms, Al Morrow, John Dwelly, Alan Harris, Andy Morrison, Louise Pearson, Jamie McCoan, Arthur Davis
Cameras | ARRIFLEX D-21 Camera
Revelator (2017)
Directed by | J. Van Auken | Cinematography by | Dan Clarke | Editing by | J. Van Auken
Cameras | Blackmagic URSA Camera
Beast (2015)
Directed by | Sam McKeith, Tom McKeith | Cinematography by | Michael Steel | Editing by | Paul Murphy
Cameras | ARRI AMIRA Camera
Lenses | Angenieux Optimo DP 16-42mm T2.8 Lens, Angenieux Optimo DP 30-80mm T2.8 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens