Color | 3927 Titles
The Kid Stays in the Picture (2002)
Directed by | Nanette Burstein, Brett Morgen | Cinematography by | John Bailey | Editing by | Jun Diaz
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Wilfred (2011)
| Cinematography by | Bradford Lipson, Tom Magill, Kurt Jones, Blake T. Evans | Editing by | Richie Edelson, Grady Cooper, Christian Hoffman, Tod Modisett, Ivan Victor, Daniel Raj Koobir, Claire Scanlon, Tyler Earring, Robert Bramwell
Enemy Within (2019)
Boxboarders! (2007)
Directed by | Rob Hedden | Cinematography by | Matthew Williams | Editing by | David L. Bertman
Cameras | Panasonic AJ-HDC27 Varicam Camera
Lenses | Canon 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
A Star Is Born (2018)
Directed by | Bradley Cooper | Cinematography by | Matthew Libatique | Editing by | Jay Cassidy
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo Anamorphic Lenses, Cooke Anamorphic/i SF 25mm T2.3 Lens, Cooke Anamorphic/i SF 32mm T2.3 Lens, Cooke Anamorphic/i SF 40mm T2.3 Lens, Cooke Anamorphic/i SF 50mm T2.3 Lens, Cooke Anamorphic/i SF 75mm T2.3 Lens, Cooke Anamorphic/i SF Prime Lenses, Kowa Cine Prominar Anamorphic Lenses
Andi Mack (2017)
| Cinematography by | Matthew Williams | Editing by | Jane Choi, Marcelo Sansevieri
Cameras | ARRI ALEXA Mini Camera
Lenses | Cooke 5/i Prime 100mm T1.4 Lens, Cooke 5/i Prime 135mm T1.4 Lens, Cooke 5/i Prime 18mm T1.4 Lens, Cooke 5/i Prime 25mm T1.4 Lens, Cooke 5/i Prime 32mm T1.4 Lens, Cooke 5/i Prime 40mm T1.4 Lens, Cooke 5/i Prime 50mm T1.4 Lens, Cooke 5/i Prime 65mm T1.4 Lens, Cooke 5/i Prime 75mm T1.4 Lens, Cooke S4/i Prime 100mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Jackie (2016)
Directed by | Pablo Larraín | Cinematography by | Stéphane Fontaine | Editing by | Sebastián Sepúlveda
Cameras | ARRIFLEX 416 Plus Camera
Dofus – Livre 1: Julith (2015)
The Shining (1980)
Directed by | Stanley Kubrick | Cinematography by | John Alcott | Editing by | Ray Lovejoy
Cameras | ARRIFLEX 35 BL Camera
Eyes Wide Shut (1999)
Directed by | Stanley Kubrick | Cinematography by | Larry Smith | Editing by | Nigel Galt
Cameras | ARRIFLEX 535 B Camera, Moviecam Superlight Camera
NSync: Bigger Than Live (2001)
Directed by | John Bailey | Cinematography by | John Bailey, Matthew Williams | Editing by | Lou Angelo, Robert DeMaio, Christian Wagner
Cameras | Iwerks MSM 8870 Camera
India: Kingdom of the Tiger (2002)
Directed by | Bruce Neibaur | Cinematography by | Matthew Williams | Editing by | Jean-Marie Drot
Cameras | IMAX MSM 9802 Camera
Lenses | Hasselblad Lenses
Malaria (2016)
Directed by | Parviz Shahbazi | Cinematography by | Hooman Behmanesh | Editing by | Parviz Shahbazi
Cameras | ARRI ALEXA XT Plus Camera
Skull (2018)
Directed by | Yusron Fuadi | Editing by | Yusron Fuadi
Lenses | Nikon - Nikkor Lenses, Samyang VDSLR II Cine 85 mm T1.5 Lens, Zeiss Distagon T* 25mm f2.0 ZE
Taxi Driver (1976)
Directed by | Martin Scorsese | Cinematography by | Michael Chapman | Editing by | Tom Rolf, Melvin Shapiro
Cameras | ARRIFLEX 35 BL Camera
Lenses | Zeiss Super Speed Lenses
The Patriot (2000)
Directed by | Roland Emmerich | Cinematography by | Caleb Deschanel | Editing by | David Brenner, Christopher Holmes, Julie Monroe
Cameras | Panavision Cameras
Lenses | Panavision Lenses
A Time to Kill (1996)
Directed by | Joel Schumacher | Cinematography by | Peter Menzies Jr. | Editing by | William Steinkamp
Cameras | Panavision Panaflex Platinum Camera
If Beale Street Could Talk (2018)
Directed by | Barry Jenkins | Cinematography by | James Laxton | Editing by | Joi McMillon, Nat Sanders
Cameras | ARRI ALEXA 65 Camera
Lenses | ARRI Rental Prime DNA Lenses
