Color | 3927 Titles
Beast (2015)
Directed by | Sam McKeith, Tom McKeith | Cinematography by | Michael Steel | Editing by | Paul Murphy
Cameras | ARRI AMIRA Camera
Lenses | Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm 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
Twixt (2011)
Directed by | Francis Ford Coppola | Cinematography by | Mihai Malaimare Jr. | Editing by | Kevin Bailey, Glen Scantlebury, Robert Schafer
Cameras | Sony HDW-F900 Camera
Focus (2015)
Directed by | Glenn Ficarra, John Requa | Cinematography by | Xavier Grobet | Editing by | Jan Kovac
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera
Lenses | Hawk V-Lite Lenses, Hawk V-Plus Lenses
Più accecante della notte (2016)
Directed by | Diego Bonuccelli | Cinematography by | Diego Bonuccelli, Katia Cirrincione | Editing by | Diego Bonuccelli
Cameras | Canon Cameras, Canon EOS-5D Mark III Camera, GoPro (Woodman Labs) Cameras, GoPro HERO4 Black
Lenses | Canon EF Series Lenses, Canon Lenses
Manchester by the Sea (2016)
Directed by | Kenneth Lonergan | Cinematography by | Jody Lee Lipes | Editing by | Jennifer Lame
Cameras | ARRI ALEXA XT Camera
Lenses | Angenieux Lenses, Canon K35 Prime Lenses
The Precipice Game (2016)
Directed by | Zao Wang | Cinematography by | Joewi Verhoeven | Editing by | Hua Tang, Jolin Zhu
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA Studio Camera
The Institute (2017)
Directed by | James Franco, Pamela Romanowsky | Cinematography by | Pedro Gómez Millán | Editing by | Evan Ahlgren, Aaron I. Butler
Cameras | Red Epic Dragon Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Cooke S4 Lenses
Follow (2015)
Directed by | Owen Egerton | Cinematography by | Ellie Ann Fenton | Editing by | Sean McQueeney
Cameras | Sony PMW-F55 Camera
Una Famiglia (2017)
Directed by | Sebastiano Riso | Cinematography by | Piero Basso | Editing by | Ilaria Fraioli
Cameras | ARRI ALEXA Plus Camera
Lenses | Panavision SL10 10 mm T1.9 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 SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens
Somewhere in the Middle (2015)
Directed by | Lanre Olabisi | Cinematography by | Piero Basso | Editing by | Alex Kopit
Cameras | ARRI ALEXA Camera
Lenses | Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens
Billy’s Hollywood Screen Kiss (1998)
Directed by | Tommy O'Haver | Cinematography by | Mark Mervis | Editing by | Jeff Betancourt
Cameras | Panavision Silent Reflex PSR Camera
Bright (2017)
Directed by | David Ayer | Cinematography by | Roman Vasyanov | Editing by | Aaron Brock, Geoffrey O'Brien, Michael Tronick
Lenses | Panavision Lenses
Roshtalivik (2016)
Directed by | Nicholas J. Moore | Cinematography by | Nicholas J. Moore | Editing by | Nicholas J. Moore
Cameras | Canon EOS Rebel T3i camera, Canon EOS-7D Camera
Collateral Beauty (2016)
Directed by | David Frankel | Cinematography by | Maryse Alberti | Editing by | Andrew Marcus
Cameras | ARRI ALEXA XT Plus Camera
Pipe Dreams: Six of Them (2016)
Directed by | Kain Baigent | Editing by | David Baldini
Cameras | Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, GoPro HD Hero Camera, GoPro HD Hero2 Camera, Panasonic AG-HVX200 Camera
Postpartum (2016)
Directed by | Richard Bakewell, Lale Arpaci | Cinematography by | Chun Ming Huang
Cameras | Panasonic VariCam 35
Flock of Four (2017)
Directed by | Gregory Caruso | Cinematography by | Gus Bendinelli | Editing by | Vic Brown
Cameras | ARRI ALEXA XT Plus Camera
L’homme au piano (0)
Directed by | Chauncey Alan | Cinematography by | Gina Ferrer | Editing by | Mathilde Van de Moortel
Cameras | ARRI ALEXA Camera, ARRI AMIRA Camera
Prázdno (2016)
Directed by | Jakub Havlík | Cinematography by | Jan Výbora | Editing by | Jaroslav Svoboda
Cameras | Sony α7S II Camera
The Parallax View (1974)
