2.39:1 | 1565 Titles
The Family (2013)
Directed by | Luc Besson | Cinematography by | Thierry Arbogast | Editing by | Julien Rey
Lenses | Angenieux Optimo Zoom Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
We Are What We Are (2013)
Directed by | Jim Mickle | Cinematography by | Ryan Samul | Editing by | Jim Mickle
Cameras | Red Epic Camera
Lenses | Red Pro Prime Lenses, Red Pro Zoom Lenses
Need for Speed (2014)
Directed by | Scott Waugh | Cinematography by | Shane Hurlbut | Editing by | Paul Rubell, Scott Waugh
Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Anamorphic Lenses, Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens, Cooke S4/i Prime 12mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 180mm 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 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Leica Elmarit-R II 28 mm f2.0, Leica Super Angulon-R 21 mm f4.0, Leica Super-Elmarit-R 15 mm f2.8, Leitz Summicron-C 21 mm T2.0 Lens, Zeiss Distagon T* 15mm f2.8 ZE, Zeiss Distagon T* 18mm f3.5 ZE
Turbo (2013)
2 Guns (2013)
Cinéman (2009)
Directed by | Yann Moix | Cinematography by | Jérôme Alméras, Rémy Chevrin | Editing by | André Billaud, Philippe Bourgueil, Marco Cavé, Christine Lucas Navarro
In a World… (2013)
Directed by | Lake Bell | Cinematography by | Seamus Tierney | Editing by | Tom McArdle
Cameras | Red Epic Camera
Lenses | Hawk C-Series Lenses
Prince Avalanche (2013)
Directed by | David Gordon Green | Cinematography by | Tim Orr | Editing by | Colin Patton
Cameras | ARRI ALEXA Camera
Lenses | Bausch & Lomb Super Baltar Lenses
Don Jon (2013)
Directed by | Joseph Gordon-Levitt | Cinematography by | Thomas Kloss | Editing by | Lauren Zuckerman
Insidious: Chapter 2 (2013)
Directed by | James Wan | Cinematography by | John R. Leonetti | Editing by | Kirk M. Morri
Cameras | ARRI ALEXA Camera
Out of the Furnace (2013)
Directed by | Scott Cooper | Cinematography by | Masanobu Takayanagi | Editing by | David Rosenbloom
Jobs (2013)
Directed by | Joshua Michael Stern | Cinematography by | Russell Carpenter | Editing by | Robert Komatsu
Cameras | ARRI ALEXA Camera
Lenses | Zeiss Ultra Prime Lenses
The Internship (2013)
Directed by | Shawn Levy | Cinematography by | Jonathan Brown | Editing by | Dean Zimmerman
Cameras | ARRI ALEXA Plus Camera
Killing Season (2013)
Directed by | Mark Steven Johnson | Cinematography by | Peter Menzies Jr. | Editing by | Sean Albertson
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Blue Jasmine (2013)
Directed by | Woody Allen | Cinematography by | Javier Aguirresarobe | Editing by | Alisa Lepselter
Lenses | Zeiss Master Prime Lenses
We’re the Millers (2013)
Directed by | Rawson Marshall Thurber | Cinematography by | Barry Peterson | Editing by | Michael L. Sale
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
The Heat (2013)
Directed by | Paul Feig | Cinematography by | Robert D. Yeoman | Editing by | Jay Deuby, Brent White
The Colony (2013)
Directed by | Jeff Renfroe | Cinematography by | Pierre Gill | Editing by | Aaron Marshall
Cameras | ARRI ALEXA Camera
Lenses | Panavision Primo Anamorphic Lenses
Oldboy (2013)
Directed by | Spike Lee | Cinematography by | Sean Bobbitt | Editing by | Barry Alexander Brown
Lenses | ARRI / Fujinon Lenses, Cooke 5/i Lenses
































































