2.39:1 | 1565 Titles
RED 2 (2013)
Directed by | Dean Parisot | Cinematography by | Enrique Chediak | Editing by | Don Zimmerman
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses | Hawk V-Lite Lenses
Elysium (2013)
Directed by | Neill Blomkamp | Cinematography by | Trent Opaloch | Editing by | Julian Clarke, Lee Smith
Cameras | Canon EOS-5D Mark II Camera, Red Epic Camera
Lenses | Canon L Series Lenses, Nikon - Nikkor Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
The Great Gatsby (2013)
Directed by | Baz Luhrmann | Cinematography by | Simon Duggan | Editing by | Jason Ballantine, Jonathan Redmond, Matt Villa
Cameras | Red Epic Camera
Lenses | Zeiss Ultra Prime Lenses
Now You See Me (2013)
Directed by | Louis Leterrier | Cinematography by | Mitchell Amundsen, Larry Fong | Editing by | Robert Leighton, Vincent Tabaillon
Odd Thomas (2013)
Directed by | Stephen Sommers | Cinematography by | Mitchell Amundsen | Editing by | David Checel
Cameras | Red Epic Camera
Dead Man Down (2013)
Directed by | Niels Arden Oplev | Cinematography by | Paul Cameron | Editing by | Timothy A. Good, Frédéric Thoraval
Cameras | ARRI ALEXA Plus Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4 Lenses, Hawk 150-450 mm T2.8 Lens
Pain & Gain (2013)
Directed by | Michael Bay | Cinematography by | Ben Seresin | Editing by | Tom Muldoon, Joel Negron
Cameras | Canon EOS-7D Camera, GoPro HD Hero3 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom HD Gold Camera, Red Epic Camera
Carrie (2013)
Directed by | Kimberly Peirce | Cinematography by | Steve Yedlin | Editing by | Lee Percy, Nancy Richardson
Cameras | ARRI ALEXA Camera
The Loft (2014)
Directed by | Erik Van Looy | Cinematography by | Nicolas Karakatsanis | Editing by | Eddie Hamilton
Cameras | ARRI ALEXA Plus Camera
Lenses | Zeiss Master Prime Lenses
Phantom (2013)
Directed by | Todd Robinson | Cinematography by | Byron Werner | Editing by | Terel Gibson
Cameras | Red Epic Camera
Lenses | Angenieux Optimo Zoom Lenses
Upside Down (2012)
Directed by | Juan Solanas | Cinematography by | Pierre Gill | Editing by | Paul Jutras
Lenses | Hawk V-Lite Lenses, Hawk V-Plus Lenses
The Host (2013)
Directed by | Andrew Niccol | Cinematography by | Roberto Schaefer | Editing by | Thomas J. Nordberg
Cameras | ARRI ALEXA Camera
Jack the Giant Slayer (2013)
Directed by | Bryan Singer | Cinematography by | Newton Thomas Sigel | Editing by | Bob Ducsay, John Ottman
Plan 9 (2015)
Directed by | John Johnson | Cinematography by | B. Sweeney | Editing by | John Johnson, Neil Wagner
Cameras | Aaton 35-III Camera, Sony PMW-F3 Camera
Lenses | Zeiss Lenses
Stoker (2013)
Directed by | Chan-wook Park | Cinematography by | Chung-hoon Chung | Editing by | Nicolas De Toth
Cameras | ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera
21 & Over (2013)
Directed by | Jon Lucas, Scott Moore | Cinematography by | Terry Stacey | Editing by | John Refoua
Cameras | ARRI ALEXA Camera
Lenses | Cooke S4 Lenses
The Last Exorcism Part II (2013)
Directed by | Ed Gass-Donnelly | Cinematography by | Brendan Steacy | Editing by | Ed Gass-Donnelly
Cameras | ARRI ALEXA Camera
Dark Skies (2013)
Directed by | Scott Stewart | Cinematography by | David Boyd | Editing by | Peter Gvozdas
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo Zoom Lenses
Reach Me (2014)
Directed by | John Herzfeld | Cinematography by | Vern Nobles | Editing by | Steven Cohen
Cameras | Red Epic Camera
Identity Thief (2013)
Directed by | Seth Gordon | Cinematography by | Javier Aguirresarobe | Editing by | Peter Teschner
Cameras | ARRI ALEXA Camera
Lenses | Zeiss Master Prime Lenses
