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23.976 fps Distribution | 184 Titles

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Don’t Breathe (2016)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 88 Minutes

Directed by | Fede Alvarez | Cinematography by | Pedro Luque | Editing by | Eric L. Beason, Louise Ford, Gardner Gould

Starring | Stephen Lang, Jane Levy, Dylan Minnette, Daniel Zovatto

Cameras | ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Phantom Flex4K Camera, Red Epic Dragon Camera

Lenses | Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens, Zeiss Super Speed Lenses, Zeiss Super Speeds Mk II 18 mm T1.3 Lens, Zeiss Super Speeds Mk II 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 12 mm T1.3 Lens, Zeiss Ultra 16 Distagon 14 mm T1.3 Lens, Zeiss Ultra 16 Distagon 18 mm T1.3 Lens, Zeiss Ultra 16 Distagon 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 6 mm T1.3 Lens, Zeiss Ultra 16 Distagon 8 mm T1.3 Lens, Zeiss Ultra 16 Distagon 9.5 mm T1.3 Lens, Zeiss Ultra 16 Planar 35 mm T1.3 Lens

Good Boys (2019)

Movie | 2D | Color | 2.39:1 | 89 Minutes

Directed by | Gene Stupnitsky | Cinematography by | Jonathan Furmanski | Editing by | Daniel Gabbe

Starring | Jacob Tremblay, Molly Gordon, Retta, Will Forte

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera

Lenses | Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 mm T1.9 Lens, Zeiss Master Anamorphic 180 mm T2.8 Lens, Zeiss Master Anamorphic 28 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 40 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 60 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens

Wild for the Night (2016)

Motion Picture | 2D, 3D | 2K Project | Color | 1.78:1 (16x9), 2.39:1 | 100 Minutes

Directed by | Benny Boom | Cinematography by | Tommy Maddox-Upshaw | Editing by | Dan O'Brien

Starring | Madison Iseman, Caitlin McHugh, Danielle Savre, Tommy Flanagan

Cameras | Red Epic Dragon Camera

Jason Bourne (2016)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 123 Minutes

Directed by | Paul Greengrass | Cinematography by | Barry Ackroyd | Editing by | Christopher Rouse

Starring | Matt Damon, Tommy Lee Jones, Alicia Vikander, Vincent Cassel

Cameras | Aaton Penelope Camera, Aaton XTR Prod Camera, ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Canon EOS-C500 Camera, Codex Action Cam, Red Epic Dragon Camera

Lenses | Angenieux Optimo Zoom Lenses, Canon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses, Kowa Cine Prominar Spherical Lenses, Panavision Lenses, Zeiss Super Speed Lenses, Zeiss Ultra Prime Lenses

California Forever (2011)

Documentary | 2D | Color | 1.78:1 (16x9) | 120 Minutes

Directed by | David Vassar | Cinematography by | Christopher Tufty | Editing by | Christian White

Starring | Ken Dickason, Richard Doyle, Rob Alan Martin, Chase White

Cameras | Red One MX Camera

Lacuna (2016)

Short Film | 2D | HD Project | Color |

Directed by | Isaac Stewart | Cinematography by | Datu Bethke | Editing by | Matthew Roper, Isaac Stewart

Starring | Eliza Scanlen, Isaac Stewart, Joel Winch

Cameras | Canon EOS-1DX Camera

Lenses | Canon EF 24-70 mm f2.8L II Lens, Canon EF 50 mm f1.2 L Lens, Canon EF 70-200 mm f2.8 L IS II Lens, Canon Lenses

The Father and the Bear (2016)

Motion Picture | 2D | HD Project | Color | 1.78:1 (16x9) | 85 Minutes

Directed by | John Putch | Cinematography by | Keith J. Duggan | Editing by | John Putch

Starring | Wil Love, David DeLuise, Dendrie Taylor, Charity Farrell

Cameras | Blackmagic Pocket Cinema Camera, Canon EOS-C300 Camera

Lenses | Zeiss Lenses, Zeiss ZE Prime Lenses

Route 30 Three! (2014)

Motion Picture | 2D | HD Project | Color | 1.78:1 (16x9) | 94 Minutes

Directed by | John Putch | Cinematography by | Keith J. Duggan | Editing by | John Putch

Starring | David Cowgill, Nathalie Boltt, Dan Poole, Molly Lahr

Cameras | Sony PMW-F3 Camera

30 Rock (2006)

Television Series | 2D | Color | 1.78:1 (16x9) | 22 Minutes

| Cinematography by | Matthew Clark, Vanja Cernjul, Peter Reniers, Michael Slovis, Tom Houghton, Michael Trim, Calen Lang, Peter Agliata, William Klayer | Editing by | Ken Eluto, Meg Reticker, Doug Abel, Elizabeth Merrick, Craig Cobb, Alex Minnick

Starring | Tina Fey, Alec Baldwin, Tracy Morgan, Jack McBrayer

The Time That Remains (2016)

Short Film | 2D | 2K Project | Black & White, Color | 1.85:1 | 15 Minutes

Directed by | B.T. Crue | Cinematography by | David J. Schweitzer | Editing by | Sean Pollaro

Starring | Morningstar Angeline, Trey Caperton, Erik Gonzales, Joy Liesveld

Cameras | Aaton XTR Prod Camera

Lenses | Canon EC Series Lenses

Living After Midnight (2016)

Motion Picture | 2D | HD Project | Color | 2.39:1 | 64 Minutes

Directed by | Tyler W. Moore | Cinematography by | Izzy Dulay | Editing by | Tyler W. Moore

Starring | David Wayne Young, Miranda S. Nation, Matthew J. Lindblom, Tyler W. Moore

Cameras | Canon EOS Rebel T3i camera, GoPro HD Hero3 Camera, Sony NEX-FS700 Camera

Lenses | Canon EF Series Lenses, Sony Lenses

Call Me King (2017)

Motion Picture | 2D | 4K Project | Color | 2.39:1 | 118 Minutes

Directed by | R.L. Scott | Cinematography by | R.L. Scott

Starring | Amin Joseph, Bai Ling, Chris Mulkey, Bill Cobbs

Cameras | ARRI ALEXA Camera, Sony PMW-F55 Camera

Lenses | Sony Prime 50 mm T2.0 PL Lens, Sony Prime 85 mm T2.0 PL Lens, Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens

Algorithm (2014)

Direct to Video | 2D | Color | 1.85:1 | 91 Minutes

Directed by | Jon Schiefer | Cinematography by | Satsuki Murashige | Editing by | Jon Schiefer

Starring | Raphael Barker, Keith Barletta, Julie Ceballos, Joey Devine

Cameras | Canon EOS-5D Mark III Camera

Lenses | Canon L Series Lenses

La casa muda (2010)

Motion Picture | 2D | HD Project | Color | 1.78:1 (16x9) | 86 Minutes

Directed by | Gustavo Hernández | Cinematography by | Pedro Luque | Editing by | Gustavo Hernández

Starring | Florencia Colucci, Abel Tripaldi, Gustavo Alonso, María Salazar

Cameras | Canon EOS-5D Mark II Camera

Lenses | Canon EF 24-70 mm f2.8L II Lens

Triumph67 (2010)

Motion Picture | 2D | Color | 1.78:1 (16x9) | 99 Minutes

Directed by | Dan Tanz | Cinematography by | Jeremy Wilker | Editing by | Dan Tanz, Jeremy Wilker

Starring | Kareem Aal, Adam Elsafy, Mohannad Ghawanmeh, Sarah Martens

Cameras | Sony PMW-EX3 Camera

Lenses | Canon FD Series Lenses

Kelly & Cal (2014)

Motion Picture | 2D | Color | 2.39:1 | 111 Minutes

Directed by | Jen McGowan | Cinematography by | Philip Lott | Editing by | David Hopper

Starring | Juliette Lewis, Jonny Weston, Josh Hopkins, Cybill Shepherd

Cameras | ARRI ALEXA Plus 4:3 Camera

Lenses | Hawk V-Series Lenses

Chasing Ice (2012)

Documentary | 2D | Color | 1.78:1 (16x9) | 75 Minutes

Directed by | Jeff Orlowski | Cinematography by | Jeff Orlowski | Editing by | Davis Coombe

Starring | James Balog, Svavar Jónatansson, Louie Psihoyos, Kitty Boone

Cameras | Canon Cameras, Panasonic Cameras, Sony Cameras

The Apostate: Call of the Revenant (2015)

Direct to Video | 2D | Color | 1.78:1 (16x9), 2.40:1 | 82 Minutes

Directed by | Andy Dodd | Cinematography by | Andy Dodd, Catherine Kerr-Phillips | Editing by | Andy Dodd

Starring | James Bryhan, Terri Dwyer, Anthony Webster, Bob Sanderson

Cameras | Panasonic Lumix DMC-GH2 Camera

Lenses | Zeiss DigiZoom Vario-Sonnar 17–112 mm T1.9 Lens

Pretty Little Liars (2010)

Television Series | 2D | HD Project | Color | 1.78:1 (16x9) | 44 Minutes

| Cinematography by | Larry Reibman, Dana Gonzales, Buzz Feitshans IV, Craig Fikse, Robert LaBonge, Geoffrey Haley | Editing by | Robert Lattanzio, Lois Blumenthal, Melissa Gearhart, Susanne Malles, Jill D'Agnenica, Michael S. Murphy, Kaja Fehr, Jacqueline Cambas

Starring | Troian Bellisario, Ashley Benson, Lucy Hale, Shay Mitchell

Cameras | Red One MX Camera, Red Scarlet Camera

Lenses | Cooke S4/i Prime 300mm T2.8 Lens, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 20 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 28 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Distagon 40 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 65 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 100 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 135 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens

Atlas Shrugged: Who Is John Galt? (2014)

Motion Picture | 2D | Color | 1.33:1 (4x3), 1.78:1 (16x9), 1.85:1 | 99 Minutes

Directed by | James Manera | Cinematography by | Gale Tattersall | Editing by | Tony Ciccone, Mike Hugo

Starring | Kristoffer Polaha, Laura Regan, Rob Morrow, Peter Mackenzie

Cameras | Canon EOS-C500 Camera

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, Canon K35 135 mm T2.0 Lens, Canon K35 24 mm T1.5 Lens, Canon K35 35 mm T1.3 Lens, Canon K35 50 mm T1.3 Lens, Canon K35 85 mm T1.3 Lens, Canon Lenses

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