4K DCP (Digital Cinema Package) | 75 Titles
Fantastic Beasts and Where to Find Them (2016)
Directed by | David Yates | Cinematography by | Philippe Rousselot | Editing by | Mark Day
Cameras | ARRI ALEXA XT Camera
Lenses | Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
At Eternity’s Gate (2018)
Directed by | Julian Schnabel | Cinematography by | Benoît Delhomme | Editing by | Louise Kugelberg, Julian Schnabel
Cameras | Red Helium (Weapon) 8K
Lenses | Kowa Cine Prominar 20mm T2.3 Lens, Kowa Cine Prominar 25mm T2.3 Lens, Kowa Cine Prominar 32mm T2.3 Lens, Kowa Cine Prominar Spherical Lenses
Trick Shot (2015)
Directed by | Evan Kaufmann | Cinematography by | Gale Tattersall | Editing by | Zach Prichard
Cameras | Canon EOS-C300 Mark II Camera
Sad Hill Unearthed (2017)
Directed by | Guillermo de Oliveira | Cinematography by | Guillermo de Oliveira | Editing by | Guillermo de Oliveira, Javier Duch
Cameras | Sony α7S II Camera
Lenses | Canon EF 24-70 mm f2.8L II Lens
Capsule (2015)
Directed by | Andrew Martin | Cinematography by | Felix Forrest | Editing by | Jan Hillman
Lenses | Angenieux Optimo 45-120 mm T2.8 Lens, Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Cooke miniS4/i 100mm T2.8 Lens, Cooke miniS4/i 18mm T2.8 Lens, Cooke miniS4/i 25mm T2.8 Lens, Cooke miniS4/i 32mm T2.8 Lens, Cooke miniS4/i 50mm T2.8 Lens, Cooke miniS4/i 75mm T2.8 Lens, Cooke miniS4/i Lenses, Red Pro Zoom 17-50 mm T2.9 Lens, Red Pro Zoom Lenses, Tokina AT-X116 Pro DX 11-16 mm f2.8 Lens, Tokina Lenses
Doctor Strange (2016)
Directed by | Scott Derrickson | Cinematography by | Ben Davis | Editing by | Sabrina Plisco, Wyatt Smith
Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera
Lenses | Angenieux Optimo Zoom Lenses, Fujinon Premier Lenses, Panavision 65mm Prime Lenses, Panavision Primo 70 Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses
Magic Mike XXL (2015)
Directed by | Gregory Jacobs | Cinematography by | Steven Soderbergh | Editing by | Steven Soderbergh
Cameras | Red Epic Dragon Camera
To Here Knows When (2013)
Directed by | Grant McPhee | Cinematography by | Grant McPhee | Editing by | Ben McKinstrie
Cameras | Éclair NPR Camera, Red One MX Camera
Lenses | Nikon - Nikkor Lenses
Where Do We Go From Here? (2015)
Directed by | John McPhail | Cinematography by | Grant McPhee | Editing by | John McPhail
Cameras | Red Epic Camera
Lenses | Red Pro Prime 100 mm T1.8 Lens, Red Pro Prime 18 mm T1.8 Lens, Red Pro Prime 25 mm T1.8 Lens, Red Pro Prime 35 mm T1.8 Lens, Red Pro Prime 50 mm T1.8 Lens, Red Pro Prime 85 mm T1.8 Lens
Press (2016)
Directed by | Paolo Bertino, Alessandro Isetta | Cinematography by | Federico Torres | Editing by | Enrico Giovannone, Anna Isberg, Luca Vigliani
Cameras | Red Epic Dragon Camera
Lenses | Zeiss Standard Prime MKII 100 mm T2.1 Lens, Zeiss Standard Prime MKII 135 mm T2.1 Lens, Zeiss Standard Prime MKII 180 mm T3.0 Lens, Zeiss Super Speeds Mk III 18 mm T1.3 Lens, Zeiss Super Speeds Mk III 25 mm T1.3 Lens, Zeiss Super Speeds Mk III 35 mm T1.3 Lens, Zeiss Super Speeds Mk III 50 mm T1.3 Lens, Zeiss Super Speeds Mk III 65 mm T1.3 Lens, Zeiss Super Speeds Mk III 85 mm T1.3 Lens
Katyar Kaljat Ghusali (2015)
Directed by | Subodh Bhave | Cinematography by | Sudhir Palsane | Editing by | Ashish Mhatre, Apurva Motiwale
Tears of Steel (2012)
Testament of Youth (2014)
Directed by | James Kent | Cinematography by | Rob Hardy | Editing by | Lucia Zucchetti
Cameras | Sony CineAlta F65 Camera
Call Me King (2017)
Directed by | R.L. Scott | Cinematography by | R.L. Scott
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
The Danish Girl (2015)
Directed by | Tom Hooper | Cinematography by | Danny Cohen | Editing by | Melanie Oliver
Cameras | Red Epic Dragon Camera
Canon USA Commercial: Rhythm of Life (2013)
Directed by | Dean Hargrove | Cinematography by | Steven Poster | Editing by | Peter Harding, Scott Sheppard
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
The Bridge on the River Kwai (1957) 
Directed by | David Lean | Cinematography by | Jack Hildyard | Editing by | Peter Taylor
Lenses | Bausch & Lomb Lenses
The Hunger Games: Mockingjay – Part 2 (2015)
Directed by | Francis Lawrence | Cinematography by | Jo Willems | Editing by | Alan Edward Bell, Mark Yoshikawa
Cameras | ARRI ALEXA XT Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Atlas Shrugged: Who Is John Galt? (2014)
Directed by | James Manera | Cinematography by | Gale Tattersall | Editing by | Tony Ciccone, Mike Hugo
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
Fury (2014)
Directed by | David Ayer | Cinematography by | Roman Vasyanov | Editing by | Jay Cassidy, Dody Dorn
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C1000 1000 mm T5.6 Lens, Panavision G Series Anamorphic Lenses
