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D-Cinema (DCP - Digital Cinema) | 1199 Titles

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The Batman (2022)

Motion Picture | 2D | 4K Project | Color | 2.39:1 | 176 Minutes

Directed by | Matt Reeves | Cinematography by | Greig Fraser | Editing by | William Hoy, Tyler Nelson

Starring | Robert Pattinson, Zoë Kravitz, Jeffrey Wright

Cameras | ARRI ALEXA LF Camera, ARRI ALEXA Mini LF Camera, ARRI ALEXA Plus 4:3 Camera

Lenses | ARRI Rental ALFA Lenses, ARRI Rental Prime DNA Lenses, Atlas Orion Anamorphic Series Lenses, Cooke Xtal Express Lenses

Avengers: Endgame (2019)

Motion Picture | 2D, 3D | 4K Project | Color | 1.90:1, 2.39:1 | 181 Minutes

Directed by | Anthony Russo, Joe Russo | Cinematography by | Trent Opaloch | Editing by | Jeffrey Ford, Matthew Schmidt

Starring | Robert Downey Jr., Chris Evans, Mark Ruffalo

Cameras | ALEXA IMAX Camera

Lenses | Panavision APO Panatar Lenses, Panavision Sphero 65 Series Lenses

You Were Never Really Here (2017)

Motion Picture | 2D | 2K Project | Black & White, Color | 2.39:1 | 89 Minutes

Directed by | Lynne Ramsay | Cinematography by | Thomas Townend | Editing by | Joe Bini

Starring | Joaquin Phoenix, Judith Roberts, Ekaterina Samsonov

Cameras | ARRI ALEXA XT Series Cameras

Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Macro Anamorphic Panatar Prime Lenses, Panavision Primo Anamorphic Lenses, Panavision T Series Anamorphic Lenses

Ghost in the Shell (2017)

Motion Picture | 2D | 2K Project | Color | 1.85:1 | 107 Minutes

Directed by | Rupert Sanders | Cinematography by | Jess Hall | Editing by | Billy Rich, Neil Smith

Starring | Scarlett Johansson, Pilou Asbæk, Takeshi Kitano

Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera

Lenses | Leitz Summilux-C Series Lenses, Panavision Sphero 65 65SP100 100mm T2.0 Lens, Panavision Sphero 65 65SP40 40mm T2.8 Lens, Panavision Sphero 65 65SP50 50mm T2.0 Lens, Panavision Sphero 65 65SP75 75mm T2.0 Lens

Victoria & Abdul (2017)

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

Directed by | Stephen Frears | Cinematography by | Danny Cohen | Editing by | Melanie Oliver

Starring | Judi Dench, Ali Fazal, Tim Pigott-Smith

Cameras | ARRI ALEXA Camera, Red Epic Dragon Camera

Lenses | Angenieux Lenses, Zeiss Master Prime Lenses

I Don’t Feel at Home in This World Anymore (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 93 Minutes

Directed by | Macon Blair | Cinematography by | Larkin Seiple | Editing by | Tomas Vengris

Starring | Melanie Lynskey, Chris Doubek, Marilyn Faith Hickey

Cameras | ARRI ALEXA Mini Camera

Lenses | Bausch & Lomb Super Baltar Lenses, Zeiss Super Speed Lenses

Beauty and the Beast (2017)

Motion Picture | 2D, 3D | 2K Project | Color | 1.90:1, 2.39:1 | 129 Minutes

Directed by | Bill Condon | Cinematography by | Tobias A. Schliessler | Editing by | Virginia Katz

Starring | Emma Watson, Dan Stevens, Luke Evans

Cameras | ARRI ALEXA XT Plus Camera

Lenses | Leitz Summilux-C Series Lenses

Love, Simon (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 110 Minutes

Directed by | Greg Berlanti | Cinematography by | John Guleserian | Editing by | Harry Jierjian

Starring | Nick Robinson, Jennifer Garner, Josh Duhamel

Cameras | ARRI ALEXA XT Camera

Lenses | ARRI / Zeiss Master Anamorphic Lenses

The Other Side of the Wind (2018)

Motion Picture | 2D | 4K Project | Black & White, Color | 1.66:1, 1.85:1 | 122 Minutes

Directed by | Orson Welles | Cinematography by | Gary Graver | Editing by | Bob Murawski, Orson Welles

Starring | John Huston, Oja Kodar, Peter Bogdanovich

Cameras | Éclair NPR Camera

Girls Trip (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 122 Minutes

Directed by | Malcolm D. Lee | Cinematography by | Greg Gardiner | Editing by | Paul Millspaugh

Starring | Regina Hall, Queen Latifah, Jada Pinkett Smith

Cameras | Sony PMW-F55 Camera

Lenses | Panavision Compact Zoom Lenses, Panavision Primo Primes Spherical Lenses

It (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 135 Minutes

Directed by | Andy Muschietti | Cinematography by | Chung-hoon Chung | Editing by | Jason Ballantine

Starring | Bill Skarsgård, Jaeden Martell, Finn Wolfhard

Cameras | ARRI ALEXA Mini Camera

Lenses | Angenieux Optimo Anamorphic 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

Coco (2017)

Motion Picture | 2D, 3D | 4K Project | Color | 2.39:1 | 105 Minutes

Directed by | Lee Unkrich, Adrian Molina | Editing by | Steve Bloom, Lee Unkrich

Starring | Anthony Gonzalez, Gael García Bernal, Benjamin Bratt

Suburbicon (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 105 Minutes

Directed by | George Clooney | Cinematography by | Robert Elswit | Editing by | Stephen Mirrione

Starring | Matt Damon, Julianne Moore, Oscar Isaac

Cameras | ARRI ALEXA XT Plus 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

Sorry to Bother You (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 112 Minutes

Directed by | Boots Riley | Cinematography by | Doug Emmett | Editing by | Terel Gibson

Starring | LaKeith Stanfield, Tessa Thompson, Jermaine Fowler

Cameras | ARRI ALEXA Mini Camera

Lenses | Cooke Anamorphic/i Prime Lenses

Free Solo (2018)

Documentary | 2D | 2K Project | Color | 1.85:1 | 100 Minutes

Directed by | Jimmy Chin, Elizabeth Chai Vasarhelyi | Cinematography by | Jimmy Chin, Clair Popkin, Mikey Schaefer | Editing by | Bob Eisenhardt

Starring | Alex Honnold, Tommy Caldwell, Jimmy Chin, Cheyne Lempe

Cameras | Blackmagic URSA Mini Camera, Canon EOS-1Ds Mark II Camera, Canon EOS-C300 Mark II Camera

Lenses | Canon CINE-SERVO 50-1000mm T5.0 Lens

Causeway (2022)

Motion Picture | 2D | 4K Project | Color | 1.85:1 | 94 Minutes

Directed by | Lila Neugebauer | Cinematography by | Diego García | Editing by | Robert Frazen, Lucian Johnston

Starring | Jennifer Lawrence, Brian Tyree Henry, Linda Emond

Cameras | ARRI ALEXA LF Camera

Lenses | Panavision H Series Lenses

Swiss Army Man (2016)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 97 Minutes

Directed by | Daniel Kwan, Daniel Scheinert | Cinematography by | Larkin Seiple | Editing by | Matthew Hannam

Starring | Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Phantom Flex4K Camera, Red Epic Dragon Camera, Sony PMW-EX3 Camera

Lenses | Angenieux Optimo Zoom Lenses, Cooke Anamorphic Lenses, Cooke S4/i Lenses, Cooke Xtal Express Lenses, Zeiss Super Speed Lenses

All the Money in the World (2017)

Movie | 2D | 2K Project | Black & White, Color | 2.39:1 | 132 Minutes

Directed by | Ridley Scott | Cinematography by | Dariusz Wolski | Editing by | Claire Simpson

Starring | Michelle Williams, Christopher Plummer, Mark Wahlberg

Cameras | ARRI ALEXA XT Series Cameras

Lenses | Panavision Super Speed Lenses

Life Itself (2018)

Motion Picture | 2D | Color | 2.39:1 | 117 Minutes

Directed by | Dan Fogelman | Cinematography by | Brett Pawlak | Editing by | Julie Monroe

Starring | Oscar Isaac, Olivia Wilde, Annette Bening

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera

Lenses | Cooke Panchro/i Classic Lenses

Kin (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 102 Minutes

Directed by | Jonathan Baker, Josh Baker | Cinematography by | Larkin Seiple | Editing by | Mark Day

Starring | Myles Truitt, Jack Reynor, Dennis Quaid

Cameras | ARRI ALEXA Mini Camera

Lenses | Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

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