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

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American Animals (2018)

Motion Picture | 2D | Color | 2.39:1 | 116 Minutes

Directed by | Bart Layton | Cinematography by | Ole Bratt Birkeland | Editing by | Luke Dunkley, Nick Fenton, Chris Gill, Julian Hart

Starring | Spencer Reinhard, Warren Lipka, Eric Borsuk

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Sony α7S II Camera

Lenses | Cooke Anamorphic Lenses, Leica R Series Lenses, Zeiss Super Speed Lenses

The Hate U Give (2018)

Motion Picture | 2D | 4K Project | Color | 2.39:1 | 133 Minutes

Directed by | George Tillman Jr. | Cinematography by | Mihai Malaimare Jr. | Editing by | Alex Blatt, Craig Hayes

Starring | Amandla Stenberg, Regina Hall, Russell Hornsby

Cameras | Panavision Millennium DXL2 Camera

Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision Primo 70 Lenses, Panavision Ultra Panatar Anamorphic Lenses

Wildlife (2018)

Motion Picture | 2D | 4K Project | Color | 1.85:1 | 105 Minutes

Directed by | Paul Dano | Cinematography by | Diego García | Editing by | Louise Ford, Matthew Hannam

Starring | Ed Oxenbould, Jake Gyllenhaal, Carey Mulligan

Cameras | ARRI ALEXA XT Camera

Lenses | Panavision Primo Primes Spherical Lenses

In Fabric (2018)

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

Directed by | Peter Strickland | Cinematography by | Ari Wegner | Editing by | Mátyás Fekete

Starring | Sidse Babett Knudsen, Marianne Jean-Baptiste, Julian Barratt

Cameras | ARRI ALEXA Mini Camera

Lenses | Angenieux HP Zoom Lenses, Zeiss Super Speed Lenses

Ad Astra (2019)

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

Directed by | James Gray | Cinematography by | Hoyte Van Hoytema | Editing by | John Axelrad, Lee Haugen

Starring | Brad Pitt, Tommy Lee Jones, Ruth Negga, Donald Sutherland

Cameras | Aaton Penelope Camera, ARRI ALEXA XT Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX Camera

Lenses | CamTec Astra Master Prime Series Lenses, Zeiss Master Prime Lenses

Darkest Hour (2017)

Motion Picture | 2D | 4K Project | Black & White, Color | 1.85:1 | 125 Minutes

Directed by | Joe Wright | Cinematography by | Bruno Delbonnel | Editing by | Valerio Bonelli

Starring | Gary Oldman, Lily James, Kristin Scott Thomas

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

Lenses | Angenieux Lenses, Cooke S4/i Lenses

Eighth Grade (2018)

Motion Picture | 2D | 2K Project | Color | 1.85:1 | 93 Minutes

Directed by | Bo Burnham | Cinematography by | Andrew Wehde | Editing by | Jennifer Lilly

Starring | Elsie Fisher, Josh Hamilton, Emily Robinson

Cameras | Red Helium 8K Camera

Lenses | Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Only the Brave (2017)

Motion Picture | 2D | 4K Project | Color | 1.90:1, 2.39:1 | 134 Minutes

Directed by | Joseph Kosinski | Cinematography by | Claudio Miranda | Editing by | Billy Fox

Starring | Josh Brolin, Miles Teller, Jeff Bridges

Cameras | Sony CineAlta F65 Camera

Lenses | Fujinon Premier Lenses, Zeiss Master Prime Lenses

Ingrid Goes West (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 98 Minutes

Directed by | Matt Spicer | Cinematography by | Bryce Fortner | Editing by | Jack Price

Starring | Aubrey Plaza, Elizabeth Olsen, O'Shea Jackson Jr.

Cameras | ARRI ALEXA Mini Camera

Lenses | Panavision C Series Anamorphic Lenses

Super Dark Times (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 103 Minutes

Directed by | Kevin Phillips | Cinematography by | Eli Born | Editing by | Ed Yonaitis

Starring | Owen Campbell, Charlie Tahan, Elizabeth Cappuccino

Cameras | Red Epic Dragon Camera

Lenses | Cooke Anamorphic Lenses

The Babysitter (2017)

Motion Picture | 2D | 4K Project | Color | 2.39:1 | 85 Minutes

Directed by | McG | Cinematography by | Shane Hurlbut | Editing by | Martin Bernfeld, Peter Gvozdas

Starring | Judah Lewis, Samara Weaving, Robbie Amell

Cameras | Red Weapon Dragon Camera

Lenses | Cooke S4/i Lenses, Zeiss Super Speed Lenses, Zeiss Ultra Prime Lenses

Boy Erased (2018)

Motion Picture | 2D | 4K Project | Color | 1.85:1 | 115 Minutes

Directed by | Joel Edgerton | Cinematography by | Eduard Grau | Editing by | Jay Rabinowitz

Starring | Lucas Hedges, Nicole Kidman, Joel Edgerton

Cameras | ARRI ALEXA Mini Camera, ARRICAM Lite (LT) Camera

Lenses | Zeiss Super Speed Lenses

Three Billboards Outside Ebbing, Missouri (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 115 Minutes

Directed by | Martin McDonagh | Cinematography by | Ben Davis | Editing by | Jon Gregory

Starring | Frances McDormand, Woody Harrelson, Sam Rockwell

Cameras | ARRI ALEXA XT Series Cameras

Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

The Accountant (2016)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 128 Minutes

Directed by | Gavin O'Connor | Cinematography by | Seamus McGarvey | Editing by | Richard Pearson

Starring | Ben Affleck, Anna Kendrick, J.K. Simmons

Cameras | Panavision Panaflex Millennium XL2 Camera

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

The Beguiled (2017)

Motion Picture | 2D | 2K Project | Color | 1.66:1 | 93 Minutes

Directed by | Sofia Coppola | Cinematography by | Philippe Le Sourd | Editing by | Sarah Flack

Starring | Nicole Kidman, Kirsten Dunst, Elle Fanning

Cameras | ARRICAM Lite (LT) Camera

Lenses | Panavision Primo Primes Spherical Lenses, Panavision PVintage Prime Lenses, Panavision Ultra Speed MKII Lenses

Murder on the Orient Express (2017)

Motion Picture | 2D | 4K Project | Black & White, Color | 2.39:1 | 114 Minutes

Directed by | Kenneth Branagh | Cinematography by | Haris Zambarloukos | Editing by | Mick Audsley

Starring | Kenneth Branagh, Penélope Cruz, Willem Dafoe

Cameras | ARRI ALEXA 65 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision System 65 Camera

Lenses | Panavision Sphero 65 Series Lenses

The Lost City of Z (2016)

Motion Picture | 2D | 4K Project | Color | 2.39:1 | 141 Minutes

Directed by | James Gray | Cinematography by | Darius Khondji | Editing by | John Axelrad, Lee Haugen

Starring | Charlie Hunnam, Robert Pattinson, Sienna Miller

Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Advanced Camera

Lenses | Angenieux HR Zoom Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Anamorphic Flare Lenses, Panavision E Series Anamorphic Lenses

On the Basis of Sex (2018)

Motion Picture | 2D | 2K Project | Color | 1.85:1 | 120 Minutes

Directed by | Mimi Leder | Cinematography by | Michael Grady | Editing by | Michelle Tesoro

Starring | Felicity Jones, Armie Hammer, Justin Theroux

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras

Lenses | Panavision Primo Primes Spherical Lenses

Thoroughbreds (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 92 Minutes

Directed by | Cory Finley | Cinematography by | Lyle Vincent | Editing by | Louise Ford

Starring | Olivia Cooke, Anya Taylor-Joy, Anton Yelchin

Cameras | ARRI ALEXA Mini Camera

Lenses | Angenieux HR Zoom Lenses, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

The Old Man & the Gun (2018)

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

Directed by | David Lowery | Cinematography by | Joe Anderson | Editing by | Lisa Zeno Churgin

Starring | Robert Redford, Casey Affleck, Sissy Spacek

Cameras | ARRIFLEX 416 Camera

Lenses | Canon Lenses, Cooke S4 Lenses

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