D-Cinema (DCP - Digital Cinema) | 1199 Titles
Won’t Back Down (2012)
Directed by | Daniel Barnz | Cinematography by | Roman Osin | Editing by | Kristina Boden
Cameras | ARRICAM Lite (LT) Camera
For Greater Glory: The True Story of Cristiada (2012)
Directed by | Dean Wright | Cinematography by | Eduardo Martínez Solares | Editing by | Richard Francis-Bruce, Mike Jackson
Cameras | ARRIFLEX 435 Camera
Lenses | Zeiss Lenses
The Sessions (2012)
Directed by | Ben Lewin | Cinematography by | Geoffrey Simpson | Editing by | Lisa Bromwell
Cameras | Red One MX Camera
Chasing Mavericks (2012)
Directed by | Michael Apted, Curtis Hanson | Cinematography by | Bill Pope | Editing by | John Gilbert
Cameras | ARRI ALEXA Camera, Red Epic Camera
The Collection (2012)
Directed by | Marcus Dunstan | Cinematography by | Sam McCurdy | Editing by | Kevin Greutert, Mark Stevens
Cameras | ARRICAM Lite (LT) Camera
Lenses | Hawk V-Lite Lenses, Hawk V-Series Lenses
Promised Land (2012)
Directed by | Gus Van Sant | Cinematography by | Linus Sandgren | Editing by | Billy Rich
Lenses | Hawk V-Lite Lenses
Arbitrage (2012)
Directed by | Nicholas Jarecki | Cinematography by | Yorick Le Saux | Editing by | Douglas Crise
Cameras | ARRICAM Lite (LT) Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
Gone (2012)
Directed by | Heitor Dhalia | Cinematography by | Michael Grady | Editing by | John Axelrad
Cameras | Red Epic Camera
Lenses | Angenieux Optimo Zoom Lenses
Playing for Keeps (2012)
Directed by | Gabriele Muccino | Cinematography by | Peter Menzies Jr. | Editing by | Padraic McKinley
Lenses | Panavision Primo Anamorphic Lenses
Seven Psychopaths (2012)
Directed by | Martin McDonagh | Cinematography by | Ben Davis | Editing by | Lisa Gunning
Cameras | Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses | Panavision Primo Anamorphic Lenses
The Man with the Iron Fists (2012)
Directed by | RZA | Cinematography by | Chi-Ying Chan | Editing by | Joe D'Augustine
Cameras | Red One MX Camera, Silicon Imaging SI-2K Camera
After Earth (2013)
Directed by | M. Night Shyamalan | Cinematography by | Peter Suschitzky | Editing by | Steven Rosenblum
Cameras | Canon EOS-C500 Camera, Sony CineAlta F65 Camera
La Pasión de Michelangelo (2013)
Directed by | Esteban Larraín | Cinematography by | Tevo Díaz | Editing by | Felipe Guerrero, Soledad Salfate
Texas Chainsaw 3D (2013)
Directed by | John Luessenhop | Cinematography by | Anastas N. Michos | Editing by | Randy Bricker
Cameras | Red Epic Camera
Lenses | Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 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
Early Birds (2012)
Directed by | Jeroen Bogaert | Cinematography by | Rik Zang | Editing by | Karel van Bellingen
Cameras | ARRI ALEXA Camera, ARRI Cameras
Lenses | Cooke Lenses
Hitchcock (2012)
Directed by | Sacha Gervasi | Cinematography by | Jeff Cronenweth | Editing by | Pamela Martin
Cameras | Red Epic Camera
Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Cloverfield (2008)
Directed by | Matt Reeves | Cinematography by | Michael Bonvillain | Editing by | Kevin Stitt
Cameras | Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses | Canon Lenses, Zeiss DigiPrime Lenses
She’s Out of My League (2010)
Django Unchained (2012)
Directed by | Quentin Tarantino | Cinematography by | Robert Richardson | Editing by | Fred Raskin
Lenses | Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Reparando (2010)
Directed by | Scott Owen Moore | Cinematography by | Bobby Marko, Scott Owen Moore | Editing by | Scott Owen Moore
