Film Print | 1319 Titles
L’homme qui rit (2012)
Directed by | Jean-Pierre Améris | Cinematography by | Gérard Simon | Editing by | Philippe Bourgueil
Cameras | ARRI ALEXA Camera
Grace of Monaco (2014)
Directed by | Olivier Dahan | Cinematography by | Eric Gautier | Editing by | Olivier Gajan
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Panavision G Series Anamorphic Lenses
Stolen Heaven (1938)
The Night of the Hunter (1955)
Big Trouble in Little China (1986)
Directed by | John Carpenter | Cinematography by | Dean Cundey | Editing by | Steve Mirkovich, Mark Warner, Edward A. Warschilka
Cameras | Panavision Cameras
Kolchak: The Night Stalker (1974)
| Cinematography by | Ronald W. Browne, Alric Edens, Donald Peterman, Eduardo Ricci | Editing by | Robert M. Leeds, John Elias, Anthony Redman, Larry Strong, Howard Terrill, Edward W. Williams, Ted Rich
The Night Strangler (1973)
The Harder They Come (1972)
Directed by | Perry Henzell | Cinematography by | Peter Jessop, David McDonald, Franklyn St. Juste | Editing by | Seicland Anderson, John Victor Smith, Richard White
Cameras | Canon Cameras
The Contender (2000)
Drive Thru (2007)
Directed by | Brendan Cowles, Shane Kuhn | Cinematography by | Vincent E. Toto | Editing by | Daniel R. Padgett
Cameras | Panavision Panaflex Gold II Camera
Lenses | Panavision SL10 10 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens
The Equalizer (2014)
Directed by | Antoine Fuqua | Cinematography by | Mauro Fiore | Editing by | John Refoua
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Angenieux Optimo Anamorphic 56-152 mm A2S T4.0 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Teenage Mutant Ninja Turtles (2014)
Directed by | Jonathan Liebesman | Cinematography by | Lula Carvalho | Editing by | Joel Negron, Glen Scantlebury
Cameras | ARRI ALEXA Plus 4:3 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
Michael Collins (1996)
Directed by | Neil Jordan | Cinematography by | Chris Menges | Editing by | J. Patrick Duffner, Tony Lawson
Lost for Words (2013)
Directed by | Stanley J. Orzel | Cinematography by | Jimmy Wong | Editing by | Darren Richter
Cameras | Red Epic Camera
El día de la bestia (1995)
Directed by | Álex de la Iglesia | Cinematography by | Flavio Martínez Labiano | Editing by | Teresa Font
Last Passenger (2013)
Directed by | Omid Nooshin | Cinematography by | Angus Hudson | Editing by | Joe Walker
Cameras | ARRI ALEXA Plus Camera
Léon: The Professional (1994)
Directed by | Luc Besson | Cinematography by | Thierry Arbogast | Editing by | Sylvie Landra
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 III Camera
Lenses | Angenieux HR Zoom Lenses, Technovision Lenses
3 Days to Kill (2014)
Directed by | McG | Cinematography by | Thierry Arbogast | Editing by | Audrey Simonaud
Lenses | Technovision Lenses, Zeiss Super Speed Lenses
Xi you ji: Da nao tian gong (2014)
Directed by | Soi Cheang | Cinematography by | Man Po Cheung, Tao Yang | Editing by | Ka-Fai Cheung
Cameras | Red One MX Camera
