GEM Entertainment | 17 Titles
Killers of the Flower Moon (2023)
Directed by | Martin Scorsese | Cinematography by | Rodrigo Prieto | Editing by | Thelma Schoonmaker
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Bell & Howell 2709 Camera, Phantom Flex4K Camera, Sony CineAlta VENICE Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Cooke Speed Panchro Lenses, Panavision T Series Anamorphic Lenses
You Were Never Really Here (2017)
Directed by | Lynne Ramsay | Cinematography by | Thomas Townend | Editing by | Joe Bini
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
Life Itself (2018)
Directed by | Dan Fogelman | Cinematography by | Brett Pawlak | Editing by | Julie Monroe
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Lenses | Cooke Panchro/i Classic Lenses
Wildlife (2018)
Directed by | Paul Dano | Cinematography by | Diego García | Editing by | Louise Ford, Matthew Hannam
Cameras | ARRI ALEXA XT Camera
In Fabric (2018)
Directed by | Peter Strickland | Cinematography by | Ari Wegner | Editing by | Mátyás Fekete
Cameras | ARRI ALEXA Mini Camera
The Lost City of Z (2016)
Directed by | James Gray | Cinematography by | Darius Khondji | Editing by | John Axelrad, Lee Haugen
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
The Old Man & the Gun (2018)
Directed by | David Lowery | Cinematography by | Joe Anderson | Editing by | Lisa Zeno Churgin
Cameras | ARRIFLEX 416 Camera
Lenses | Canon Lenses, Cooke S4 Lenses
Wind River (2017)
Directed by | Taylor Sheridan | Cinematography by | Ben Richardson | Editing by | Gary Roach
Cameras | ARRI ALEXA XT Camera, ARRI ALEXA XT Plus Camera
Molly’s Game (2017)
Directed by | Aaron Sorkin | Cinematography by | Charlotte Bruus Christensen | Editing by | Alan Baumgarten, Elliot Graham, Josh Schaeffer
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
The Sisters Brothers (2018)
Directed by | Jacques Audiard | Cinematography by | Benoît Debie | Editing by | Juliette Welfling
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Lenses | Hawk C-Series Lenses, Hawk V-Series Lenses
Vox Lux (2018)
Directed by | Brady Corbet | Cinematography by | Lol Crawley | Editing by | Matthew Hannam
Cameras | ARRICAM Lite (LT) Camera
Hustlers (2019)
Directed by | Lorene Scafaria | Cinematography by | Todd Banhazl | Editing by | Kayla Emter
Cameras | Panavision Millennium DXL2 Camera
I Think We’re Alone Now (2018)
Directed by | Reed Morano | Cinematography by | Reed Morano | Editing by | Madeleine Gavin
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo Anamorphic Lenses
Papillon (2017)
Directed by | Michael Noer | Cinematography by | Hagen Bogdanski | Editing by | John Axelrad, Lee Haugen
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera
Lenses | Zeiss Ultra Prime Lenses
Mudbound (2017)
Directed by | Dee Rees | Cinematography by | Rachel Morrison | Editing by | Mako Kamitsuna
Cameras | ARRI ALEXA Mini Camera
Lenses | Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision PVintage Prime Lenses, Panavision T Series Anamorphic Lenses, Panavision Ultra Speed MKII Lenses
Brad’s Status (2017)
Directed by | Mike White | Cinematography by | Xavier Grobet | Editing by | Heather Persons
Cameras | ARRI ALEXA Series Cameras
Hacksaw Ridge (2016)
