Company 3 | 147 Titles
The Favourite (2018)
Country | Ireland, UK, USA
Type | Motion Picture
Running Time | 119 Minutes
Aspect Ratio | 1.85:1
Directed by | Yorgos Lanthimos | Cinematography by | Robbie Ryan | Editing by | Yorgos Mavropsaridis Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Panavision Panaflex Millennium XL2 Camera
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Christopher Robin (2018)
Country | UK, USA
Type | Motion Picture
Running Time | 104 Minutes
Aspect Ratio | 2.39:1
Directed by | Marc Forster | Cinematography by | Matthias Koenigswieser | Editing by | Matt Chesse Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses | Panavision APO Panatar Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
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Strive (2019)
Country | USA
Type | Motion Picture
Running Time | 82 Minutes
Directed by | Robert Rippberger | Cinematography by | Dominick Sivilli | Editing by | Gabriel Cullen, Ellen Goldwasser Cameras | Red Epic Dragon Camera
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Bohemian Rhapsody (2018)
Country | UK, USA
Type | Motion Picture
Running Time | 134 Minutes
Aspect Ratio | 1.33:1 (4x3), 2.39:1
Directed by | Bryan Singer | Cinematography by | Newton Thomas Sigel | Editing by | John Ottmanmodified:
Vice (2018)
Country | USA
Type | Motion Picture
Running Time | 132 Minutes
Aspect Ratio | 2.39:1
Directed by | Adam McKay | Cinematography by | Greig Fraser | Editing by | Hank Corwin Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 416 Camera, ARRIFLEX 435 Camera, Bolex Cameras
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Hangman (2015)
Country | UK
Type | Direct to Video
Running Time | 85 Minutes
Aspect Ratio | 1.78:1 (16x9)
Directed by | Adam Mason | Cinematography by | Tobias Deml Cameras | Canon VIXIA HF G10 Camera
Lenses | Canon Lenses
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BlacKkKlansman (2018)
Country | USA
Type | Motion Picture
Running Time | 135 Minutes
Aspect Ratio | 2.39:1
Directed by | Spike Lee | Cinematography by | Chayse Irvin | Editing by | Barry Alexander Brown Cameras | Aaton Penelope Camera, Aaton XTR Prod Camera, ARRICAM Lite (LT) Camera, Panavision Panaflex Millennium XL2 Camera
Lenses | Panavision PVintage Prime Lenses, Panavision Super Speed Lenses, Panavision Ultra Speed MKII Lenses, Zeiss Master Prime Lenses
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First Reformed (2017)
Country | USA, UK, Australia
Type | Motion Picture
Running Time | 113 Minutes
Aspect Ratio | 1.37:1
Directed by | Paul Schrader | Cinematography by | Alexander Dynan | Editing by | Benjamin Rodriguez Jr. Cameras | ARRI ALEXA SXT Series Cameras
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War for the Planet of the Apes (2017)
Country | USA, Canada, New Zealand
Type | Motion Picture
Running Time | 140 Minutes
Aspect Ratio | 2.39:1
Directed by | Matt Reeves | Cinematography by | Michael Seresin | Editing by | William Hoy, Stan Salfas Cameras | ARRI ALEXA 65 Camera
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Transformers (2007)
Country | USA
Type | Motion Picture
Running Time | 144 Minutes
Aspect Ratio | 2.39:1
Directed by | Michael Bay | Cinematography by | Mitchell Amundsen | Editing by | Tom Muldoon, Paul Rubell, Glen Scantlebury Cameras | ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses | Angenieux HR 25-250mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
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Collateral Beauty (2016)
Country | USA
Type | Motion Picture
Running Time | 97 Minutes
Aspect Ratio | 2.39:1
Directed by | David Frankel | Cinematography by | Maryse Alberti | Editing by | Andrew Marcus Cameras | ARRI ALEXA XT Plus Camera
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Blood Father (2016)
Country | France
Type | Motion Picture
Running Time | 88 Minutes
Aspect Ratio | 2.39:1
Directed by | Jean-François Richet | Cinematography by | Robert Gantz | Editing by | Steven Rosenblummodified:
Don’t Breathe (2016)
Country | USA
Type | Motion Picture
Running Time | 88 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 2048x1152 - (1.78:1) Capture Resolution
Directed by | Fede Alvarez | Cinematography by | Pedro Luque | Editing by | Eric L. Beason, Louise Ford, Gardner Gould Cameras | ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses | Fujinon Alura Zoom 15.5-45mm T2.8 Lens, Fujinon Alura Zoom 45-250mm T2.8 Lens, Leica Summilux-C 100 mm T1.4 Lens, Leica Summilux-C 16 mm T1.4 Lens, Leica Summilux-C 18 mm T1.4 Lens, Leica Summilux-C 21 mm T1.4 Lens, Leica Summilux-C 25 mm T1.4 Lens, Leica Summilux-C 29 mm T1.4 Lens, Leica Summilux-C 35 mm T1.4 Lens, Leica Summilux-C 40 mm T1.4 Lens, Leica Summilux-C 50 mm T1.4 Lens, Leica Summilux-C 65 mm T1.4 Lens, Leica Summilux-C 75 mm T1.4 Lens, Zeiss Super Speed Lenses, Zeiss Super Speeds Mk II 18 mm T1.3 Lens, Zeiss Super Speeds Mk II 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 12 mm T1.3 Lens, Zeiss Ultra 16 Distagon 14 mm T1.3 Lens, Zeiss Ultra 16 Distagon 18 mm T1.3 Lens, Zeiss Ultra 16 Distagon 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 6 mm T1.3 Lens, Zeiss Ultra 16 Distagon 8 mm T1.3 Lens, Zeiss Ultra 16 Distagon 9.5 mm T1.3 Lens, Zeiss Ultra 16 Planar 35 mm T1.3 Lens
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Anthropoid (2016)
Country | Czech Republic, UK, USA, France
Type | Motion Picture
Running Time | 120 Minutes
Aspect Ratio | 2.39:1
Directed by | Sean Ellis | Cinematography by | Sean Ellis | Editing by | Richard Mettler Cameras | ARRIFLEX 416 Camera
Lenses | Hawk V-Lite 16 Lens
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The Boy (2016)
Country | USA, Canada, China
Type | Motion Picture
Running Time | 97 Minutes
Aspect Ratio | 2.39:1
Directed by | William Brent Bell | Cinematography by | Daniel Pearl | Editing by | Brian Berdan Cameras | ARRI ALEXA XT Plus Camera
Lenses | Hawk Vantage One Lenses
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X-Men: Apocalypse (2016)
Country | USA
Type | Motion Picture
Running Time | 144 Minutes
Aspect Ratio | 2.39:1
Directed by | Bryan Singer | Cinematography by | Newton Thomas Sigel | Editing by | Michael Louis Hill, John Ottman Cameras | Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses | Leica Summilux-C Series Lenses
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10 Cloverfield Lane (2016)
Country | USA
Type | Motion Picture
Running Time | 103 Minutes
Aspect Ratio | 2.39:1
Directed by | Dan Trachtenberg | Cinematography by | Jeff Cutter | Editing by | Stefan Grube Cameras | Red Epic Dragon Camera
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Allegiant (2016)
Country | USA
Type | Motion Picture
Running Time | 120 Minutes
Aspect Ratio | 2.39:1
Directed by | Robert Schwentke | Cinematography by | Florian Ballhaus | Editing by | Stuart Levy Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera
Lenses | Angenieux Optimo Zoom Lenses, ARRI / Zeiss Master Anamorphic Lenses, ARRI Anamorphic Ultra Wide Zoom 19-36mm T4.2 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Leica Summilux-C Series Lenses
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Amy (2015)
Country | UK
Type | Documentary
Running Time | 128 Minutes
Aspect Ratio | 1.85:1
Directed by | Asif Kapadia | Cinematography by | Rafael Bettega, Jake Clennell, Ernesto Herrmann | Editing by | Chris Kingmodified:
Cinderella (2015)
Country | USA, UK
Type | Motion Picture
Running Time | 105 Minutes
Aspect Ratio | 2.39:1
Directed by | Kenneth Branagh | Cinematography by | Haris Zambarloukos | Editing by | Martin Walsh Lenses | Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
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