Light Iron | 35 Titles
The Queen’s Gambit (2020)
| Cinematography by | Steven Meizler | Editing by | Michelle Tesoro
Cameras | Red Monstro 8K Camera
Lenses | Zeiss Supreme Prime Series Lenses
13 Reasons Why (2017)
| Cinematography by | Ivan Strasburg, Kevin Thompson, Cameron Duncan, Tommy Lohmann, Andrij Parekh, Marshall Adams | Editing by | Matthew Ramsey, Leo Trombetta, Philip Harrison, Jacques Gravett, Daniel Gabbe, Sue Blainey, Rich Fox
Cameras | Panasonic VariCam 35
Can You Ever Forgive Me? (2018)
Directed by | Marielle Heller | Cinematography by | Brandon Trost | Editing by | Anne McCabe
Cameras | Panavision Millennium DXL Camera
Lenses | Panavision Primo 70 Lenses
Hell or High Water (2016)
Directed by | David Mackenzie | Cinematography by | Giles Nuttgens | Editing by | Jake Roberts
Cameras | ARRI ALEXA XT Studio Camera
Bad Santa 2 (2016)
Directed by | Mark Waters | Cinematography by | Theo van de Sande | Editing by | Travis Sittard
Cameras | Panasonic VariCam 35
Lenses | Cooke Lenses
Ride Along 2 (2016)
Directed by | Tim Story | Cinematography by | Mitchell Amundsen | Editing by | Peter S. Elliot
Cameras | Red Epic Dragon Camera
Lenses | Panavision Primo 70 Lenses
The American Side (2016)
Directed by | Jenna Ricker | Cinematography by | Frank Barrera | Editing by | Robert Grigsby Wilson
Cameras | ARRI ALEXA Camera
Exposed (2016)
Directed by | Gee Malik Linton | Cinematography by | Trevor Forrest | Editing by | Melody London
Cameras | ARRI ALEXA Camera
Pride and Prejudice and Zombies (2016)
Directed by | Burr Steers | Cinematography by | Remi Adefarasin | Editing by | Padraic McKinley
Lenses | Cooke S4/i Lenses
The Bronze (2015)
Directed by | Bryan Buckley | Cinematography by | Scott Henriksen | Editing by | Jay Nelson
Cameras | Red Epic Camera
Fathers and Daughters (2015)
Directed by | Gabriele Muccino | Cinematography by | Shane Hurlbut | Editing by | Alex Rodríguez
Cameras | Canon EOS-C500 Camera, Red Epic Camera
Anomalisa (2015)
Directed by | Duke Johnson, Charlie Kaufman | Cinematography by | Joe Passarelli | Editing by | Garret Elkins
Cameras | Canon EOS-7D Camera
The Walk (2015)
Directed by | Robert Zemeckis | Cinematography by | Dariusz Wolski | Editing by | Jeremiah O'Driscoll
Cameras | Red Epic Dragon Camera
The Forest (2016)
Directed by | Jason Zada | Cinematography by | Mattias Troelstrup | Editing by | Jim Flynn
Cameras | ARRI ALEXA XT Plus Camera
Tracers (2015)
Directed by | Daniel Benmayor | Cinematography by | Nelson Cragg | Editing by | Peter Amundson
Cameras | Red Epic Camera
Kickstart Theft (2012)
Directed by | Fred Goodich | Cinematography by | Vilmos Zsigmond | Editing by | Gib Jaffe
Cameras | Sony CineAlta F65 Camera
Lenses | Canon CN-E 30-105 mm T2.8 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens
Cold in July (2014)
Directed by | Jim Mickle | Cinematography by | Ryan Samul | Editing by | John Paul Horstmann, Jim Mickle
Cameras | Red Epic Camera
Lenses | Angenieux Optimo 24-290mm T2.8 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 18mm T2.0 Lens, Cooke S4 Prime 25mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens
Tusk (2014)
Directed by | Kevin Smith | Cinematography by | James Laxton | Editing by | Kevin Smith
Cameras | ARRI ALEXA Camera, Red Epic Camera