Technicolor | 826 Titles
The Mask of Zorro (1998)
Directed by | Martin Campbell | Cinematography by | Phil Meheux | Editing by | Thom Noble
Lenses | Cooke Lenses
How the West Was Won (1962)
Directed by | John Ford, Henry Hathaway, George Marshall, Richard Thorpe | Cinematography by | William H. Daniels, Milton R. Krasner, Charles Lang, Joseph LaShelle | Editing by | Harold F. Kress
Cameras | Cinerama Camera, Ultra Panavision 70 Camera
Lenses | Kodak Ektar 27 mm Lens, Panavision Lenses
Absolute Power (1997)
Troy (2004)
Directed by | Wolfgang Petersen | Cinematography by | Roger Pratt | Editing by | Peter Honess
Lenses | Cooke S4 Lenses
The Bourne Ultimatum (2007)
Directed by | Paul Greengrass | Cinematography by | Oliver Wood | Editing by | Christopher Rouse
Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
Lenses | Cooke S4 Lenses, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
Knocked Up (2007)
Directed by | Judd Apatow | Cinematography by | Eric Alan Edwards | Editing by | Craig Alpert, Brent White
Cameras | Panavision Cameras
Juno (2007)
Directed by | Jason Reitman | Cinematography by | Eric Steelberg | Editing by | Dana E. Glauberman
Cameras | Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Billy Elliot (2000)
Directed by | Stephen Daldry | Cinematography by | Brian Tufano | Editing by | John Wilson
Cameras | Aaton 35-III Camera, ARRIFLEX 35 BL4 Camera
Lenses | Zeiss Lenses
The Last Samurai (2003)
Directed by | Edward Zwick | Cinematography by | John Toll | Editing by | Victor Du Bois, Steven Rosenblum
Cameras | ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL Camera, Panavision Panastar Camera
Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Coming to America (1988)
Directed by | John Landis | Cinematography by | Woody Omens | Editing by | Malcolm Campbell, George Folsey Jr.
Cameras | Panavision Panaflex Gold Camera
TRON (1982)
Directed by | Steven Lisberger | Cinematography by | Bruce Logan | Editing by | Jeff Gourson
Lenses | Panavision Lenses
Space Cowboys (2000)
Directed by | Clint Eastwood | Cinematography by | Jack N. Green | Editing by | Joel Cox
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Match Point (2005)
In the Valley of Elah (2007)
Directed by | Paul Haggis | Cinematography by | Roger Deakins | Editing by | Jo Francis
Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera
Lenses | Zeiss Master Prime Lenses
The Happening (2008)
Directed by | M. Night Shyamalan | Cinematography by | Tak Fujimoto | Editing by | Conrad Buff IV
Cameras | Panavision Cameras
The Godfather: Part II (1974) 
Directed by | Francis Ford Coppola | Cinematography by | Gordon Willis | Editing by | Barry Malkin, Richard Marks, Peter Zinner
Cameras | Mitchell BNCR Camera
Lenses | Bausch & Lomb Super Baltar Lenses, Kowa Lenses
The Hangover (2009)
Directed by | Todd Phillips | Cinematography by | Lawrence Sher | Editing by | Debra Neil-Fisher
Cameras | Panavision Panaflex Millennium XL Camera
Lenses | Panavision Primo Anamorphic Lenses
Charlie and the Chocolate Factory (2005)
Directed by | Tim Burton | Cinematography by | Philippe Rousselot | Editing by | Chris Lebenzon
Cameras | ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Drag Me to Hell (2009)
Directed by | Sam Raimi | Cinematography by | Peter Deming | Editing by | Bob Murawski
Lenses | Panavision Primo Anamorphic Lenses
Speed Racer (2008)
Directed by | Lana Wachowski, Lilly Wachowski | Cinematography by | David Tattersall | Editing by | Roger Barton, Zach Staenberg
Lenses | Zeiss DigiPrime Lenses
