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Technicolor | 826 Titles

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The Man with the Golden Gun (1974)

Motion Picture | 2D | Film Project | Color | 1.66:1, 1.85:1 | 125 Minutes

Directed by | Guy Hamilton | Cinematography by | Ted Moore, Oswald Morris | Editing by | Raymond Poulton, John Shirley

Starring | Roger Moore, Christopher Lee, Britt Ekland, Maud Adams

Cameras | ARRIFLEX 35 IIC Camera, Panavision Panaflex Camera, Panavision Super PSR R-200

Lenses | Panavision Super Speed Lenses

Moonraker (1979)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 126 Minutes

Directed by | Lewis Gilbert | Cinematography by | Jean Tournier | Editing by | John Glen

Starring | Roger Moore, Lois Chiles, Michael Lonsdale

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex-X Camera

Lenses | Cooke Lenses, Panavision C Series Anamorphic Lenses

For Your Eyes Only (1981)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 127 Minutes

Directed by | John Glen | Cinematography by | Alan Hume | Editing by | John Grover

Starring | Roger Moore, Carole Bouquet, Topol

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Camera, Panavision Panaflex Gold Camera, Panavision Panaflex-X Camera

Lenses | Cooke Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

The Living Daylights (1987)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 130 Minutes

Directed by | John Glen | Cinematography by | Alec Mills | Editing by | Peter Davies, John Grover

Starring | Timothy Dalton, Maryam d'Abo, Jeroen Krabbé, Joe Don Baker

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Platinum Camera

Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

Diamonds Are Forever (1971)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 120 Minutes

Directed by | Guy Hamilton | Cinematography by | Ted Moore | Editing by | Bert Bates, John W. Holmes

Starring | Sean Connery, Jill St. John, Charles Gray, Lana Wood

Cameras | ARRIFLEX 35 IIA Camera, Panavision Super PSR R-200

Lenses | Panavision C Series Anamorphic Lenses, Panavision Lenses

On Her Majesty’s Secret Service (1969)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 142 Minutes

Directed by | Peter R. Hunt | Cinematography by | Michael Reed | Editing by | John Glen

Starring | George Lazenby, Diana Rigg, Telly Savalas

Cameras | ARRIFLEX 35 IIA Camera, Mitchell BNC Camera

Lenses | Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses

Licence to Kill (1989)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 133 Minutes

Directed by | John Glen | Cinematography by | Alec Mills | Editing by | John Grover

Starring | Timothy Dalton, Robert Davi, Carey Lowell

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera

Lenses | Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Octopussy (1983)

Motion Picture | 2D | 2K Project | Color | 2.20:1, 2.39:1 | 131 Minutes

Directed by | John Glen | Cinematography by | Alan Hume | Editing by | Peter Davies, Henry Richardson

Starring | Roger Moore, Maud Adams, Louis Jourdan

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Camera, Panavision Panaflex Gold Camera

Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

Casino Royale (1967)

Motion Picture | 2D | Film Project | Black & White, Color | 2.35:1 | 131 Minutes

Directed by | Val Guest, Ken Hughes, John Huston, Joseph McGrath, Robert Parrish, Richard Talmadge | Cinematography by | Jack Hildyard | Editing by | Bill Lenny

Starring | David Niven, Peter Sellers, Ursula Andress, Orson Welles

Cameras | Panavision Cameras

Lenses | Panavision Lenses

Dr. No (1962)

Motion Picture | 2D | Film Project | Color | 1.66:1, 1.85:1 | 110 Minutes

Directed by | Terence Young | Cinematography by | Ted Moore | Editing by | Peter R. Hunt

Starring | Sean Connery, Ursula Andress, Bernard Lee, Joseph Wiseman

Cameras | Mitchell BNC Camera

Ratcatcher (1999)

Motion Picture | 2D | Color | 1.85:1 | 94 Minutes

Directed by | Lynne Ramsay | Cinematography by | Alwin H. Küchler | Editing by | Lucia Zucchetti

Starring | Tommy Flanagan, Mandy Matthews, William Eadie, Michelle Stewart

Cameras | ARRIFLEX 16mm Cameras, ARRIFLEX 35mm Cameras

Lenses | Zeiss Lenses, Zeiss Variable Prime Lenses

Molly’s Game (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 140 Minutes

Directed by | Aaron Sorkin | Cinematography by | Charlotte Bruus Christensen | Editing by | Alan Baumgarten, Elliot Graham, Josh Schaeffer

Starring | Jessica Chastain, Idris Elba, Kevin Costner

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Series Cameras

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

Blood and Sand (1941)

Motion Picture | 2D | Film Project | Color | 1.37:1 | 125 Minutes

Directed by | Rouben Mamoulian | Cinematography by | Ernest Palmer, Ray Rennahan | Editing by | Robert Bischoff

Starring | Tyrone Power, Linda Darnell, Rita Hayworth

Cameras | Technicolor 3-Strip Camera

The BFG (2016)

Motion Picture | 2D, 3D | 2K Project | Color | 1.78:1 (16x9), 2.39:1 | 117 Minutes

Directed by | Steven Spielberg | Cinematography by | Janusz Kaminski | Editing by | Michael Kahn

Starring | Mark Rylance, Ruby Barnhill, Penelope Wilton

Cameras | ARRI ALEXA XT Series Cameras

Lenses | Panavision Primo Primes Spherical Lenses

Shane (1953)

Motion Picture | 2D | Film Project | Color | 1.37:1, 1.66:1 | 118 Minutes

Directed by | George Stevens | Cinematography by | Loyal Griggs | Editing by | William Hornbeck, Tom McAdoo

Starring | Alan Ladd, Jean Arthur, Van Heflin

Cameras | Technicolor 3-Strip Camera

The Spy Who Dumped Me (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 117 Minutes

Directed by | Susanna Fogel | Cinematography by | Barry Peterson | Editing by | Jonathan Schwartz

Starring | Justin Theroux, Kate McKinnon, Blanka Györfi-Tóth

Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera

Lenses | Angenieux Lenses, Cooke S4/i Lenses

Star Wars: Episode I – The Phantom Menace (1999)

Motion Picture | 2D, 3D | Color | 1.90:1, 2.39:1 | 136 Minutes

Directed by | George Lucas | Cinematography by | David Tattersall | Editing by | Ben Burtt, Paul Martin Smith

Starring | Ewan McGregor, Liam Neeson, Natalie Portman, Jake Lloyd

Cameras | ARRIFLEX 435 ES Camera, ARRIFLEX 535 B Camera, Sony HDC-750 Camera

Lenses | Hawk C-Series Lenses

Star Wars: Episode IV – A New Hope (1977)

Motion Picture | 2D | Film Project | Color | 1.33:1 (4x3), 2.20:1, 2.39:1, 2.64:1 | 121 Minutes

Directed by | George Lucas | Cinematography by | Gilbert Taylor | Editing by | Richard Chew, T.M. Christopher, Paul Hirsch, Marcia Lucas, George Lucas

Starring | Mark Hamill, Harrison Ford, Carrie Fisher, Alec Guinness

Cameras | ARRIFLEX 35 III Camera, Dykstraflex Camera, Mitchell VistaVision Camera, Panavision Cameras, Panavision Super PSR R-200

Lenses | Panavision C Series Anamorphic Lenses

Star Wars: Episode V – The Empire Strikes Back (1980)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 124 Minutes

Directed by | Irvin Kershner | Cinematography by | Peter Suschitzky | Editing by | T.M. Christopher, Paul Hirsch, George Lucas, Marcia Lucas

Starring | Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Camera, Panavision Panaflex-X Camera, Panavision Silent Reflex PSR Camera, Panavision Super PSR R-200

Lenses | Panavision C Series Anamorphic Lenses

King Solomon’s Mines (1950)

Motion Picture | 2D | Film Project | Color | 1.37:1 | 103 Minutes

Directed by | Compton Bennett, Andrew Marton | Cinematography by | Robert Surtees | Editing by | Conrad A. Nervig, Ralph E. Winters

Starring | Deborah Kerr, Stewart Granger, Richard Carlson

Cameras | Technicolor 3-Strip Camera

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