Digital Intermediate Finishing Process | 1622 Titles
Rocky Balboa (2006)
Country | USA
Type | Motion Picture
Running Time | 102 Minutes
Aspect Ratio | 1.85:1
Directed by | Sylvester Stallone | Cinematography by | Clark Mathis | Editing by | Sean Albertson
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Sony HDW-F900R Camera
Lenses | Zeiss Master Prime Lenses
modified:
Lost Girl (2010)
Country | Canada
Type | Television Series
Running Time | 44 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | David Greene, Craig Wright, Joachim Martin, Anton Van Rooyen | Editing by | Paul G. Day, Ben Wilkinson, Teresa Hannigan, Mike Lee, Dale Gagne, Brett Sullivan, Wendy Hallam Martin
Cameras | Panavision Genesis Camera
Lenses | Panavision Lenses
modified:
Doctor Who (2005)
Country | UK, Canada
Type | Television Series
Running Time | 45 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | Ernest Vincze, Rory Taylor, Stephan Pehrsson, Mark Waters, Ashley Rowe, Neville Kidd, Owen McPolin, Tim Palmer, Stuart Biddlecombe, Richard Stoddard, Damian Bromley, Suzie Lavelle, Balazs Bolygo, Graham Frake, Tony Slater Ling, Dale McCready, G. Magni Ágústsson, Ali Asad, Simon Chapman, Denis Crossan, Sam Heasman, Tico Poulakakis, Simon Archer, Erik Wilson, Gavin Struthers, Simon Dennis, Jake Polonsky, Mike Southon, Mark Garrett, Nic Morris, Mike Spragg | Editing by | William Oswald, Mike Jones, John Richards, Jamie Pearson, Tim Porter, Liana Del Giudice, Crispin Green, Mike Hopkins, Graham Walker, Selina Macarthur, Adam Green, David Cresswell, Matthew Tabern, Philip Kloss, David Fisher, Adam Trotman, Edel McDonnell, Ceres Doyle, David Barrett, Matthew Newman, Joel Skinner, Peter Oliver, Matthew Cannings, Xavier Russell, Helen Murphy, Ulrike Münch, Becky Trotman, Alan Levy, Jamie McCoan, Richard Cox, Adam Recht, Anthony Boys, Anthony Combes, Úna Ní Dhonghaíle, Simon Reglar, Nick Arthurs, Mark Davis, Iain Erskine, St. John O'Rorke, Sam Williams, Lucien Clayton, Philip Hookway
modified:
Better Call Saul (2015)
Country | USA
Type | Television Series
Running Time | 46 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | Arthur Albert, Marshall Adams | Editing by | Skip Macdonald, Kelley Dixon, Chris McCaleb, Curtis Thurber, Christopher M. Meagher, Joey Reinisch
Lenses | Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 24-290mm T2.8 Lens, Angenieux Optimo 28-76mm T2.6 Lens, Angenieux Optimo 45-120mm T2.8 Lens
modified:
Key of Brown (2013)
Country | USA
Type | Motion Picture
Running Time | 95 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Vaughn Christion | Cinematography by | Oscar Patino | Editing by | Vaughn Christion
Cameras | Sony PMW-F3 Camera
modified:
Beast (2015)
Country | Australia, Philippines
Type | Motion Picture
Running Time | 94 Minutes
Aspect Ratio | 1.85:1
Directed by | Sam McKeith, Tom McKeith | Cinematography by | Michael Steel | Editing by | Paul Murphy
Cameras | ARRI AMIRA Camera
Lenses | Angenieux Optimo DP 16-42mm T2.8 Lens, Angenieux Optimo DP 30-80mm T2.8 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens
modified:
Twixt (2011)
Country | USA
Type | Motion Picture
Running Time | 88 Minutes
Aspect Ratio | 1.85:1
Directed by | Francis Ford Coppola | Cinematography by | Mihai Malaimare Jr. | Editing by | Kevin Bailey, Glen Scantlebury, Robert Schafer
Cameras | Sony HDW-F900 Camera
modified:
Focus (2015)
Country | USA, Argentina
Type | Motion Picture
Running Time | 105 Minutes
Aspect Ratio | 1.85:1
Directed by | Glenn Ficarra, John Requa | Cinematography by | Xavier Grobet | Editing by | Jan Kovac
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera
Lenses | Hawk V-Lite Lenses, Hawk V-Plus Lenses
modified:
La La Land (2016)
Country | USA, Hong Kong
Type | Motion Picture
Running Time | 128 Minutes
Aspect Ratio | 2.55:1
Directed by | Damien Chazelle | Cinematography by | Linus Sandgren | Editing by | Tom Cross
Lenses | Panavision C Series Anamorphic Lenses, Panavision C35 35 mm T2.3 Lens, Panavision C50 50 mm T2.3 Lens, Panavision E Series Anamorphic Lenses, Panavision E35 35 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens
modified:
Il ragazzo invisibile: Fratelli (2018)
Country | Italy
Type | Motion Picture
Running Time | 100 Minutes
Directed by | Gabriele Salvatores | Cinematography by | Italo Petriccione
Cameras | ARRI ALEXA XT Camera
modified:
Roshtalivik (2016)
Country | USA
Type | Motion Picture
Running Time | 72 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Nicholas J. Moore | Cinematography by | Nicholas J. Moore | Editing by | Nicholas J. Moore
Cameras | Canon EOS Rebel T3i camera, Canon EOS-7D Camera
modified:
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
modified:
Postpartum (2016)
Country | USA
Type | Motion Picture, Short Film
Running Time | 24 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 2048x1080 - (1.90:1) Capture Resolution
Directed by | Richard Bakewell, Lale Arpaci | Cinematography by | Chun Ming Huang
Cameras | Panasonic VariCam 35
modified:
Red Son (2016)
Country | Spain
Type | Motion Picture, Short Film
Aspect Ratio | 2.39:1
Directed by | Joaquín Pinedo | Cinematography by | Pablo Bermejo | Editing by | Pablo Bermejo
Cameras | Sony PMW-F55 Camera
Lenses | Zeiss Lenses
modified:
Raymond’s 5 (2017)
Country | UK
Type | Motion Picture
Capture Resolution | 4096x2160 - (1.90:1) Capture Resolution
Directed by | James Hastings | Cinematography by | Francis Cousins
Cameras | Red Raven Camera
Lenses | Canon Lenses
modified:
The Hollars (2016)
Country | USA
Type | Motion Picture
Running Time | 88 Minutes
Aspect Ratio | 1.85:1
Directed by | John Krasinski | Cinematography by | Eric Alan Edwards | Editing by | Heather Persons
Cameras | ARRI ALEXA Plus 4:3 Camera
modified:
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:
Mechanic: Resurrection (2016)
Country | France, USA
Type | Motion Picture
Running Time | 98 Minutes
Aspect Ratio | 1.85:1
Directed by | Dennis Gansel | Cinematography by | Daniel Gottschalk | Editing by | Ueli Christen, Michael J. Duthie, Todd E. Miller
Cameras | Red Epic Camera, Red Scarlet Camera
modified:
War Dogs (2016)
Country | USA, Cambodia
Type | Motion Picture
Running Time | 114 Minutes
Aspect Ratio | 2.39:1
Directed by | Todd Phillips | Cinematography by | Lawrence Sher | Editing by | Jeff Groth
Cameras | ARRI ALEXA XT Camera
modified:
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
modified:
