BarTech Focus Device | 14 Titles
D-Railed (2018)
Directed by | Dale Fabrigar | Cinematography by | John Lazear | Editing by | Dale Fabrigar, Jose Montesinos
Cameras | Blackmagic URSA Mini Pro 4.6K G2 Camera
Lenses | Zeiss Compact Prime CP.2 Distagon 15mm T2.9 Lens, Zeiss Compact Prime CP.2 Distagon 18 mm T3.6 Lens, Zeiss Compact Prime CP.2 Distagon 21 mm T2.9 Lens, Zeiss Compact Prime CP.2 Distagon 25mm T2.1 Lens, Zeiss Compact Prime CP.2 Distagon 35mm T1.5 Lens, Zeiss Compact Prime CP.2 Planar 50 mm T2.1 Macro Lens, Zeiss Compact Prime CP.2 Planar 85 mm T2.1 Lens, Zeiss Compact Prime CP.2 Sonnar 135mm T2.1 Lens
Johnny (2021)
Directed by | John Charles Gerald | Cinematography by | John Charles Gerald
Cameras | ARRI ALEXA Camera, Blackmagic URSA Camera
Lenses | Zeiss Compact Prime CP.2 Distagon 35 mm T2.1 Lens, Zeiss Compact Prime CP.2 Lenses, Zeiss Compact Prime Lenses
Somewhere in the Middle (2015)
Directed by | Lanre Olabisi | Cinematography by | Piero Basso | Editing by | Alex Kopit
Cameras | ARRI ALEXA Camera
Lenses | Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens
Sarah Landon and the Paranormal Hour (2007)
Directed by | Lisa Comrie | Cinematography by | Andrew Kuepper | Editing by | Andrew Cohen
Cameras | Panasonic AG-HVX200 Camera
The Remnant (2001)
A-List (2006)
Directed by | Shira-Lee Shalit | Cinematography by | John Lazear | Editing by | Annette Davey, Paul Frost, Tim Goodwin
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 IIC Camera, Bell & Howell Eyemo Camera, Cineflex Cameras
Lenses | Cooke Lenses
Awaiting (2015)
Directed by | Mark Murphy | Cinematography by | Hong Manley | Editing by | Dragos Teglas
Cameras | Red Epic Camera
Lenses | Cooke S4/i Lenses, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 16mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Red Pro Prime 300 mm T2.9 Lens
Concussion (2013)
Directed by | Stacie Passon | Cinematography by | David Kruta | Editing by | Anthony Cupo
Cameras | Red Epic Camera
Lenses | Zeiss Lenses
Officer Down (2013)
Directed by | Richard Bakewell | Cinematography by | Chun Ming Huang
Cameras | Sony PMW-F3 Camera
Lenses | Cooke Speed Panchro Lenses
1000 to 1: The Cory Weissman Story (2014)
Directed by | Michael Levine | Cinematography by | James Mathers | Editing by | Colleen Halsey, Richard Halsey
Cameras | Red Epic Camera
Lenses | Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Zoom Lenses, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Zeiss Lenses
Mad Max: Fury Road (2015)
Directed by | George Miller | Cinematography by | John Seale | Editing by | Margaret Sixel
Cameras | ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Blackmagic Cinema Camera, Canon EOS-5D Mark II Camera, Nikon D800 Camera, Olympus E-P5 Camera
Lenses | Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses, Panavision Ultra Speed MKII Lenses
Elite Squad: The Enemy Within (2010)
Directed by | José Padilha | Cinematography by | Lula Carvalho | Editing by | Daniel Rezende
Cameras | Aaton Penelope Camera
Lenses | Cooke S4 Lenses
Storm Surfers 3D (2012)
Directed by | Justin McMillan, Christopher Nelius | Cinematography by | David Maguire | Editing by | Rodrigo Balart
Cameras | Canon EOS 550D Camera, GoPro HD Hero Camera, Panasonic AG-3DA1 Camera, Silicon Imaging SI-2K Camera, Sony PMW-EX3 Camera
Lenses | Fujinon Lenses, Kowa Lenses
A Rat’s Tale (1997)
Directed by | Michael F. Huse | Cinematography by | Piotr Lenar | Editing by | Timothy McLeish
Lenses | Panavision C Anamorphic Flare Lenses, Panavision C Anamorphic Portrait Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
