Tiffen Filters | 129 Titles
Return of the Thumb (2018)
Directed by | Florian Schmidt-Convey | Cinematography by | Costa Konstantinou | Editing by | Florian Schmidt-Convey
Cameras | Blackmagic Design Cameras, Blackmagic URSA Camera, Canon Cameras, Canon EOS-C100 Camera, Canon EOS-C300 Camera, Sony Cameras, Sony α7 Series Cameras, Sony α7S Camera
Lenses | Canon EF 16-35 mm f2.8L II Lens, Canon EF 24-105 mm f4.0 L IS Lens, Canon EF 24-70 mm f2.8L II Lens, Canon EF 70-200 mm f2.8 L IS II Lens, Canon EF Series Lenses, Canon L Series Lenses, Canon Lenses, Zeiss Lenses, Zeiss ZF.2 85mm Planar f1.4 Lens, Zeiss ZF.2 Prime Lenses
Cooper’s Treasure (2017)
| Cinematography by | Zach Driscoll, Phil Lott, Doug Dearth, Jeff Moriarty, Scott Gardner | Editing by | Mario Roman, Alexander Sanchez, Niccolo Roveda, Justin Inda, Diego J. Garza, Caton Clark, Paul McAleavey, Sally Jasso, Frank Keraudren, Kirk Kirkland, Tanner Roth
Operator (2016)
Directed by | Logan Kibens | Cinematography by | Steeven Petitteville | Editing by | Logan Kibens
Cameras | ARRI AMIRA Series Cameras, Sony α7S Camera
Lenses | Zeiss Lenses
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
Monster (2018)
Directed by | Anthony Mandler | Cinematography by | David Devlin | Editing by | Joe Klotz
Cameras | Red Epic Dragon Camera
Cotton Wool (2017)
Directed by | Nicholas Connor | Cinematography by | Alan C. McLaughlin | Editing by | Nicholas Connor, Amy Pfeil
Cameras | ARRIFLEX 435 ES Camera, Red Epic Dragon Camera
Lenses | Cooke Speed Panchro (S1) 108mm f2.0 Lens, Cooke Speed Panchro (S2) 18mm f2.0 Lens, Cooke Speed Panchro (S2) 25mm f2.2 Lens, Cooke Speed Panchro (S2) 32mm f2.3 Lens, Cooke Speed Panchro (S2) 40mm f2.3 Lens, Cooke Speed Panchro (S2) 50mm f2.3 Lens, Cooke Speed Panchro (S2) 75mm f2.3 Lens
Smuggling Hendrix (2018)
Directed by | Marios Piperides | Cinematography by | Christian Huck | Editing by | Stylianos Constantinou
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA Plus Camera
The Enchantress of Number (2018)
Directed by | Rebecca Murga | Cinematography by | David Auner
Cameras | Aaton Penelope Camera, ARRI AMIRA Premium Camera
Lenses | Cooke Speed Panchro (S2) 32mm f2.3 Lens, Cooke Speed Panchro (S2) 40mm f2.3 Lens, Cooke Speed Panchro (S2) 50mm f2.3 Lens, Cooke Speed Panchro (S2) 75mm f2.3 Lens, Cooke Speed Panchro (S3) 18mm T2.2 Lens, Cooke Speed Panchro (S3) 25mm T2.2 Lens
Empire Hotel (2018)
Directed by | Ivo Ferreira | Cinematography by | Susana Gomes | Editing by | Sandro Aguilar
Cameras | Sony α7S II Camera
Lenses | ARRI / Zeiss Lenses, ARRI Macro 60mm T3.0 Lens, Zeiss ARRI Macro Lenses, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Distagon 40 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 65 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 100 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 135 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens
Ophelia (2018)
Directed by | Claire McCarthy | Cinematography by | Denson Baker | Editing by | Luke Dunkley
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Plus Camera
Lenses | Angenieux Optimo Anamorphic 44-440 mm A2S T4.5 Lens, Hawk C-Series 100 mm T3.0 Lens, Hawk C-Series 40 mm T2.2 Lens, Hawk C-Series 50 mm T2.2 Lens, Hawk C-Series 75 mm T2.2 Lens, Hawk Super Wide Angle Zoom 10-24 mm T2.5 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Series 180 mm T3.0 Lens, Hawk V-Series 250 mm T3.0 Lens
Incredible Violence (2018)
Directed by | G. Patrick Condon | Cinematography by | Ian Vatcher | Editing by | Justin Oakey
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Clairmont 100 mm T3.4 Lens, Clairmont 32 mm T2.3 Lens, Clairmont 40 mm T2.3 Lens, Clairmont 50 mm T2.3 Lens, Clairmont 75 mm T2.8 Lens, Zeiss Super Speeds Mk III 18 mm T1.3 Lens, Zeiss Super Speeds Mk III 25 mm T1.3 Lens, Zeiss Super Speeds Mk III 50 mm T1.3 Lens
What if it Was Me? (2020)
Directed by | Matt Power | Cinematography by | Matt Power | Editing by | Alex Coleman
Cameras | Red Scarlet Dragon Camera
Lenses | Canon L Series Lenses
Liberty (2018)
| Cinematography by | Aske Foss | Editing by | Kristofer Nordin, Jacob Thuesen
Cameras | ARRI ALEXA Mini Camera
Sleepless (2017)
Directed by | Baran bo Odar | Cinematography by | Mihai Malaimare Jr. | Editing by | Robert Rzesacz
Lenses | Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Super Speed Lenses
Family Obligations (2019)
Directed by | Kenneth R. Frank | Cinematography by | Kenneth R. Frank | Editing by | Chris Mollica, Kevin Wolfring
Cameras | Blackmagic Pocket Cinema Camera
Missing Girl (2017)
Directed by | Jimmy Barranco | Cinematography by | Jimmy Barranco | Editing by | Jimmy Barranco
Cameras | Blackmagic Pocket Cinema Camera
Lenses | Canon Lenses, Sigma Lenses
Black Wedding (2015)
Directed by | Thomas Bohn | Cinematography by | Frank Glencairn
Cameras | Blackmagic Cinema Camera
Lenses | Zeiss Lenses
Hotel Mumbai (2018)
Directed by | Anthony Maras | Cinematography by | Nick Remy Matthews | Editing by | Anthony Maras, Peter McNulty
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera
