Red Digital Cinema Lenses | 19 Titles
Pickings (2018)
103 Minutes
Capture Resolution | 5120x2134 - (2.40:1) Capture Resolution, 5120x2700 - (1.90:1) Capture Resolution
Directed by | Usher Morgan | Cinematography by | Usher Morgan, Louis Obioha | Editing by | Usher Morganmodified:
Capsule (2015)
91 Minutes
Capture Resolution | 5120x2134 - (2.40:1) Capture Resolution
Directed by | Andrew Martin | Cinematography by | Felix Forrest | Editing by | Jan Hillman Lenses | Angenieux Optimo 45-120mm T2.8 Lens, Angenieux Optimo DP 16-42mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Cooke miniS4/i 100mm T2.8 Lens, Cooke miniS4/i 18mm T2.8 Lens, Cooke miniS4/i 25mm T2.8 Lens, Cooke miniS4/i 32mm T2.8 Lens, Cooke miniS4/i 50mm T2.8 Lens, Cooke miniS4/i 75mm T2.8 Lens, Cooke miniS4/i Lenses, Red Pro Zoom 17-50 mm T2.9 Lens, Red Pro Zoom Lenses, Tokina AT-X116 Pro DX 11-16 mm f2.8 Lens, Tokina Lenses
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Kilo Two Bravo (2014)
108 Minutes
Capture Resolution | 2880x1620 - (1.78:1) Capture Resolution
Directed by | Paul Katis | Cinematography by | Chris Goodger | Editing by | Brin Cameras | ARRI ALEXA XT Camera, Blackmagic Cinema Camera
Lenses | Angenieux Lenses, Red Pro Prime Lenses
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Where Do We Go From Here? (2015)
82 Minutes
Capture Resolution | 5120x2134 - (2.40:1) Capture Resolution
Directed by | John McPhail | Cinematography by | Grant McPhee | Editing by | John McPhail Cameras | Red Epic Camera
Lenses | Red Pro Prime 100 mm T1.8 Lens, Red Pro Prime 18 mm T1.8 Lens, Red Pro Prime 25 mm T1.8 Lens, Red Pro Prime 35 mm T1.8 Lens, Red Pro Prime 50 mm T1.8 Lens, Red Pro Prime 85 mm T1.8 Lens
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La lampe au beurre de yak (2013)
15 Minutes
Directed by | Wei Hu | Cinematography by | Stéphane Degnieau, Jean Legrand | Editing by | Wei Hu Cameras | Red Epic Camera
Lenses | Red Pro Prime Lenses
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Awaiting (2015)
95 Minutes
Capture Resolution | 4096x2304 - (1.78:1) Capture Resolution
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
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Poison Sky (0)
120 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Steve Wargo | Cinematography by | Dustinn Craig, Jay Lee, Steve Wargo | Editing by | Steve Wargo Cameras | Sony PMW-F3 Camera, Sony PMW-F55 Camera
Lenses | Fujinon Cabrio (ZK4.7x19) 19-90 mm T2.9 Lens, Red Digital Cinema Lenses, Zeiss ZE Prime Lenses
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We Are What We Are (2013)
105 Minutes
Capture Resolution | 5120x2134 - (2.40:1) Capture Resolution
Directed by | Jim Mickle | Cinematography by | Ryan Samul | Editing by | Jim Mickle Cameras | Red Epic Camera
Lenses | Red Pro Prime Lenses, Red Pro Zoom Lenses
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Hot Wings (2013)
90 Minutes
Directed by | Mitch Panayis | Cinematography by | Darragh Alder, Roter Su | Editing by | Darragh Alder Lenses | Red Pro Zoom 17-50 mm T2.9 Lens
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Elf-Man (2012)
86 Minutes
Directed by | Ethan Wiley | Cinematography by | John Grove II | Editing by | Russell Denove Cameras | Sony Cameras
Lenses | Red Digital Cinema Lenses
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TORC – The Off-Road Championships (2012)
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
3D Re-released in 2012
| Editing by | Brian Lockwood, Rob Taylor, David Brumbley, Tim A. Watson, Darren Porter Cameras | GoPro HD Hero2 Camera, Red Digital Cinema Cameras, Red Epic Camera, Red One MX Camera, Sony Cameras, Sony NEX-FS100 Camera, Sony PMW-F3 Camera
Lenses | Angenieux Lenses, Red Digital Cinema Lenses
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American Animal (2011)
95 Minutes
Directed by | Matt D'Elia | Cinematography by | Julian King | Editing by | Matt D'Elia, Julian King Cameras | Red One MX Camera
Lenses | Cooke Zoom Lenses, Red Pro Prime 18 mm T1.8 Lens, Red Pro Prime 25 mm T1.8 Lens, Red Pro Prime 35 mm T1.8 Lens, Red Pro Prime 50 mm T1.8 Lens, Red Pro Prime 85 mm T1.8 Lens
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Lockout (2012)
95 Minutes
Directed by | James Mather, Steve Saint Leger | Cinematography by | James Mather | Editing by | Camille Delamarre, Eamonn Power Cameras | Red One MX Camera
Lenses | Red Pro Prime Lenses
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Roaming (2015)
80 Minutes
Capture Resolution | 3840x2160 - (1.78:1) Capture Resolution
Directed by | Michael Ray Fox | Cinematography by | Kyle Cameron, Cam Erais | Editing by | Drew Wilson Cameras | Red One Camera
Lenses | Red Pro Prime Lenses
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Spectrauma (2011)
91 Minutes
Capture Resolution | 4096x2304 - (1.78:1) Capture Resolution
Directed by | Michael Lauter | Cinematography by | Jon Firestone | Editing by | Michael Lauter Cameras | Red One MX Camera
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The First Aggregate (2012)
90 Minutes
Directed by | Darhad Erdenibulag, Emyr ap Richard | Cinematography by | Emyr ap Richard | Editing by | Jinlei Kong, Matthieu Laclau Cameras | ARRI ALEXA Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bolex H16 Camera, Red Epic Camera, Red One Camera, Red One MX Camera
Lenses | Kern-Paillard Switar Lens, Red Pro Zoom 17-50 mm T2.9 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Standard Prime MKII 32 mm T2.1 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens
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A Lonely Place for Dying (2009)
94 Minutes
Directed by | Justin Eugene Evans | Cinematography by | Nick Bongianni, Justin Eugene Evans | Editing by | Brad Stoddard Cameras | Red One Camera
Lenses | Red Digital Cinema Lenses
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Contagion (2011)
106 Minutes
Directed by | Steven Soderbergh | Cinematography by | Steven Soderbergh | Editing by | Stephen Mirrione Cameras | Red One MX Camera
Lenses | Red Pro Prime Lenses
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Please Kill Mr. Know It All (2012)
87 Minutes
Directed by | Colin Carter, Sandra Feldman | Cinematography by | Pasha Patriki | Editing by | Michael P. Mason Cameras | Red Digital Cinema Cameras
Lenses | Red Digital Cinema Lenses
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