Patrick Clancey

| USA

Directed by: Ron Howard

Cinematography by: Bradford Young

Edited by: Pietro Scalia

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera

Lenses: ARRI Rental Prime DNA Lenses, CamTec Falcon Full Frame Lenses, Zeiss Super Speed Lenses

Post Finishing Editor

The Girl in the Spider's Web (2018)

| Germany, Sweden, USA

Directed by: Fede Alvarez

Cinematography by: Pedro Luque

Edited by: Tatiana S. Riegel

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA SXT Plus

Lenses: ARRI Rental Prime DNA Lenses, Zeiss Master Prime Lenses

Post Finishing Editor

Spider-Man: Into the Spider-Verse (2018)

| USA

Directed by: Bob Persichetti, Peter Ramsey, Rodney Rothman

Edited by: Robert Fisher Jr.

Digital Opticals

Sleepless (2017)

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

| USA

Directed by: Baran bo Odar

Cinematography by: Mihai Malaimare Jr.

Edited by: Robert Rzesacz

Cameras: ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Plus Camera, Red Epic Camera

Digital Opticals

Deadpool (2016)

| USA

Directed by: Tim Miller

Cinematography by: Ken Seng

Edited by: Julian Clarke

Editing System: Adobe Premiere Editing System

Digital Opticals

La La Land (2016)

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

| USA, Hong Kong

Directed by: Damien Chazelle

Cinematography by: Linus Sandgren

Edited by: Tom Cross

Cameras: Aaton A-Minima Camera, Panavision Panaflex Millennium XL2 Camera

Digital Opticals

Star Trek Beyond (2016)

| USA, China, United Arab Emirates, Canada

Directed by: Justin Lin

Cinematography by: Stephen F. Windon

Edited by: Greg D'Auria, Dylan Highsmith, Kelly Matsumoto, Steven Sprung

Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera

Lenses: ARRI / Zeiss Master Anamorphic Lenses, Zeiss Compact Prime Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

Digital Opticals

Midnight Special (2016)

| USA, Greece

Directed by: Jeff Nichols

Cinematography by: Adam Stone

Edited by: Julie Monroe

Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Digital Opticals

Term Life (2016)

| USA

Directed by: Peter Billingsley

Cinematography by: Roberto Schaefer

Edited by: Dan Lebental, Kevin Stermer

Cameras: ARRI ALEXA Camera, Red Epic Dragon Camera

Digital Opticals

Ben-Hur (2016)

| USA

Directed by: Timur Bekmambetov

Cinematography by: Oliver Wood

Edited by: Dody Dorn, Richard Francis-Bruce

Cameras: ARRI ALEXA Series Cameras, GoPro (Woodman Labs) Cameras, Red Digital Cinema Cameras

Editing System: Avid Editing System

Digital Opticals

The Secret Life of Pets (2016)

| Japan, USA, France

Directed by: Chris Renaud, Yarrow Cheney

Edited by: Ken Schretzmann

Digital Opticals

The Boss (2016)

| USA

Directed by: Ben Falcone

Cinematography by: Julio Macat

Edited by: Craig Alpert

Cameras: ARRI ALEXA 65 Camera

Lenses: Leica Summilux-C Series Lenses

Digital Opticals

Pete's Dragon (2016)

| USA

Directed by: David Lowery

Cinematography by: Bojan Bazelli

Edited by: Lisa Zeno Churgin

Lenses: Cooke Anamorphic/i Prime Lenses

Digital Opticals

Neighbors 2: Sorority Rising (2016)

| USA, China

Directed by: Nicholas Stoller

Cinematography by: Brandon Trost

Edited by: Zene Baker, Michael A. Webber

Lenses: Panavision Cooke Xtal Xpress (Joe Dunton Camera Millenium Anamorphic) Lenses

Digital Opticals

Child 44 (2015)

| Czech Republic, UK, USA, Russia

Directed by: Daniel Espinosa

Cinematography by: Oliver Wood

Edited by: Pietro Scalia, Dylan Tichenor

Lenses: Hawk Anamorphic Lenses

Digital Opticals

Jane Got a Gun (2015)

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision B Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

| USA

Directed by: Gavin O'Connor

Cinematography by: Mandy Walker

Edited by: Alan Cody

Cameras: Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Editing System: Avid Editing System

Digital Opticals

The Big Short (2015)

| USA

Directed by: Adam McKay

Cinematography by: Barry Ackroyd

Edited by: Hank Corwin

Cameras: ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera

Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses

Digital Opticals

Daddy's Home (2015)

Movie

| USA

Directed by: Sean Anders

Cinematography by: Julio Macat

Edited by: Eric Kissack, Brad Wilhite

Digital Opticals

Creed (2015)

| USA

Directed by: Ryan Coogler

Cinematography by: Maryse Alberti

Edited by: Claudia Castello, Michael P. Shawver

Cameras: ARRI ALEXA XT M Camera, ARRI ALEXA XT Plus Camera

Lenses: Angenieux Optimo Anamorphic Lenses, Cooke S4 Lenses, Cooke Zoom Lenses

Editing System: Avid Editing System

Digital Opticals

Furious 7 (2015)

| USA, China, Japan, Canada, United Arab Emirates

Directed by: James Wan

Cinematography by: Marc Spicer, Stephen F. Windon

Edited by: Leigh Folsom Boyd, Dylan Highsmith, Kirk M. Morri, Christian Wagner

Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera

Digital Opticals

Sicario (2015)

| USA, Mexico

Directed by: Denis Villeneuve

Cinematography by: Roger Deakins

Edited by: Joe Walker

Cameras: ARRI ALEXA XT M Camera, ARRI ALEXA XT Plus Camera, ARRI ALEXA XT Studio Camera

Digital Opticals

Straight Outta Compton (2015)

Lenses: Angenieux Optimo Anamorphic Lenses, Angenieux Optimo Zoom Lenses, Cooke Anamorphic/i Prime Lenses, Fujinon Alura Lenses, Kowa Cine Prominar Spherical Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Super Speed Lenses

| USA

Directed by: F. Gary Gray

Cinematography by: Matthew Libatique

Edited by: Billy Fox, Michael Tronick

Cameras: Red Epic Dragon Camera

Digital Opticals

The Hunger Games: Mockingjay - Part 1 (2014)

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

| USA

Directed by: Francis Lawrence

Cinematography by: Jo Willems

Edited by: Alan Edward Bell, Mark Yoshikawa

Cameras: ARRI ALEXA XT Camera

Digital Opticals

RoboCop (2014)

| USA

Directed by: José Padilha

Cinematography by: Lula Carvalho

Edited by: Peter McNulty, Daniel Rezende

Cameras: ARRI ALEXA Camera, Red Epic Camera

Digital Opticals

Selma (2014)

| UK, USA, France

Directed by: Ava DuVernay

Cinematography by: Bradford Young

Edited by: Spencer Averick

Lenses: Hawk V-Plus Lenses, Hawk V-Series Lenses

Digital Opticals

The Maze Runner (2014)

| USA, UK

Directed by: Wes Ball

Cinematography by: Enrique Chediak

Edited by: Dan Zimmerman

Cameras: ARRI ALEXA Camera, Red Epic Camera, Silicon Imaging SI-2K Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Digital Opticals

Unbroken (2014)

| USA

Directed by: Angelina Jolie

Cinematography by: Roger Deakins

Edited by: William Goldenberg, Tim Squyres

Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRI ALEXA XT Studio Camera

Digital Opticals

Maleficent (2014)

| USA

Directed by: Robert Stromberg

Cinematography by: Dean Semler

Edited by: Chris Lebenzon, Richard Pearson

Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera

Digital Opticals

The Gambler (2014)

| USA

Directed by: Rupert Wyatt

Cinematography by: Greig Fraser

Edited by: Pete Beaudreau

Cameras: ARRI ALEXA XT Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

Digital Opticals

The Homesman (2014)

| USA, France

Directed by: Tommy Lee Jones

Cinematography by: Rodrigo Prieto

Edited by: Roberto Silvi

Cameras: ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera

Lenses: Angenieux Optimo 24-290mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Zeiss Master Prime Lenses

Digital Opticals

Divergent (2014)

Lenses: Panavision E Series Anamorphic Lenses, Panavision Primo Zooms Spherical Lenses, Panavision PVintage Prime Lenses

| USA

Directed by: Neil Burger

Cinematography by: Alwin H. Küchler

Edited by: Richard Francis-Bruce, Nancy Richardson

Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera

Digital Opticals

If I Stay (2014)

| USA

Directed by: R.J. Cutler

Cinematography by: John de Borman

Edited by: Keith Henderson

Cameras: ARRI ALEXA Plus 4:3 Camera, Canon EOS-C500 Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke Speed Panchro Lenses, Hawk V-Lite Lenses

Digital Opticals

Carrie (2013)

| USA

Directed by: Kimberly Peirce

Cinematography by: Steve Yedlin

Edited by: Lee Percy, Nancy Richardson

Cameras: ARRI ALEXA Camera

Digital Opticals

Furious 6 (2013)

| USA, Japan, Spain, UK

Directed by: Justin Lin

Cinematography by: Stephen F. Windon

Edited by: Greg D'Auria, Leigh Folsom Boyd, Dylan Highsmith, Kelly Matsumoto, Christian Wagner

Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, ARRIFLEX 435 Xtreme Camera, Red Epic Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Digital Opticals

Despicable Me 2 (2013)

| USA, France, Japan

Directed by: Pierre Coffin, Chris Renaud

Edited by: Gregory Perler

Digital Opticals: EFilm

Beautiful Creatures (2013)

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

| USA

Directed by: Richard LaGravenese

Cinematography by: Philippe Rousselot

Edited by: David Moritz

Cameras: Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Digital Opticals

Snowpiercer (2013)

| South Korea, Czech Republic

Directed by: Joon-ho Bong

Cinematography by: Kyung-pyo Hong

Edited by: Steve M. Choe, Changju Kim

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Advanced Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Digital Opticals

The Best Man Holiday (2013)

| USA

Directed by: Malcolm D. Lee

Cinematography by: Greg Gardiner

Edited by: Paul Millspaugh

Cameras: ARRI ALEXA Plus 4:3 Camera

Lenses: Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Digital Opticals: EFilm

Now You See Me (2013)

| USA, France

Directed by: Louis Leterrier

Cinematography by: Mitchell Amundsen, Larry Fong

Edited by: Robert Leighton, Vincent Tabaillon

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision G Series Anamorphic Lenses

Digital Opticals

R.I.P.D. (2013)

| USA

Directed by: Robert Schwentke

Cinematography by: Alwin H. Küchler

Edited by: Mark Helfrich

Cameras: ARRI ALEXA Camera

Digital Opticals: EFilm

The Host (2013)

| USA, Switzerland

Directed by: Andrew Niccol

Cinematography by: Roberto Schaefer

Edited by: Thomas J. Nordberg

Cameras: ARRI ALEXA Camera

Digital Opticals

Prisoners (2013)

| USA

Directed by: Denis Villeneuve

Cinematography by: Roger Deakins

Edited by: Joel Cox, Gary Roach

Cameras: ARRI ALEXA Studio Camera

Editing System: Avid Editing System

Digital Opticals

The Hunger Games: Catching Fire (2013)

Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses

| USA

Directed by: Francis Lawrence

Cinematography by: Jo Willems

Edited by: Alan Edward Bell

Cameras: ARRIFLEX 435 Camera, Imax MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera

Editing System: Avid Editing System

International Titles

World War Z (2013)

| USA, UK, Malta

Directed by: Marc Forster

Cinematography by: Ben Seresin, Robert Richardson

Edited by: Roger Barton, Matt Chesse

Cameras: ARRI ALEXA M Camera, ARRI ALEXA Studio Camera, ARRIFLEX 435 Camera

Lenses: Panavision Primo Primes Spherical Lenses, Panavision Super Speed Lenses

Digital Opticals: EFilm

The Perks of Being a Wallflower (2012)

| USA

Directed by: Stephen Chbosky

Cinematography by: Andrew Dunn

Edited by: Mary Jo Markey

Digital Opticals

The Guilt Trip (2012)

| USA

Directed by: Anne Fletcher

Cinematography by: Oliver Stapleton

Edited by: Dana E. Glauberman, Priscilla Nedd-Friendly

Cameras: ARRICAM Lite (LT) Camera, Moviecam Compact Camera

Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses

Digital Opticals

Django Unchained (2012)

| USA

Directed by: Quentin Tarantino

Cinematography by: Robert Richardson

Edited by: Fred Raskin

Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

Digital Opticals

Men in Black 3 (2012)

| USA, United Arab Emirates

Directed by: Barry Sonnenfeld

Cinematography by: Bill Pope

Edited by: Don Zimmerman

Cameras: ARRI ALEXA Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Digital Opticals

Snow White and the Huntsman (2012)

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Camera

| USA, UK

Directed by: Rupert Sanders

Cinematography by: Greig Fraser

Edited by: Conrad Buff IV, Neil Smith

Lenses: Panavision 65mm Prime Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Digital Opticals

Casa de mi Padre (2012)

| USA, Mexico

Directed by: Matt Piedmont

Cinematography by: Ramsey Nickell

Edited by: David Trachtenberg

Cameras: Panavision Panaflex Gold II Camera

Lenses: Panavision C Series Anamorphic Lenses

Digital Opticals

The Twilight Saga: Breaking Dawn - Part 2 (2012)

| USA

Directed by: Bill Condon

Cinematography by: Guillermo Navarro

Edited by: Virginia Katz, Ian Slater

Cameras: ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Editing System: Adobe Premiere Editing System, Avid Editing System

Digital Opticals

Argo (2012)

| USA, UK

Directed by: Ben Affleck

Cinematography by: Rodrigo Prieto

Edited by: William Goldenberg

Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, Bolex H16 RX5 Camera, Canon Cameras

Lenses: Angenieux Optimo Zoom Lenses, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Kern-Paillard Switar Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Lenses

Digital Opticals

To the Wonder (2012)

| USA

Directed by: Terrence Malick

Cinematography by: Emmanuel Lubezki

Edited by: A.J. Edwards, Keith Fraase, Shane Hazen, Christopher Roldan, Mark Yoshikawa

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, Panavision Cameras, Red One MX Camera

Editing System: Avid Editing System

Digital Opticals

The Avengers (2012)

| USA

Directed by: Joss Whedon

Cinematography by: Seamus McGarvey

Edited by: Jeffrey Ford, Lisa Lassek

Cameras: ARRI ALEXA Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera

Lenses: Panavision Frazier Lenses, Panavision Lenses

Editing System: Avid Editing System

Digital Opticals

The Three Stooges (2012)

| USA

Directed by: Bobby Farrelly, Peter Farrelly

Cinematography by: Matthew F. Leonetti

Edited by: Sam Seig

Digital Opticals Editor: EFilm

End of Watch (2012)

| USA

Directed by: David Ayer

Cinematography by: Roman Vasyanov

Edited by: Dody Dorn

Cameras: Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Canon XA10 Camera, GoPro HD Hero Camera, Silicon Imaging SI-2K Mini Camera, Silicon Imaging SI-2K Nano Camera

Lenses: Canon Lenses, Zeiss Ultra 16 Lenses, Zeiss Ultra Prime Lenses

Digital Opticals

Good Deeds (2012)

| USA

Directed by: Tyler Perry

Cinematography by: Alexander Gruszynski

Edited by: Maysie Hoy

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke 5/i Lenses

Digital Opticals

People Like Us (2012)

| USA

Directed by: Alex Kurtzman

Cinematography by: Salvatore Totino

Edited by: Robert Leighton

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Cooke S4 Lenses

Editing System: Avid Editing System

Digital Opticals

Looper (2012)

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

| USA, China

Directed by: Rian Johnson

Cinematography by: Steve Yedlin

Edited by: Bob Ducsay

Cameras: Canon EOS-7D Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera

Digital Opticals: EFlm

Arbitrage (2012)

| USA, Poland

Directed by: Nicholas Jarecki

Cinematography by: Yorick Le Saux

Edited by: Douglas Crise

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Digital Opticals And Subtitles: EFilm

John Carter (2012)

| USA

Directed by: Andrew Stanton

Cinematography by: Dan Mindel

Edited by: Eric Zumbrunnen

Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Apple Final Cut Pro 7

Digital Opticals: EFilm

Mud (2012)

| USA

Directed by: Jeff Nichols

Cinematography by: Adam Stone

Edited by: Julie Monroe

Cameras: Panavision Panaflex Millennium XL Camera

Lenses: Panavision G Series Anamorphic Lenses

Digital Intermediate Smoke: EFilm

Hemingway & Gellhorn (2012)

Television Movie

| USA

Directed by: Philip Kaufman

Cinematography by: Rogier Stoffers

Edited by: Walter Murch

Cameras: ARRI ALEXA Camera

Lenses: Fujinon Premier Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

Editing System: Final Cut Pro Editing System

Digital Opticals

Joyful Noise (2012)

| USA

Directed by: Todd Graff

Cinematography by: David Boyd

Edited by: Kathryn Himoff

Digital Opticals

The Vow (2012)

| USA

Directed by: Michael Sucsy

Cinematography by: Rogier Stoffers

Edited by: Melissa Kent, Nancy Richardson

Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera

Digital Opticals

Jack Reacher (2012)

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

| USA

Directed by: Christopher McQuarrie

Cinematography by: Caleb Deschanel

Edited by: Kevin Stitt

Cameras: Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Digital Opticals

Stolen (2012)

| USA

Directed by: Simon West

Cinematography by: James Whitaker

Edited by: Glen Scantlebury

Cameras: ARRI ARRIFLEX Series Cameras

Digital Opticals

Get the Gringo (2012)

| USA, Mexico

Directed by: Adrian Grunberg

Cinematography by: Benoît Debie

Edited by: Steven Rosenblum

Cameras: Red One MX Camera

Lenses: Hawk V-Lite Lenses

Digital Opticals

What to Expect When You're Expecting (2012)

| USA

Directed by: Kirk Jones

Cinematography by: Xavier Grobet

Edited by: Michael Berenbaum

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Digital Opticals

Red Tails (2012)

| USA

Directed by: Anthony Hemingway

Cinematography by: John B. Aronson

Edited by: Ben Burtt, Michael O'Halloran

Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Lightworks Editing System

Digital Opticals

Abduction (2011)

| USA

Directed by: John Singleton

Cinematography by: Peter Menzies Jr.

Edited by: Bruce Cannon

Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses

Digital Opticals

In the Land of Blood and Honey (2011)

| USA

Directed by: Angelina Jolie

Cinematography by: Dean Semler

Edited by: Patricia Rommel

Digital Opticals

Rio (2011)

| USA, Brazil

Directed by: Carlos Saldanha

Cinematography by: Renato Falcão

Edited by: Harry Hitner

Digital Opticals

War Horse (2011)

| USA, India

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Michael Kahn

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

Digital Opticals

The Rite (2011)

| USA, Hungary, Italy

Directed by: Mikael Håfström

Cinematography by: Ben Davis

Edited by: David Rosenbloom

Lenses: Panavision G Series Anamorphic Lenses, Panavision G100 100 mm T2.6 Lens

Digital Opticals

Horrible Bosses (2011)

| USA

Directed by: Seth Gordon

Cinematography by: David Hennings

Edited by: Peter Teschner

Digital Opticals

Rise of the Planet of the Apes (2011)

| USA, UK, Canada

Directed by: Rupert Wyatt

Cinematography by: Andrew Lesnie

Edited by: Conrad Buff IV, Mark Goldblatt

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Digital Opticals

Cowboys & Aliens (2011)

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

| USA, India

Directed by: Jon Favreau

Cinematography by: Matthew Libatique

Edited by: Dan Lebental, Jim May

Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Editing System: Autodesk Smoke Editing System

Digital Opticals

Spy Kids 4: All the Time in the World (2011)

| USA

Directed by: Robert Rodriguez

Cinematography by: Jimmy Lindsey, Robert Rodriguez

Edited by: Dan Zimmerman

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses

Digital Opticals

Mr. Popper's Penguins (2011)

| USA

Directed by: Mark Waters

Cinematography by: Florian Ballhaus

Edited by: Bruce Green

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Digital Opticals

Monte Carlo (2011)

| Hungary, USA

Directed by: Thomas Bezucha

Cinematography by: Jonathan Brown

Edited by: Jeffrey Ford

Digital Opticals

The Help (2011)

| USA, India, United Arab Emirates

Directed by: Tate Taylor

Cinematography by: Stephen Goldblatt

Edited by: Hughes Winborne

Cameras: Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Digital Opticals: EFilm

We Bought a Zoo (2011)

| USA

Directed by: Cameron Crowe

Cinematography by: Rodrigo Prieto

Edited by: Mark Livolsi

Lenses: Zeiss Ultra Prime Lenses

Digital Opticals

The Twilight Saga: Breaking Dawn - Part 1 (2011)

| USA

Directed by: Bill Condon

Cinematography by: Guillermo Navarro

Edited by: Virginia Katz

Cameras: ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Editing System: Avid Editing System

Digital Opticals

Larry Crowne (2011)

| USA

Directed by: Tom Hanks

Cinematography by: Philippe Rousselot

Edited by: Alan Cody

Cameras: Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses

Digital Opticals

Thor (2011)

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Standard Primes (SP) Lenses

| USA

Directed by: Kenneth Branagh

Cinematography by: Haris Zambarloukos

Edited by: Paul Rubell

Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera

Digital Opticals

X: First Class (2011)

| USA, UK

Directed by: Matthew Vaughn

Cinematography by: John Mathieson

Edited by: Eddie Hamilton, Lee Smith

Digital Opticals

In Time (2011)

| USA

Directed by: Andrew Niccol

Cinematography by: Roger Deakins

Edited by: Zach Staenberg

Cameras: ARRI ALEXA Camera

Digital Opticals: EFilm

The Cabin in the Woods (2011)

| USA

Directed by: Drew Goddard

Cinematography by: Peter Deming

Edited by: Lisa Lassek

Digital Opticals

The Dilemma (2011)

| USA

Directed by: Ron Howard

Cinematography by: Salvatore Totino

Edited by: Daniel P. Hanley, Mike Hill

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Digital Opticals

Beastly (2011)

| USA

Directed by: Daniel Barnz

Cinematography by: Mandy Walker

Edited by: Thomas J. Nordberg

Digital Opticals

Captain America: The First Avenger (2011)

| USA

Directed by: Joe Johnston

Cinematography by: Shelly Johnson

Edited by: Robert Dalva, Jeffrey Ford

Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera

Editing System: Avid Editing System

Digital Opticals

Water for Elephants (2011)

| USA

Directed by: Francis Lawrence

Cinematography by: Rodrigo Prieto

Edited by: Alan Edward Bell

Lenses: Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

Digital Opticals

Fast Five (2011)

| USA, Brazil, Japan

Directed by: Justin Lin

Cinematography by: Stephen F. Windon

Edited by: Kelly Matsumoto, Fred Raskin, Christian Wagner

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera

Digital Opticals

Marmaduke (2010)

| USA

Directed by: Tom Dey

Cinematography by: Greg Gardiner

Edited by: Don Zimmerman

Digital Opticals

Wall Street: Money Never Sleeps (2010)

| USA

Directed by: Oliver Stone

Cinematography by: Rodrigo Prieto

Edited by: David Brenner, Julie Monroe

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Digital Opticals

Percy Jackson & the Olympians: The Lightning Thief (2010)

| UK, Canada, USA

Directed by: Chris Columbus

Cinematography by: Stephen Goldblatt

Edited by: Peter Honess

Digital Intermediate Opticals

The Tempest (2010)

| USA

Directed by: Julie Taymor

Cinematography by: Stuart Dryburgh

Edited by: Françoise Bonnot

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Digital Opticals: EFilm

The Company Men (2010)

| USA

Directed by: John Wells

Cinematography by: Roger Deakins

Edited by: Robert Frazen

Digital Opticals

Repo Men (2010)

| USA, Canada

Directed by: Miguel Sapochnik

Cinematography by: Enrique Chediak

Edited by: Richard Francis-Bruce

Digital Opticals

Killers (2010)

| USA

Directed by: Robert Luketic

Cinematography by: Russell Carpenter

Edited by: Richard Francis-Bruce, Mary Jo Markey

Cameras: ARRIFLEX D-21 Camera

Lenses: Hawk V-Series Lenses

Digital Opticals

The Next Three Days (2010)

| USA, France

Directed by: Paul Haggis

Cinematography by: Stéphane Fontaine

Edited by: Jo Francis

Cameras: Aaton Penelope Camera, ARRICAM Lite (LT) Camera

Digital Opticals

The A-Team (2010)

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

| USA, UK

Directed by: Joe Carnahan

Cinematography by: Mauro Fiore

Edited by: Roger Barton, Jim May

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Digital Opticals

Going the Distance (2010)

| USA

Directed by: Nanette Burstein

Cinematography by: Eric Steelberg

Edited by: Peter Teschner

Digital Opticals

Charlie St. Cloud (2010)

| USA, Canada

Directed by: Burr Steers

Cinematography by: Enrique Chediak

Edited by: Padraic McKinley

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Hawk V-Series Lenses

Digital Opticals

Secretariat (2010)

Lenses: Panavision Primo Anamorphic Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens

| USA

Directed by: Randall Wallace

Cinematography by: Dean Semler

Edited by: John Wright

Cameras: ARRIFLEX 435 Camera, Olympus PEN E-P1 Camera, Pan-Arri 435 Camera, Panavision Genesis Camera, Phantom HD Camera

Digital Opticals

The Runaways (2010)

| USA

Directed by: Floria Sigismondi

Cinematography by: Benoît Debie

Edited by: Richard Chew

Cameras: ARRIFLEX 416 Camera

Digital Opticals

Our Family Wedding (2010)

| USA

Directed by: Rick Famuyiwa

Cinematography by: Julio Macat

Edited by: Dirk Westervelt

Digital Opticals

True Grit (2010)

| USA

Directed by: Ethan Coen, Joel Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 535 B Camera

Editing System: Final Cut Pro Editing System

Digital Opticals

Date Night (2010)

| USA

Directed by: Shawn Levy

Cinematography by: Dean Semler

Edited by: Dean Zimmerman

Digital Intermediate Opticals

Dinner for Schmucks (2010)

| USA

Directed by: Jay Roach

Cinematography by: Jim Denault

Edited by: Alan Baumgarten, Jon Poll

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Editing System: Avid Editing System

Digital Opticals

Sex and the City 2 (2010)

| USA

Directed by: Michael Patrick King

Cinematography by: John Thomas

Edited by: Michael Berenbaum

Digital Opticals

The Last Airbender (2010)

| USA

Directed by: M. Night Shyamalan

Cinematography by: Andrew Lesnie

Edited by: Conrad Buff IV

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Digital Opticals

Iron Man 2 (2010)

Lenses: Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 28-76mm T2.6 Lens, Panavision Primo Primes Spherical Lenses

| USA

Directed by: Jon Favreau

Cinematography by: Matthew Libatique

Edited by: Dan Lebental, Richard Pearson

Cameras: Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL Camera

Editing System: Avid Editing System

Digital Opticals

Gulliver's Travels (2010)

| USA

Directed by: Rob Letterman

Cinematography by: David Tattersall

Edited by: Alan Edward Bell, Nicolas De Toth, Dean Zimmerman

Cameras: Canon EOS-1D Mark IV Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera

Editing System: Avid Editing System

Digital Opticals

Country Strong (2010)

| USA

Directed by: Shana Feste

Cinematography by: John Bailey

Edited by: Carol Littleton, Conor O'Neill

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses

Digital Opticals: EFilm

Love & Other Drugs (2010)

| USA

Directed by: Edward Zwick

Cinematography by: Steven Fierberg

Edited by: Steven Rosenblum

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Anamorphic Lenses

Digital Opticals

The Back-up Plan (2010)

| USA

Directed by: Alan Poul

Cinematography by: Xavier Grobet

Edited by: Priscilla Nedd-Friendly

Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Anamorphic Lenses

Digital Opticals

Extraordinary Measures (2010)

| USA

Directed by: Tom Vaughan

Cinematography by: Andrew Dunn

Edited by: Anne V. Coates

Digital Opticals

Little Fockers (2010)

| USA

Directed by: Paul Weitz

Cinematography by: Remi Adefarasin

Edited by: Greg Hayden, Leslie Jones, Myron Kerstein

Cameras: ARRI Cameras

Digital Opticals

RED (2010)

| USA

Directed by: Robert Schwentke

Cinematography by: Florian Ballhaus

Edited by: Thom Noble

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lenses

Digital Opticals

The Twilight Saga: New Moon (2009)

| USA

Directed by: Chris Weitz

Cinematography by: Javier Aguirresarobe

Edited by: Peter Lambert

Digital Opticals

Aliens in the Attic (2009)

| USA, Canada

Directed by: John Schultz

Cinematography by: Don Burgess

Edited by: John Pace

Digital Opticals

The Time Traveler's Wife (2009)

| USA

Directed by: Robert Schwentke

Cinematography by: Florian Ballhaus

Edited by: Thom Noble

Digital Opticals

Duplicity (2009)

| USA, Germany

Directed by: Tony Gilroy

Cinematography by: Robert Elswit

Edited by: John Gilroy

Lenses: Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

Digital Opticals

The Soloist (2009)

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

| UK, France, USA

Directed by: Joe Wright

Cinematography by: Seamus McGarvey

Edited by: Paul Tothill

Cameras: Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Editing System: Lightworks Editing System

Digital Opticals

Cirque du Freak: The Vampire's Assistant (2009)

| USA

Directed by: Paul Weitz

Cinematography by: James M. Muro

Edited by: Leslie Jones

Digital Opticals

Couples Retreat (2009)

| USA

Directed by: Peter Billingsley

Cinematography by: Eric Alan Edwards

Edited by: Dan Lebental

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Editing System: Final Cut Pro Editing System

Digital Opticals

Julie & Julia (2009)

| USA

Directed by: Nora Ephron

Cinematography by: Stephen Goldblatt

Edited by: Richard Marks

Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Digital Opticals

I Love You, Beth Cooper (2009)

| Canada, USA

Directed by: Chris Columbus

Cinematography by: Phil Abraham

Edited by: Peter Honess

Digital Opticals

Jennifer's Body (2009)

| USA

Directed by: Karyn Kusama

Cinematography by: M. David Mullen

Edited by: Plummy Tucker

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium Camera, Phantom HD Camera

Digital Opticals

The Men Who Stare at Goats (2009)

| USA, UK

Directed by: Grant Heslov

Cinematography by: Robert Elswit

Edited by: Tatiana S. Riegel

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses

Digital Opticals

Up in the Air (2009)

| USA

Directed by: Jason Reitman

Cinematography by: Eric Steelberg

Edited by: Dana E. Glauberman

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Digital Opticals

X-Men Origins: Wolverine (2009)

| USA, UK

Directed by: Gavin Hood

Cinematography by: Donald McAlpine

Edited by: Nicolas De Toth, Megan Gill

Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera

Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses

Editing System: Final Cut Pro Editing System

Digital Opticals

Love Happens (2009)

| USA, Canada, UK

Directed by: Brandon Camp

Cinematography by: Eric Alan Edwards

Edited by: Dana E. Glauberman

Digital Opticals

2012 (2009)

| USA

Directed by: Roland Emmerich

Cinematography by: Dean Semler

Edited by: David Brenner, Peter S. Elliot

Cameras: Panavision Cameras, Panavision Genesis Camera

Lenses: Panavision Lenses, Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

Digital Opticals

Old Dogs (2009)

| USA

Directed by: Walt Becker

Cinematography by: Jeffrey L. Kimball

Edited by: Ryan Folsey, Tom Lewis

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Digital Opticals: EFilm

The Road (2009)

| USA

Directed by: John Hillcoat

Cinematography by: Javier Aguirresarobe

Edited by: Jon Gregory

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Digital Opticals

Land of the Lost (2009)

| USA

Directed by: Brad Silberling

Cinematography by: Dion Beebe

Edited by: Peter Teschner

Cameras: Panavision Cameras

Digital Opticals

Night at the Museum: Battle of the Smithsonian (2009)

| USA, Canada

Directed by: Shawn Levy

Cinematography by: John Schwartzman

Edited by: Dean Zimmerman, Don Zimmerman

Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Red One Camera

Digital Opticals

A Serious Man (2009)

| USA, UK, France

Directed by: Ethan Coen, Joel Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRIFLEX 535 B Camera

Editing System: Final Cut Pro Editing System

Digital Opticals

State of Play (2009)

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

| USA, UK, France

Directed by: Kevin Macdonald

Cinematography by: Rodrigo Prieto

Edited by: Justine Wright

Cameras: Pan-Arri 235 Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera

Digital Opticals

Get Low (2009)

| USA, Germany, Poland

Directed by: Aaron Schneider

Cinematography by: David Boyd

Edited by: Aaron Schneider

Cameras: Panavision Panaflex Gold II Camera

Lenses: Panavision C Series Anamorphic Lenses

Editing System: Final Cut Pro Editing System

Digital Opticals: EFilm

Mother and Child (2009)

| USA, Spain

Directed by: Rodrigo García

Cinematography by: Xavier Grobet

Edited by: Steven Weisberg

Digital Opticals

Jumper (2008)

| USA, Canada

Directed by: Doug Liman

Cinematography by: Barry Peterson

Edited by: Saar Klein, Dean Zimmerman, Don Zimmerman

Cameras: Panavision Cameras, Red One Camera

Digital Opticals

Wanted (2008)

| USA, Germany

Directed by: Timur Bekmambetov

Cinematography by: Mitchell Amundsen

Edited by: David Brenner

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Camera

Digital Opticals

Never Back Down (2008)

| USA

Directed by: Jeff Wadlow

Cinematography by: Lukas Ettlin

Edited by: Victor Du Bois, Debra Beth Weinfeld

Digital Opticals

Semi-Pro (2008)

| USA

Directed by: Kent Alterman

Cinematography by: Shane Hurlbut

Edited by: Debra Neil-Fisher, Peter Teschner

Digital Opticals: EFilm

Milk (2008)

| USA

Directed by: Gus Van Sant

Cinematography by: Harris Savides

Edited by: Elliot Graham

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Canon Scoopic 16 / 16M Camera

Lenses: Angenieux HR Zoom Lenses, Clairmont Anamorphic Lenses, Cooke S4 Lenses

Digital Opticals

Frost/Nixon (2008)

| UK, France, USA

Directed by: Ron Howard

Cinematography by: Salvatore Totino

Edited by: Daniel P. Hanley, Mike Hill, Robert Komatsu

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Cooke S4 Lenses, Cooke Varotal Lenses

Editing System: Avid Editing System

Digital Opticals

What Happens in Vegas (2008)

| USA

Directed by: Tom Vaughan

Cinematography by: Matthew F. Leonetti

Edited by: Matt Friedman

Cameras: Panavision Cameras

Digital Opticals

Defiance (2008)

| USA

Directed by: Edward Zwick

Cinematography by: Eduardo Serra

Edited by: Steven Rosenblum

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Digital Opticals

Redbelt (2008)

| USA

Directed by: David Mamet

Cinematography by: Robert Elswit

Edited by: Barbara Tulliver

Digital Opticals

Get Smart (2008)

| USA

Directed by: Peter Segal

Cinematography by: Dean Semler

Edited by: Richard Pearson

Cameras: Panavision Genesis Camera, Panavision Panastar Camera

Lenses: Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens

Editing System: Avid Editing System

Digital Opticals

The Spiderwick Chronicles (2008)

| USA

Directed by: Mark Waters

Cinematography by: Caleb Deschanel

Edited by: Michael Kahn

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Digital Opticals

Miracle at St. Anna (2008)

| USA, Italy

Directed by: Spike Lee

Cinematography by: Matthew Libatique

Edited by: Barry Alexander Brown

Digital Opticals

Yes Man (2008)

| USA, UK

Directed by: Peyton Reed

Cinematography by: Robert D. Yeoman

Edited by: Craig Alpert

Cameras: Panavision Cameras

Smoke Artist: EFilm

Doubt (2008)

| USA

Directed by: John Patrick Shanley

Cinematography by: Roger Deakins

Edited by: Dylan Tichenor

Cameras: ARRIFLEX 535 B Camera

Digital Opticals

Sex and the City (2008)

| USA

Directed by: Michael Patrick King

Cinematography by: John Thomas

Edited by: Michael Berenbaum

Digital Opticals: EFilm

Thomas Kinkade's Christmas Cottage (2008)

| USA, Canada

Directed by: Michael Campus

Cinematography by: Robert Brinkmann

Edited by: Don Brochu

Digital Opticals: EFilm

Be Kind Rewind (2008)

| UK, France, USA

Directed by: Michel Gondry

Cinematography by: Ellen Kuras

Edited by: Jeff Buchanan

Digital Opticals

Iron Man (2008)

Lenses: Angenieux Optimo 17-80mm T2.2 Lens, Angenieux Optimo 24-290mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses

| USA

Directed by: Jon Favreau

Cinematography by: Matthew Libatique

Edited by: Dan Lebental

Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera

Editing System: Avid Editing System, Final Cut Pro Editing System

Digital Opticals

The Day the Earth Stood Still (2008)

| USA, Canada

Directed by: Scott Derrickson

Cinematography by: David Tattersall

Edited by: Wayne Wahrman

Cameras: Panavision Cameras

Digital Opticals

The Incredible Hulk (2008)

| USA

Directed by: Louis Leterrier

Cinematography by: Peter Menzies Jr.

Edited by: Rick Shaine, Vincent Tabaillon, John Wright

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-1Ds Camera, Panavision Cameras

Editing System: Avid Editing System

Digital Opticals

Four Christmases (2008)

| Germany, USA

Directed by: Seth Gordon

Cinematography by: Jeffrey L. Kimball

Edited by: Mark Helfrich, Melissa Kent

Digital Opticals

The Express (2008)

| USA, Germany

Directed by: Gary Fleder

Cinematography by: Kramer Morgenthau

Edited by: Padraic McKinley, William Steinkamp

Digital Opticals

Nim's Island (2008)

| USA

Directed by: Jennifer Flackett, Mark Levin

Cinematography by: Stuart Dryburgh

Edited by: Stuart Levy

Cameras: Panavision Cameras

Digital Opticals

Death Race (2008)

| USA, Germany, UK

Directed by: Paul W.S. Anderson

Cinematography by: Scott Kevan

Edited by: Niven Howie

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 Camera

Digital Opticals

Nights in Rodanthe (2008)

| USA, Australia

Directed by: George C. Wolfe

Cinematography by: Affonso Beato

Edited by: Brian A. Kates

Digital Opticals

Indiana Jones and the Kingdom of the Crystal Skull (2008)

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

| USA

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Michael Kahn

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera

Digital Opticals

The Rocker (2008)

| USA

Directed by: Peter Cattaneo

Cinematography by: Anthony B. Richmond

Edited by: Charles Kaplan, Brad Wilhite

Digital Opticals

Revolutionary Road (2008)

| USA, UK

Directed by: Sam Mendes

Cinematography by: Roger Deakins

Edited by: Tariq Anwar

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera

Editing System: Lightworks Editing System

Digital Opticals

The Reaping (2007)

| USA

Directed by: Stephen Hopkins

Cinematography by: Peter Levy

Edited by: Colby Parker Jr.

Digital Opticals

Ghost Rider (2007)

| USA, Australia

Directed by: Mark Steven Johnson

Cinematography by: Russell Boyd

Edited by: Richard Francis-Bruce

Cameras: Panavision Cameras

Digital Opticals

Aliens vs. Predator: Requiem (2007)

| USA

Directed by: Colin Strause, Greg Strause

Cinematography by: Daniel Pearl

Edited by: Dan Zimmerman

Digital Opticals

In the Valley of Elah (2007)

| USA

Directed by: Paul Haggis

Cinematography by: Roger Deakins

Edited by: Jo Francis

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera

Digital Opticals

I Now Pronounce You Chuck & Larry (2007)

| USA

Directed by: Dennis Dugan

Cinematography by: Dean Semler

Edited by: Jeff Gourson

Digital Opticals

Mr. Magorium's Wonder Emporium (2007)

| USA, Canada

Directed by: Zach Helm

Cinematography by: Roman Osin

Edited by: Sabrina Plisco, Steven Weisberg

Digital Opticals

Across the Universe (2007)

| USA, UK

Directed by: Julie Taymor

Cinematography by: Bruno Delbonnel

Edited by: Françoise Bonnot

Cameras: ARRI Cameras, Panavision Cameras

Lenses: Panavision Lenses

Digital Opticals

Married Life (2007)

| USA, Canada

Directed by: Ira Sachs

Cinematography by: Peter Deming

Edited by: Affonso Gonçalves

Digital Opticals

Rendition (2007)

| USA

Directed by: Gavin Hood

Cinematography by: Dion Beebe

Edited by: Megan Gill

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Digital Opticals

Music and Lyrics (2007)

| USA

Directed by: Marc Lawrence

Cinematography by: Xavier Grobet

Edited by: Susan E. Morse

Cameras: ARRI Cameras

Lenses: Zeiss Lenses

Digital Opticals: EFilm

Good Luck Chuck (2007)

| USA, Canada

Directed by: Mark Helfrich

Cinematography by: Anthony B. Richmond

Edited by: Julia Wong

Digital Opticals

I Am Legend (2007)

| USA

Directed by: Francis Lawrence

Cinematography by: Andrew Lesnie

Edited by: Wayne Wahrman

Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Lenses

Digital Opticals

Wind Chill (2007)

| USA, UK

Directed by: Gregory Jacobs

Cinematography by: Dan Laustsen

Edited by: Lee Percy

Digital Opticals

The Number 23 (2007)

| Germany, USA

Directed by: Joel Schumacher

Cinematography by: Matthew Libatique

Edited by: Mark Stevens

Digital Opticals

The Seeker: The Dark Is Rising (2007)

| USA

Directed by: David L. Cunningham

Cinematography by: Joel Ransom

Edited by: Geoffrey Rowland, Eric A. Sears

Cameras: Panavision Cameras

Digital Opticals

The Assassination of Jesse James by the Coward Robert Ford (2007)

| USA, Canada, UK

Directed by: Andrew Dominik

Cinematography by: Roger Deakins

Edited by: Curtiss Clayton, Dylan Tichenor

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera

Lenses: Cooke Lenses, Cooke S4 Lenses

Digital Opticals: EFilm

Fracture (2007)

| USA, Germany

Directed by: Gregory Hoblit

Cinematography by: Kramer Morgenthau

Edited by: David Rosenbloom

Fire Artist

Planet Terror (2007)

| USA, Mexico

Directed by: Robert Rodriguez

Cinematography by: Robert Rodriguez

Edited by: Ethan Maniquis, Robert Rodriguez

Digital Opticals

Hairspray (2007)

| USA, UK

Directed by: Adam Shankman

Cinematography by: Bojan Bazelli

Edited by: Michael Tronick

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Cooke Speed Panchro Lenses, Zeiss Master Prime Lenses

Digital Opticals

Charlie Wilson's War (2007)

| USA, Germany

Directed by: Mike Nichols

Cinematography by: Stephen Goldblatt

Edited by: John Bloom, Antonia Van Drimmelen

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses

Digital Opticals

The Brave One (2007)

| USA

Directed by: Neil Jordan

Cinematography by: Philippe Rousselot

Edited by: Tony Lawson

Cameras: Panavision Panaflex Camera

Digital Opticals

Lust, Caution (2007)

| USA, China, Taiwan

Directed by: Ang Lee

Cinematography by: Rodrigo Prieto

Edited by: Tim Squyres

Digital Opticals: Efilm

Juno (2007)

| USA

Directed by: Jason Reitman

Cinematography by: Eric Steelberg

Edited by: Dana E. Glauberman

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera

Digital Opticals

The Fountain (2006)

| Canada, USA

Directed by: Darren Aronofsky

Cinematography by: Matthew Libatique

Edited by: Jay Rabinowitz

Digital Opticals

Amazing Grace (2006)

| USA, UK

Directed by: Michael Apted

Cinematography by: Remi Adefarasin

Edited by: Rick Shaine

Cameras: ARRI Cameras

Digital Opticals

Idiocracy (2006)

| USA

Directed by: Mike Judge

Cinematography by: Tim Suhrstedt

Edited by: David Rennie

Digital Opticals

Blood Diamond (2006)

| USA, Germany

Directed by: Edward Zwick

Cinematography by: Eduardo Serra

Edited by: Steven Rosenblum

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Hawk C-Series Lenses, Hawk V-Series Lenses

Digital Opticals

Snakes on a Plane (2006)

| USA, Germany

Directed by: David R. Ellis

Cinematography by: Adam Greenberg

Edited by: Howard E. Smith

Digital Opticals

Inside Man (2006)

| USA

Directed by: Spike Lee

Cinematography by: Matthew Libatique

Edited by: Barry Alexander Brown

Digital Opticals

The Illusionist (2006)

| USA, Czech Republic

Directed by: Neil Burger

Cinematography by: Dick Pope

Edited by: Naomi Geraghty

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens

Digital Opticals

Man About Town (2006)

| USA

Directed by: Mike Binder

Cinematography by: Russ T. Alsobrook

Edited by: Roger Nygard

Digital Opticals

Children of Men (2006)

| USA, UK, Japan

Directed by: Alfonso Cuarón

Cinematography by: Emmanuel Lubezki

Edited by: Alfonso Cuarón, Alex Rodríguez

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera

Digital Opticals

Running Scared (2006)

| Germany, USA

Directed by: Wayne Kramer

Cinematography by: Jim Whitaker

Edited by: Arthur Coburn

Digital Opticals

Charlotte's Web (2006)

| USA, Germany, Australia

Directed by: Gary Winick

Cinematography by: Seamus McGarvey

Edited by: Susan Littenberg, Sabrina Plisco

Digital Opticals

We Are Marshall (2006)

| USA

Directed by: McG

Cinematography by: Shane Hurlbut

Edited by: Gregg London, Priscilla Nedd-Friendly

Digital Opticals

The Break-Up (2006)

| USA

Directed by: Peyton Reed

Cinematography by: Eric Alan Edwards

Edited by: Dan Lebental, David Rosenbloom

Digital Opticals

Night at the Museum (2006)

| USA, UK

Directed by: Shawn Levy

Cinematography by: Guillermo Navarro

Edited by: Don Zimmerman

Digital Opticals

Little Children (2006)

| USA

Directed by: Todd Field

Cinematography by: Antonio Calvache

Edited by: Leo Trombetta

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

Digital Opticals

Eragon (2006)

| USA, UK, Hungary

Directed by: Stefen Fangmeier

Cinematography by: Hugh Johnson

Edited by: Roger Barton, Masahiro Hirakubo, Chris Lebenzon

Digital Opticals: EFilm

The Painted Veil (2006)

| China, USA, Canada

Directed by: John Curran

Cinematography by: Stuart Dryburgh

Edited by: Alexandre de Franceschi

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Digital Opticals

Click (2006)

| USA

Directed by: Frank Coraci

Cinematography by: Dean Semler

Edited by: Jeff Gourson

Digital Opticals / Fire Artist: EFilm

Apocalypto (2006)

| USA, Mexico

Directed by: Mel Gibson

Cinematography by: Dean Semler

Edited by: John Wright

Cameras: Aaton A-Minima Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Ikonoskop Cameras, Panavision Genesis Camera

Digital Opticals

Freedomland (2006)

| USA

Directed by: Joe Roth

Cinematography by: Anastas N. Michos

Edited by: Nick Moore

Digital Opticals

World Trade Center (2006)

| USA

Directed by: Oliver Stone

Cinematography by: Seamus McGarvey

Edited by: David Brenner, Julie Monroe

Digital Opticals

You, Me and Dupree (2006)

| USA

Directed by: Anthony Russo, Joe Russo

Cinematography by: Charles Minsky

Edited by: Peter B. Ellis, Debra Neil-Fisher

Digital Opticals

Ultraviolet (2006)

| USA

Directed by: Kurt Wimmer

Cinematography by: Arthur Wong

Edited by: William Yeh

Digital Opticals

The Da Vinci Code (2006)

| USA, Malta, France, UK

Directed by: Ron Howard

Cinematography by: Salvatore Totino

Edited by: Daniel P. Hanley, Mike Hill

Digital Opticals

Idlewild (2006)

| USA

Directed by: Bryan Barber

Cinematography by: Pascal Rabaud

Edited by: Anne Goursaud

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Zeiss Ultra Prime Lenses

Digital Opticals

Assault on Precinct 13 (2005)

| France, USA

Directed by: Jean-François Richet

Cinematography by: Robert Gantz

Edited by: Bill Pankow

Digital Opticals

Jarhead (2005)

| USA, UK, Germany

Directed by: Sam Mendes

Cinematography by: Roger Deakins

Edited by: Walter Murch

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 35 IIIC Camera

Lenses: Cooke S4 Lenses

Editing System: Final Cut Pro Editing System

Digital Opticals

Thank You for Smoking (2005)

Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E40 40 mm T2.0 Lens, Panavision Primo Anamorphic Lenses

| USA

Directed by: Jason Reitman

Cinematography by: Jim Whitaker

Edited by: Dana E. Glauberman

Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Sony Betacam (Unknown) Camera, Sony DSC-T1 Camera

Digital Opticals

Lackawanna Blues (2005)

Television Movie

| USA

Directed by: George C. Wolfe

Cinematography by: Ivan Strasburg

Edited by: Brian A. Kates

Digital Opticals

The New World (2005)

| USA, UK

Directed by: Terrence Malick

Cinematography by: Emmanuel Lubezki

Edited by: Richard Chew, Hank Corwin, Saar Klein, Mark Yoshikawa

Cameras: Aaton 35-III Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision System 65 Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

Digital Opticals: Efilm

Happy Endings (2005)

| USA

Directed by: Don Roos

Cinematography by: Clark Mathis

Edited by: David Codron

Editing System: Final Cut Pro Editing System

Digital Opticals

Stealth (2005)

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses

| USA

Directed by: Rob Cohen

Cinematography by: Dean Semler

Edited by: Stephen E. Rivkin

Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera

Digital Opticals

The Producers (2005)

| USA

Directed by: Susan Stroman

Cinematography by: John Bailey, Charles Minsky

Edited by: Steven Weisberg

Digital Opticals

The Great Raid (2005)

| USA, Australia

Directed by: John Dahl

Cinematography by: Peter Menzies Jr.

Edited by: Scott Chestnut, Pietro Scalia

Digital Opticals

Wedding Crashers (2005)

| USA

Directed by: David Dobkin

Cinematography by: Julio Macat

Edited by: Mark Livolsi

Digital Opticals

Be Cool (2005)

| USA

Directed by: F. Gary Gray

Cinematography by: Jeffrey L. Kimball

Edited by: Sheldon Kahn

Digital Opticals

Rent (2005)

| USA

Directed by: Chris Columbus

Cinematography by: Stephen Goldblatt

Edited by: Richard Pearson

Digital Opticals

The Life Aquatic with Steve Zissou (2004)

| USA

Directed by: Wes Anderson

Cinematography by: Robert D. Yeoman

Edited by: David Moritz

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Digital Opticals

Hellboy (2004)

| USA

Directed by: Guillermo del Toro

Cinematography by: Guillermo Navarro

Edited by: Peter Amundson

Digital Opticals

Lemony Snicket's A Series of Unfortunate Events (2004)

| USA, Germany

Directed by: Brad Silberling

Cinematography by: Emmanuel Lubezki

Edited by: Michael Kahn

Digital Opticals

Van Helsing (2004)

| USA, Czech Republic, Romania

Directed by: Stephen Sommers

Cinematography by: Allen Daviau

Edited by: Bob Ducsay, Kelly Matsumoto, Jim May

Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Platinum Camera

Editing System: Avid Editing System

Digital Opticals

Christmas with the Kranks (2004)

| USA

Directed by: Joe Roth

Cinematography by: Don Burgess

Edited by: Nick Moore

Digital Opticals

Finding Neverland (2004)

| USA, UK

Directed by: Marc Forster

Cinematography by: Roberto Schaefer

Edited by: Matt Chesse

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Angenieux HR 25-250mm T3.5 Lens, Cooke S4 Lenses

Editing System: Avid Editing System

Digital Opticals

Dawn of the Dead (2004)

| USA, Canada, Japan, France

Directed by: Zack Snyder

Cinematography by: Matthew F. Leonetti

Edited by: Niven Howie

Digital Opticals

Flight of the Phoenix (2004)

| USA

Directed by: John Moore

Cinematography by: Brendan Galvin

Edited by: Don Zimmerman

Digital Opticals

The Butterfly Effect (2004)

| USA, Canada

Directed by: Eric Bress, J. Mackye Gruber

Cinematography by: Matthew F. Leonetti

Edited by: Peter Amundson

Digital Opticals

The Bourne Supremacy (2004)

| USA, Germany

Directed by: Paul Greengrass

Cinematography by: Oliver Wood

Edited by: Richard Pearson, Christopher Rouse

Cameras: ARRI Cameras

Digital Opticals

Spider-Man 2 (2004)

Cameras: ARRIFLEX 435 Camera, Beaumont Vista Vision Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision System 65 Camera

| USA

Directed by: Sam Raimi

Cinematography by: Bill Pope

Edited by: Bob Murawski

Lenses: Panavision Hylén System Lens, Panavision Primo Primes Spherical Lenses

Digital Opticals

The Life and Death of Peter Sellers (2004)

| USA, UK

Directed by: Stephen Hopkins

Cinematography by: Peter Levy

Edited by: John Smith

Digital Opticals

The Passion of the Christ (2004)

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

| USA

Directed by: Mel Gibson

Cinematography by: Caleb Deschanel

Edited by: Steve Mirkovich, John Wright

Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera

Digital Opticals

Ocean's Twelve (2004)

| USA

Directed by: Steven Soderbergh

Cinematography by: Steven Soderbergh

Edited by: Stephen Mirrione

Opticals: Subtitles

The Alamo (2004)

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

| USA

Directed by: John Lee Hancock

Cinematography by: Dean Semler

Edited by: Eric L. Beason

Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera

Digital Opticals

Intolerable Cruelty (2003)

| USA

Directed by: Joel Coen, Ethan Coen

Cinematography by: Roger Deakins

Edited by: Ethan Coen, Joel Coen

Cameras: ARRIFLEX 535 Camera

Editing System: Final Cut Pro Editing System

Digital Opticals

American Splendor (2003)

| USA

Directed by: Shari Springer Berman, Robert Pulcini

Cinematography by: Terry Stacey

Edited by: Robert Pulcini

Cameras: Panavision Panaflex Millennium Camera, Sony HDW-F900 Camera

Lenses: Panavision Primo Classic Spherical Lenses

Editing System: Avid Editing System

Digital Opticals

Charlie's Angels: Full Throttle (2003)

| USA

Directed by: McG

Cinematography by: Russell Carpenter

Edited by: Wayne Wahrman

Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium Camera

Digital Opticals

The Cat in the Hat (2003)

| USA

Directed by: Bo Welch

Cinematography by: Emmanuel Lubezki

Edited by: Don Zimmerman

Digital Opticals

The Rundown (2003)

| USA

Directed by: Peter Berg

Cinematography by: Tobias A. Schliessler

Edited by: Richard Pearson

Digital Opticals

Master and Commander: The Far Side of the World (2003)

| USA

Directed by: Peter Weir

Cinematography by: Russell Boyd

Edited by: Lee Smith

Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Digital Opticals

Peter Pan (2003)

| UK, Australia, USA, New Zealand

Directed by: P.J. Hogan

Cinematography by: Donald McAlpine

Edited by: Garth Craven, Michael Kahn

Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses

Digital Opticals

The Italian Job (2003)

| USA, France, UK, Italy

Directed by: F. Gary Gray

Cinematography by: Wally Pfister

Edited by: Richard Francis-Bruce, Christopher Rouse

Digital Opticals

Terminator 3: Rise of the Machines (2003)

| USA, Germany, UK

Directed by: Jonathan Mostow

Cinematography by: Don Burgess

Edited by: Nicolas De Toth, Neil Travis

Editing System: Avid Editing System

Digital Opticals

The Fighting Temptations (2003)

| USA

Directed by: Jonathan Lynn

Cinematography by: Affonso Beato

Edited by: Paul Hirsch

Digital Opticals

Blue Crush (2002)

| USA, Germany

Directed by: John Stockwell

Cinematography by: David Hennings

Edited by: Emma E. Hickox

Visual Effects Supervisor

Point of Origin (2002)

Television Movie

| USA

Directed by: Newton Thomas Sigel

Cinematography by: Anthony G. Nakonechnyj

Edited by: Cindy Mollo

Digital Opticals: Efilm

Frida (2002)

| USA, Canada, Mexico

Directed by: Julie Taymor

Cinematography by: Rodrigo Prieto

Edited by: Françoise Bonnot

Cameras: ARRIFLEX 435 Camera, Moviecam Compact Camera

Lenses: Zeiss Ultra Prime Lenses

Editing System: Avid Editing System

Digital Compositor: The Post Group

Swordfish (2001)

| USA

Directed by: Dominic Sena

Cinematography by: Paul Cameron

Edited by: Stephen E. Rivkin

Senior Visual Effects Compositor: The Post Group's Digital Film Group

The Extreme Adventures of Super Dave (2000)

Direct to Video

| USA

Directed by: Peter MacDonald

Cinematography by: Bernd Heinl

Edited by: Mike Murphy

Supervising Compositor: The Digital FilmGroup/The Post Group

Return to Me (2000)

| USA

Directed by: Bonnie Hunt

Cinematography by: László Kovács

Edited by: Garth Craven

Effects Compositor Of Video Playback Material

Nurse Betty (2000)

| Germany, USA

Directed by: Neil LaBute

Cinematography by: Jean-Yves Escoffier

Edited by: Joel Plotch, Steven Weisberg

Supervising Compositor: The Post Group

Brokedown Palace (1999)

| USA

Directed by: Jonathan Kaplan

Cinematography by: Newton Thomas Sigel

Edited by: Curtiss Clayton, Don Zimmerman

Supervising Compositor: The Post Group

Titanic (1997)

| USA

Directed by: James Cameron

Cinematography by: Russell Carpenter

Edited by: Conrad Buff IV, James Cameron, Richard A. Harris

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera

Effects Compositor Of Video Playback Material

Back to the Future Part II (1989)