Timothy P. Jones

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The Banshees of Inisherin | ShotOnWhat?

Digital Film Bureau

The Banshees of Inisherin (2022)

Directed by: Martin McDonagh

Cinematography by: Ben Davis

Edited by: Mikkel E.G. Nielsen

Cameras: ARRI ALEXA Mini LF Camera

Lenses: ARRI Signature Prime Lenses

Cats | ShotOnWhat?

Digital Film Bureau

Cats (2019)

Directed by: Tom Hooper

Cinematography by: Christopher Ross

Edited by: Melanie Oliver

Cameras: ARRI ALEXA 65 Camera

Lenses: ARRI Rental Prime DNA Lenses, Hasselblad Lenses, Tokina Vista Cinema Prime Lenses

The Art of Racing in the Rain | ShotOnWhat?

Digital Film Bureau

The Art of Racing in the Rain (2019)

Directed by: Simon Curtis

Cinematography by: Ross Emery

Edited by: Adam Recht

Cameras: ARRI ALEXA SXT EV Cameras

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk Vantage One 120mm T1 Lens, Hawk Vantage One 17.5mm T1 Lens, Hawk Vantage One 21mm T1 Lens, Hawk Vantage One 25mm T1 Lens, Hawk Vantage One 32mm T1 Lens, Hawk Vantage One 40mm T1 Lens, Hawk Vantage One 50mm T1 Lens, Hawk Vantage One 65mm T1 Lens, Hawk Vantage One 90mm T1 Lens

Outlaw King | ShotOnWhat?

Digital Film Bureau

Outlaw King (2018)

Directed by: David Mackenzie

Cinematography by: Barry Ackroyd

Edited by: Jake Roberts

Cameras: Panavision Millennium DXL Camera, Red Weapon Dragon Camera

Lenses: Angenieux Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo 70 Lenses

The Favourite | ShotOnWhat?

Digital Film Bureau

The Favourite (2018)

Directed by: Yorgos Lanthimos

Cinematography by: Robbie Ryan

Edited by: Yorgos Mavropsaridis

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Nikon - Nikkor Lenses, Panavision PVintage Prime Lenses

Murder on the Orient Express | ShotOnWhat?

Digital Film Bureau

Murder on the Orient Express (2017)

Directed by: Kenneth Branagh

Cinematography by: Haris Zambarloukos

Edited by: Mick Audsley

Cameras: ARRI ALEXA 65 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision System 65 Camera

Lenses: Panavision Sphero 65 Series Lenses

The Killing of a Sacred Deer | ShotOnWhat?

Digital Film Bureau

The Killing of a Sacred Deer (2017)

Directed by: Yorgos Lanthimos

Cinematography by: Thimios Bakatakis

Edited by: Yorgos Mavropsaridis

Cameras: ARRICAM Lite (LT) Camera

Lenses: Panavision Super Speed Lenses, Panavision Ultra Speed MKII Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

Three Billboards Outside Ebbing, Missouri | ShotOnWhat?

Digital Film Bureau

Three Billboards Outside Ebbing, Missouri (2017)

Directed by: Martin McDonagh

Cinematography by: Ben Davis

Edited by: Jon Gregory

Cameras: ARRI ALEXA XT Series Cameras

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

Free Fire | ShotOnWhat?

Digital Film Bureau

Free Fire (2016)

Directed by: Ben Wheatley

Cinematography by: Laurie Rose

Edited by: Amy Jump, Ben Wheatley

Florence Foster Jenkins | ShotOnWhat?

Digital Film Bureau

Florence Foster Jenkins (2016)

Directed by: Stephen Frears

Cinematography by: Danny Cohen

Edited by: Valerio Bonelli

Cameras: ARRI ALEXA XT Camera

Jason Bourne | ShotOnWhat?

Digital Film Bureau

Jason Bourne (2016)

Directed by: Paul Greengrass

Cinematography by: Barry Ackroyd

Edited by: Christopher Rouse

Cameras: Aaton Penelope Camera, Aaton XTR Prod Camera, ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Canon EOS-C500 Camera, Codex Action Cam, Red Epic Dragon Camera

Lenses: Angenieux Optimo Zoom Lenses, Canon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses, Kowa Cine Prominar Spherical Lenses, Panavision Lenses, Zeiss Super Speed Lenses, Zeiss Ultra Prime Lenses

American Honey | ShotOnWhat?

Digital Film Bureau

American Honey (2016)

Directed by: Andrea Arnold

Cinematography by: Robbie Ryan

Edited by: Joe Bini

Cameras: ARRI ALEXA Camera, ARRICAM Lite (LT) Camera

London Has Fallen | ShotOnWhat?

Digital Film Bureau

London Has Fallen (2016)

Directed by: Babak Najafi

Cinematography by: Ed Wild

Edited by: Michael J. Duthie, Paul Martin Smith

Cameras: Red Epic Dragon Camera

Lenses: Angenieux Optimo Zoom Lenses, Leitz Summilux-C Series Lenses

The Danish Girl | ShotOnWhat?

Digital Film Bureau

The Danish Girl (2015)

Directed by: Tom Hooper

Cinematography by: Danny Cohen

Edited by: Melanie Oliver

Cameras: Red Epic Dragon Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Master Prime Lenses

Editing System: Avid Editing System

Eddie the Eagle | ShotOnWhat?

Digital Film Bureau

Eddie the Eagle (2015)

Directed by: Dexter Fletcher

Cinematography by: George Richmond

Edited by: Martin Walsh

Cameras: ARRI ALEXA XT Camera, IO Industries Flare 2KSDI Camera, Red Epic Dragon Camera

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

The Salvation | ShotOnWhat?

Digital Film Bureau

The Salvation (2014)

Directed by: Kristian Levring

Cinematography by: Jens Schlosser

Edited by: Pernille Bech Christensen

Cameras: ARRI ALEXA Plus Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Kingsman: The Secret Service | ShotOnWhat?

Digital Film Bureau

Kingsman: The Secret Service (2014)

Directed by: Matthew Vaughn

Cinematography by: George Richmond

Edited by: Eddie Hamilton, Jon Harris

Cameras: ARRI ALEXA XT Plus Camera, Blackmagic Production 4K Camera, Phantom Flex Camera

Lenses: Angenieux Optimo Zoom Lenses, Hawk V-Lite Lenses

Editing System: Avid Editing System

The Imitation Game | ShotOnWhat?

Digital Film Bureau

The Imitation Game (2014)

Directed by: Morten Tyldum

Cinematography by: Oscar Faura

Edited by: William Goldenberg

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

Lenses: Zeiss Master Prime Lenses

Dracula Untold | ShotOnWhat?

Digital Film Bureau

Dracula Untold (2014)

Directed by: Gary Shore

Cinematography by: John Schwartzman

Edited by: Richard Pearson

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

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 G Series Anamorphic Lenses

Jack Ryan: Shadow Recruit | ShotOnWhat?

Digital Film Bureau

Jack Ryan: Shadow Recruit (2014)

Directed by: Kenneth Branagh

Cinematography by: Haris Zambarloukos

Edited by: Martin Walsh

Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Camera

Lenses: Angenieux HR Zoom Lenses, Panavision C Series Anamorphic Lenses

Editing System: Avid Editing System

Under the Skin | ShotOnWhat?

Digital Film Bureau

Under the Skin (2013)

Directed by: Jonathan Glazer

Cinematography by: Daniel Landin

Edited by: Paul Watts

Cameras: ARRI ALEXA Plus Camera, one-cam Camera

Lenses: Kowa Lenses, Schneider Cinegon Lenses, Schneider Xenon FF Prime Lenses, Schneider Xenoplan Lenses, Zeiss Super Speed Lenses

Philomena | ShotOnWhat?

Digital Film Bureau

Philomena (2013)

Directed by: Stephen Frears

Cinematography by: Robbie Ryan

Edited by: Valerio Bonelli

Cameras: ARRI ALEXA Camera

Rush | ShotOnWhat?

Digital Film Bureau: Company 3 London

Rush (2013)

Directed by: Ron Howard

Cinematography by: Anthony Dod Mantle

Edited by: Daniel P. Hanley, Mike Hill

Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, Canon EOS-1D Mark IV Camera, Canon EOS-C300 Camera, GoPro HD Hero3 Camera, indieGS2K Camera, indiePOV Camera, Phantom Flex Camera, Red Epic Camera

Lenses: Angenieux Lenses, ARRI / Zeiss Lenses, Bausch & Lomb Lenses, Canon Lenses, Cooke Lenses, Cooke Speed Panchro Lenses, Kowa Lenses, Schneider Lenses, Zeiss Master Prime Lenses

The World's End | ShotOnWhat?

Digital Film Bureau

The World's End (2013)

Directed by: Edgar Wright

Cinematography by: Bill Pope

Edited by: Paul Machliss

Cameras: ARRIFLEX 16SR3 Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision Primo Zooms Spherical Lenses

Captain Phillips | ShotOnWhat?

Digital Film Bureau

Captain Phillips (2013)

Directed by: Paul Greengrass

Cinematography by: Barry Ackroyd

Edited by: Christopher Rouse

Cameras: Aaton Penelope Camera, Aaton XTR Prod Camera, ARRI ALEXA Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, GoPro (Woodman Labs) Cameras, VistaVision Cameras

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, ARRI / Zeiss Lenses, Canon Lenses, Leitz Summilux-C Series Lenses, Zeiss Super Speed Lenses

The Woman in Black | ShotOnWhat?

Digital Film Bureau

The Woman in Black (2012)

Directed by: James Watkins

Cinematography by: Tim Maurice-Jones

Edited by: Jon Harris

Les Misérables | ShotOnWhat?

Digital Film Bureau

Les Misérables (2012)

Directed by: Tom Hooper

Cinematography by: Danny Cohen

Edited by: Chris Dickens, Melanie Oliver

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

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

Hyde Park on Hudson | ShotOnWhat?

Digital Film Bureau

Hyde Park on Hudson (2012)

Directed by: Roger Michell

Cinematography by: Lol Crawley

Edited by: Nicolas Gaster

Cameras: ARRI ALEXA Camera, ARRIFLEX 435 ES Camera, Silicon Imaging SI-2K Camera

Lenses: Angenieux HR 25-250 mm T3.5 Lens, Angenieux Optimo DP 16-42 mm T2.8 Lens, Cooke S4 Lenses

Seven Psychopaths | ShotOnWhat?

Digital Film Bureau: Company 3 London

Seven Psychopaths (2012)

Directed by: Martin McDonagh

Cinematography by: Ben Davis

Edited by: Lisa Gunning

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

Lenses: Panavision Primo Anamorphic Lenses

Skyfall | ShotOnWhat?

Digital Intermediate Film Bureau: Company 3 London

Skyfall (2012)

Directed by: Sam Mendes

Cinematography by: Roger Deakins

Edited by: Stuart Baird

Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, Red Epic Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

Editing System: Avid Editing System

Contraband | ShotOnWhat?

Digital Film Bureau

Contraband (2012)

Directed by: Baltasar Kormákur

Cinematography by: Barry Ackroyd

Edited by: Elísabet Ronaldsdóttir

Cameras: Aaton Penelope Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke Speed Panchro Lenses

Wrath of the Titans | ShotOnWhat?

Digital Film Bureau

Wrath of the Titans (2012)

Directed by: Jonathan Liebesman

Cinematography by: Ben Davis

Edited by: Martin Walsh

Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Camera

Lenses: Panavision Compact Zoom Lenses, Panavision Primo Anamorphic Lenses

Marley | ShotOnWhat?

Digital Film Bureau

Marley (2012)

Directed by: Kevin Macdonald

Cinematography by: Mike Eley, Alwin H. Küchler, Wally Pfister

Edited by: Dan Glendenning

Cameras: Aaton Penelope Camera, Aaton XTR Prod Camera, Canon EOS-5D Mark II Camera

Snow White and the Huntsman | ShotOnWhat?

Digital Film Bureau

Snow White and the Huntsman (2012)

Directed by: Rupert Sanders

Cinematography by: Greig Fraser

Edited by: Conrad Buff IV, Neil Smith

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

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

Anna Karenina | ShotOnWhat?

Digital Film Bureau

Anna Karenina (2012)

Directed by: Joe Wright

Cinematography by: Seamus McGarvey

Edited by: Melanie Oliver

Cameras: Panavision Panaflex Millennium XL2 Camera

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

Tyrannosaur | ShotOnWhat?

Digital Film Bureau

Tyrannosaur (2011)

Directed by: Paddy Considine

Cinematography by: Erik Wilson

Edited by: Pia Di Ciaula

Cameras: Canon EOS-5D Mark II Camera, Red One MX Camera

Lenses: Cooke Speed Panchro Lenses

The Decoy Bride | ShotOnWhat?

Digital Film Bureau

The Decoy Bride (2011)

Directed by: Sheree Folkson

Cinematography by: Nanu Segal

Edited by: Dan Farrell

Albert Nobbs | ShotOnWhat?

Digital Film Bureau: Deluxe 142 Features

Albert Nobbs (2011)

Directed by: Rodrigo García

Cinematography by: Michael McDonough

Edited by: Steven Weisberg

Cameras: Red One MX Camera

The Eagle | ShotOnWhat?

Digital Film Bureau

The Eagle (2011)

Directed by: Kevin Macdonald

Cinematography by: Anthony Dod Mantle

Edited by: Justine Wright

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, Canon EOS-1D Mark IV Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

One Day | ShotOnWhat?

Digital Film Bureau: Deluxe 142 Features

One Day (2011)

Directed by: Lone Scherfig

Cinematography by: Benoît Delhomme

Edited by: Barney Pilling

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

Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Cooke S4 Lenses

The Iron Lady | ShotOnWhat?

Digital Film Bureau: Deluxe 142

The Iron Lady (2011)

Directed by: Phyllida Lloyd

Cinematography by: Elliot Davis

Edited by: Justine Wright

Cameras: Panavision Panaflex Millennium XL2 Camera

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

360 | ShotOnWhat?

Digital Film Bureau

360 (2011)

Directed by: Fernando Meirelles

Cinematography by: Adriano Goldman

Edited by: Daniel Rezende

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 416 Plus Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Super Speed Lenses, Zeiss Ultra 16 Lenses, Zeiss Ultra Prime Lenses

The Veteran | ShotOnWhat?

Digital Film Bureau

The Veteran (2011)

Directed by: Matthew Hope

Cinematography by: Philipp Blaubach

Edited by: Emma Gaffney

The Best Exotic Marigold Hotel | ShotOnWhat?

Digital Film Bureau

The Best Exotic Marigold Hotel (2011)

Directed by: John Madden

Cinematography by: Ben Davis

Edited by: Chris Gill

Cameras: Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision Primo Anamorphic Lenses

The Inbetweeners Movie | ShotOnWhat?

Digital Film Bureau

The Inbetweeners Movie (2011)

Directed by: Ben Palmer

Cinematography by: Ben Wheeler

Edited by: Charlie Fawcett, William Webb

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Wuthering Heights | ShotOnWhat?

Digital Film Bureau

Wuthering Heights (2011)

Directed by: Andrea Arnold

Cinematography by: Robbie Ryan

Edited by: Nicolas Chaudeurge

Prince of Persia: The Sands of Time | ShotOnWhat?

Digital Film Bureau

Prince of Persia: The Sands of Time (2010)

Directed by: Mike Newell

Cinematography by: John Seale

Edited by: Mick Audsley, Michael Kahn, Martin Walsh

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

Lenses: Panavision Compact Zoom Lenses, Panavision Primo Anamorphic Lenses

Editing System: Final Cut Pro Editing System

Scott Pilgrim vs. the World | ShotOnWhat?

Digital Film Bureau

Scott Pilgrim vs. the World (2010)

Directed by: Edgar Wright

Cinematography by: Bill Pope

Edited by: Jonathan Amos, Paul Machliss

Cameras: ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL2 Camera, Phantom HD Camera

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

The Special Relationship | ShotOnWhat?

Digital Film Bureau

The Special Relationship (2010)

Television Movie

Directed by: Richard Loncraine

Cinematography by: Barry Ackroyd

Edited by: Melanie Oliver

Cameras: ARRICAM Lite (LT) Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Never Let Me Go | ShotOnWhat?

Digital Film Bureau: Ascent 142 Features

Never Let Me Go (2010)

Directed by: Mark Romanek

Cinematography by: Adam Kimmel

Edited by: Barney Pilling

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

Lenses: ARRI / Zeiss Master Anamorphic Lenses, Cooke S4 Lenses, Cooke Speed Panchro Lenses, Zeiss Super Speed Lenses

Green Zone | ShotOnWhat?

Visual Effects: Digital Film Bureau

Green Zone (2010)

Directed by: Paul Greengrass

Cinematography by: Barry Ackroyd

Edited by: Christopher Rouse

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

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Ultra Prime Lenses

Nanny McPhee Returns | ShotOnWhat?

Digital Film Bureau

Nanny McPhee Returns (2010)

Directed by: Susanna White

Cinematography by: Mike Eley

Edited by: Sim Evan-Jones

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

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses, Zeiss Master Zoom 16.5–110mm T2.6 Lens

Editing System: Avid Editing System

Fish Tank | ShotOnWhat?

Digital Film Bureau: Ascent 142 Features

Fish Tank (2009)

Directed by: Andrea Arnold

Cinematography by: Robbie Ryan

Edited by: Nicolas Chaudeurge

Cameras: ARRIFLEX 35 IIC Camera, Panavision Panaflex Millennium XL Camera

Lenses: Panavision Lenses, Panavision Primo Close Focus Spherical Lenses

Vampire Killers | ShotOnWhat?

Digital Film Bureau: Ascent 142 Features

Vampire Killers (2009)

Directed by: Phil Claydon

Cinematography by: David Higgs

Edited by: James Herbert

Cameras: Red One Camera

The Disappearance of Alice Creed | ShotOnWhat?

Digital Film Bureau

The Disappearance of Alice Creed (2009)

Directed by: J Blakeson

Cinematography by: Philipp Blaubach

Edited by: Mark Eckersley

44 Inch Chest | ShotOnWhat?

Digital Film Bureau

44 Inch Chest (2009)

Directed by: Malcolm Venville

Cinematography by: Daniel Landin

Edited by: Rick Russell

Cameras: ARRICAM Lite (LT) Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Glorious 39 | ShotOnWhat?

Digital Film Bureau

Glorious 39 (2009)

Directed by: Stephen Poliakoff

Cinematography by: Danny Cohen

Edited by: Jason Krasucki

Cameras: ARRICAM Lite (LT) Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Nine | ShotOnWhat?

Digital Film Bureau

Nine (2009)

Directed by: Rob Marshall

Cinematography by: Dion Beebe

Edited by: Claire Simpson, Wyatt Smith

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

Lenses: Panavision Primo Primes Spherical Lenses

The Crimson Wing: Mystery of the Flamingos | ShotOnWhat?

Digital Film Bureau

The Crimson Wing: Mystery of the Flamingos (2008)

Directed by: Matthew Aeberhard, Leander Ward

Cinematography by: Matthew Aeberhard

Edited by: Nicolas Chaudeurge

The Escapist | ShotOnWhat?

Digital Imaging

The Escapist (2008)

Directed by: Rupert Wyatt

Cinematography by: Philipp Blaubach

Edited by: Joe Walker

RocknRolla | ShotOnWhat?

Digital Film Bureau

RocknRolla (2008)

Directed by: Guy Ritchie

Cinematography by: David Higgs

Edited by: James Herbert

Cameras: ARRIFLEX D-20 Camera

Telstar: The Joe Meek Story | ShotOnWhat?

Digital Film Bureau, Visual Effects: Digital Film Bureau

Telstar: The Joe Meek Story (2008)

Directed by: Nick Moran

Cinematography by: Peter Wignall

Edited by: Alex Marsh

Quantum of Solace | ShotOnWhat?

Visual Effects: Digital Film Bureau

Quantum of Solace (2008)

Directed by: Marc Forster

Cinematography by: Roberto Schaefer

Edited by: Matt Chesse, Richard Pearson

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R Camera

Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses

Editing System: Avid Editing System

The Baker | ShotOnWhat?

Visual Effects

The Baker (2007)

Directed by: Gareth Lewis

Cinematography by: Sean Bobbitt

Edited by: Alan Strachan

Cameras: ARRI Cameras

Fred Claus | ShotOnWhat?

Digital Imaging

Fred Claus (2007)

Directed by: David Dobkin

Cinematography by: Remi Adefarasin

Edited by: Mark Livolsi

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

Lenses: Zeiss Ultra Prime Lenses

Black Book | ShotOnWhat?

Digital Imaging, Digital Intermediate Film Bureau: Soho Images

Black Book (2006)

Directed by: Paul Verhoeven

Cinematography by: Karl Walter Lindenlaub

Edited by: James Herbert, Job ter Burg

James and the Giant Peach | ShotOnWhat?

Laboratory Contact

James and the Giant Peach (1996)

Directed by: Henry Selick

Cinematography by: Pete Kozachik, Hiro Narita

Edited by: Stan Webb

Golden Gate | ShotOnWhat?

Laboratory Contact

Golden Gate (1993)

Directed by: John Madden

Cinematography by: Bobby Bukowski

Edited by: Sean Barton

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