24 fps Project Frame Rate | 418 Titles
Dark (2017)
| Cinematography by | Nikolaus Summerer | Editing by | Robert Rzesacz, Anja Siemens, Denis Bachter, Boris Gromatzki, Simon Gstöttmayr, Sven Budelmann, Roan Densimbor
Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Lenses | Zeiss Ultra Prime Lenses
Innerself (2018)
Directed by | Johnny Wu | Cinematography by | Peter Sampson | Editing by | Johnny Wu
Cameras | Panasonic Lumix DMC-GH5 Camera
Lenses | Meike 25mm T2.2, Panasonic Lumix G X Vario 12-35mm f2.8 Lens, Panasonic Lumix G X Vario 35-100mm f2.8 Lens
The Vanishing (2018)
Directed by | Kristoffer Nyholm | Cinematography by | Jørgen Johansson | Editing by | Morten Højbjerg
Cameras | ARRI Cameras
Rattlesnake (2019)
Directed by | Zak Hilditch | Editing by | Merlin Eden
Cameras | Sony CineAlta VENICE Camera
Lenses | Kowa Cine Prominar Spherical Lenses
Disgrace (2008)
Directed by | Steve Jacobs | Cinematography by | Steve Arnold | Editing by | Alexandre de Franceschi
Cameras | Panavision Panaflex Millennium XL Camera
Allt sem fer upp (2018)
Directed by | Kristján Jónsson | Cinematography by | Kristján Jónsson | Editing by | Kristján Jónsson
Starring | Katrín Björg Hjálmarsdóttir, Sigurjón Jónsson, Magnus E. Halldorsson, Kristín Ísold Jóhannesdóttir
Lenses | Zeiss Lenses
Key of Brown (2013)
Directed by | Vaughn Christion | Cinematography by | Oscar Patino | Editing by | Vaughn Christion
Cameras | Sony PMW-F3 Camera
El Último Suspiro (2017)
Directed by | Joan Girbau Xalabarder | Cinematography by | Joan Girbau Xalabarder | Editing by | Xavi Morcillo
Cameras | Blackmagic Design Cameras, Canon Cameras
Lenses | Canon Lenses, Leitz Lenses
Toto le héros (1991)
Directed by | Jaco Van Dormael | Cinematography by | Walther van den Ende | Editing by | Susana Rossberg
Cameras | Aaton Cameras
Don Quixote (1973)
Directed by | Robert Helpmann, Rudolf Nureyev | Cinematography by | Geoffrey Unsworth | Editing by | Anthony Buckley
Cameras | Mitchell BNC Camera
Lenses | Angenieux 24-240 mm f2.6 Zoom Lens
Pickings (2018)
Directed by | Usher Morgan | Cinematography by | Usher Morgan, Louis Obioha | Editing by | Usher Morgan
Più accecante della notte (2016)
Directed by | Diego Bonuccelli | Cinematography by | Diego Bonuccelli, Katia Cirrincione | Editing by | Diego Bonuccelli
Cameras | Canon Cameras, Canon EOS-5D Mark III Camera, GoPro (Woodman Labs) Cameras, GoPro HERO4 Black
Lenses | Canon EF Series Lenses, Canon Lenses
The Precipice Game (2016)
Directed by | Zao Wang | Cinematography by | Joewi Verhoeven | Editing by | Hua Tang, Jolin Zhu
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA Studio Camera
Una Famiglia (2017)
Directed by | Sebastiano Riso | Cinematography by | Piero Basso | Editing by | Ilaria Fraioli
Cameras | ARRI ALEXA Plus Camera
Lenses | Panavision SL10 10 mm T1.9 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens
Billy’s Hollywood Screen Kiss (1998)
Directed by | Tommy O'Haver | Cinematography by | Mark Mervis | Editing by | Jeff Betancourt
Cameras | Panavision Silent Reflex PSR Camera
Red Son (2016)
Directed by | Joaquín Pinedo | Cinematography by | Pablo Bermejo | Editing by | Pablo Bermejo
Cameras | Sony PMW-F55 Camera
Lenses | Zeiss Lenses
Capsule (2015)
Directed by | Andrew Martin | Cinematography by | Felix Forrest | Editing by | Jan Hillman
Lenses | Angenieux Optimo 45-120 mm T2.8 Lens, Angenieux Optimo DP 16-42 mm 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
Jezus van de Javastraat (2016)
Directed by | Bram van Splunteren | Cinematography by | Ties Versteegh | Editing by | Olivier Lambrechts
Cameras | Panasonic VariCam 35
Lenses | Zeiss Standard Prime MKII 180 mm T3.0 Lens, Zeiss Standard Speed Prime Lenses, Zeiss Super Speed Lenses, Zeiss Super Speeds Mk II 18 mm T1.3 Lens, Zeiss Super Speeds Mk II 25 mm T1.3 Lens, Zeiss Super Speeds Mk II 35 mm T1.3 Lens, Zeiss Super Speeds Mk II 50 mm T1.3 Lens, Zeiss Super Speeds Mk II 85 mm T1.3 Lens, Zeiss Super Speeds Mk II Lenses, Zeiss Super Speeds Mk III 18 mm T1.3 Lens, Zeiss Super Speeds Mk III 25 mm T1.3 Lens, Zeiss Super Speeds Mk III 35 mm T1.3 Lens, Zeiss Super Speeds Mk III 50 mm T1.3 Lens, Zeiss Super Speeds Mk III 85 mm T1.3 Lens, Zeiss Super Speeds Mk III Lenses
Viy (2014)
Directed by | Oleg Stepchenko | Cinematography by | Yaroslav Pilunskiy, Vladimír Smutný | Editing by | Petr Zelenov
Heaven Is for Real (2014)
Directed by | Randall Wallace | Cinematography by | Dean Semler | Editing by | John Wright
Cameras | Panavision Genesis Camera
