24 fps Project Frame Rate | 386 Titles
Impávido (2012)
Directed by | Carlos Therón | Cinematography by | Antonio J. García | Editing by | Carlos Therón
Cameras | ARRI ALEXA Camera
Lenses | Zeiss Ultra Prime Lenses
The SpongeBob Movie: Sponge Out of Water (2015)
Directed by | Paul Tibbitt, Mike Mitchell | Cinematography by | Phil Meheux | Editing by | David Ian Salter
Cameras | ARRI ALEXA Camera
Million Dollar Arm (2014)
Directed by | Craig Gillespie | Cinematography by | Gyula Pados | Editing by | Tatiana S. Riegel
Cameras | ARRI ALEXA XT Camera, ARRI ALEXA XT Studio Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 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, Cooke S4 Lenses
Léon: The Professional (1994)
Directed by | Luc Besson | Cinematography by | Thierry Arbogast | Editing by | Sylvie Landra
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 III Camera
Lenses | Angenieux HR Zoom Lenses, Technovision Lenses
To Kill a Bird of Prey (1983)
Directed by | Iosif Demian | Cinematography by | Alexandru David
Cameras | Mitchell R35R Camera
Lenses | Bausch & Lomb Super Baltar Lenses
Four Assassins (2011)
Directed by | Stanley J. Orzel | Cinematography by | Wah-Chuen Lam | Editing by | Darren Richter
Cameras | Red One Camera
App (2013)
Directed by | Bobby Boermans | Cinematography by | Ezra Reverda | Editing by | Brian Ent
Cameras | ARRI ALEXA Plus Camera
Lenses | Zeiss Ultra Prime Lenses
Star Trek II: The Wrath of Khan (1982)
Directed by | Nicholas Meyer | Cinematography by | Gayne Rescher | Editing by | William Paul Dornisch
Cameras | Dykstraflex Camera, Panavision Cameras
Transcendence (2014)
Directed by | Wally Pfister | Cinematography by | Jess Hall | Editing by | David Rosenbloom
Cameras | ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom Flex Camera
Lenses | Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Lone Survivor (2013)
Directed by | Peter Berg | Cinematography by | Tobias A. Schliessler | Editing by | Colby Parker Jr.
Cameras | Phantom Flex Camera, Red Epic 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, Angenieux Optimo 45-120 mm T2.8 Lens, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens
Numeri (2013)
Directed by | Gianluca Balla | Cinematography by | Francesco De Gasperis | Editing by | Gianluca Balla
Cameras | Canon EOS-7D Camera
The Monuments Men (2014)
Directed by | George Clooney | Cinematography by | Phedon Papamichael | Editing by | Stephen Mirrione
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens
Winter’s Tale (2014)
Directed by | Akiva Goldsman | Cinematography by | Caleb Deschanel | Editing by | Tim Squyres, Wayne Wahrman
Cameras | ARRI ALEXA Plus 4:3 Camera
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
Divergent (2014)
Directed by | Neil Burger | Cinematography by | Alwin H. Küchler | Editing by | Richard Francis-Bruce, Nancy Richardson
Cameras | ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Lenses | Panavision E Series Anamorphic Lenses, Panavision Primo Zooms Spherical Lenses, Panavision PVintage Prime Lenses
Frankie in Blunderland (2011)
Directed by | Caleb Emerson | Cinematography by | Caleb Emerson | Editing by | Caleb Emerson
Cameras | Canon Cameras, Panasonic Cameras
Madeleine (2015)
Directed by | Lorenzo Ceva Valla, Mario Garofalo | Cinematography by | Federico Torres
Cameras | Red Epic Camera
Lenses | Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Lenses, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Anchorman 2: The Legend Continues (2013)
Directed by | Adam McKay | Cinematography by | Oliver Wood | Editing by | Melissa Bretherton, Brent White
Cameras | ARRI ALEXA Camera
Lore (2012)
Directed by | Cate Shortland | Cinematography by | Adam Arkapaw | Editing by | Veronika Jenet
Cameras | ARRIFLEX 16SR3 Camera, ARRIFLEX 416 Plus Camera
Lenses | Canon Lenses, Zeiss Ultra 16 Lenses
American Hustle (2013)
Directed by | David O. Russell | Cinematography by | Linus Sandgren | Editing by | Alan Baumgarten, Jay Cassidy, Crispin Struthers
Do Começo ao Fim (2009)
Directed by | Aluizio Abranches | Cinematography by | Ueli Steiger | Editing by | Fábio S. Limma
Cameras | Aaton Cameras
Lenses | Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Distagon 14 mm T1.9 Lens, Zeiss Variable Prime VP1 16-30 mm T2.2 Lens, Zeiss Variable Prime VP2 29-60 mm T2.2 Lens, Zeiss Variable Prime VP3 55-150 mm T2.2 Lens
