24 fps Project Frame Rate | 418 Titles
A Rat’s Tale (1997)
Directed by | Michael F. Huse | Cinematography by | Piotr Lenar | Editing by | Timothy McLeish
Lenses | Panavision C Anamorphic Flare Lenses, Panavision C Anamorphic Portrait Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Apocalypse and the Beauty Queen (2005)
Directed by | Thomas Smugala | Cinematography by | Jeff Barklage | Editing by | Daniel Hirsh, Michael Matassa, Jack Snyder
Cameras | ARRIFLEX 35 III Camera, Moviecam 3N Camera
Lenses | Angenieux HP Zoom Lenses, Cooke Cine Varotal Mark II 25-250mm T3.9 Lens, Cooke Speed Panchro (S1) 32mm f2.0 Lens, Cooke Speed Panchro (S1) 40mm f2.0 Lens, Cooke Speed Panchro (S1) 50mm f2.0 Lens, Cooke Speed Panchro (S1) 75mm f2.0 Lens, Cooke Speed Panchro (S3) 18mm T2.2 Lens, Cooke Speed Panchro (S3) 25mm T2.2 Lens, Cooke Zoom Lenses
Lost in Translation (2003)
Directed by | Sofia Coppola | Cinematography by | Lance Acord | Editing by | Sarah Flack
Cameras | Aaton 35-III Camera, Moviecam Compact Camera
Lenses | Angenieux Lenses, Zeiss Super Speed Lenses
Schemer (2010)
Directed by | Hanro Smitsman | Cinematography by | Joost Rietdijk | Editing by | Marc Bechtold
Cameras | Red One Camera
Lenses | Cooke S4 Lenses
Vicky Cristina Barcelona (2008)
Directed by | Woody Allen | Cinematography by | Javier Aguirresarobe | Editing by | Alisa Lepselter
Cameras | ARRICAM Lite (LT) Camera
Lenses | Zeiss Master Prime Lenses
The Broken (2008)
The Deserter (2003)
Directed by | Eric Bruno Borgman | Cinematography by | Eric Bruno Borgman, Janet Borgman | Editing by | Eric Bruno Borgman
Cameras | ARRI Cameras
Lenses | Angenieux Lenses
Good (2008)
Directed by | Vicente Amorim | Cinematography by | Andrew Dunn | Editing by | John Wilson
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Bicentennial Man (1999)
Directed by | Chris Columbus | Cinematography by | Phil Meheux | Editing by | Nicolas De Toth, Neil Travis
Cameras | Panavision Panaflex Gold II Camera
Machine Gun Preacher (2011)
Directed by | Marc Forster | Cinematography by | Roberto Schaefer | Editing by | Matt Chesse
Lenses | Angenieux HR 25-250 mm T3.5 Lens, Hawk V-Lite 16 110 mm T3.0 Lens, Hawk V-Lite 16 14 mm T1.5 Lens, Hawk V-Lite 16 18 mm T1.5 Lens, Hawk V-Lite 16 24 mm T1.5 Lens, Hawk V-Lite 16 28 mm T1.5 Lens, Hawk V-Lite 16 35 mm T1.5 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens
The Adjustment Bureau (2011)
Directed by | George Nolfi | Cinematography by | John Toll | Editing by | Jay Rabinowitz
Cameras | Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Waiting for Guffman (1996)
Directed by | Christopher Guest | Cinematography by | Roberto Schaefer | Editing by | Andy Blumenthal
Cameras | Aaton Cameras, Aaton XTR Prod Camera
The Maiden Heist (2009)
Directed by | Peter Hewitt | Cinematography by | Ueli Steiger | Editing by | Carole Kravetz Aykanian
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, Zeiss Ultra Prime Lenses
Killing Zoe (1993)
Directed by | Roger Avary | Cinematography by | Tom Richmond | Editing by | Kathryn Himoff
Cameras | Moviecam Compact MK2 Camera
Mad Dog Time (1996)
The Big Hit (1998)
Directed by | Kirk Wong | Cinematography by | Danny Nowak | Editing by | Robin Russell, Pietro Scalia
Cameras | Panavision Panaflex Platinum Camera
Donnie Darko (2001)
Directed by | Richard Kelly | Cinematography by | Steven Poster | Editing by | Sam Bauer, Eric Strand
Cameras | Panavision Panaflex Millennium Camera
Hell (2011)
Directed by | Tim Fehlbaum | Cinematography by | Markus Förderer | Editing by | Andreas Menn
Cameras | Red One MX Camera
