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Film Project | 428 Titles

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Live and Let Die (1973)

Motion Picture | 2D | Film Project | Color | 1.85:1 | 121 Minutes

Directed by | Guy Hamilton | Cinematography by | Ted Moore | Editing by | Bert Bates, Raymond Poulton, John Shirley

Starring | Roger Moore, Yaphet Kotto, Jane Seymour, Clifton James

Cameras | ARRIFLEX 35 IIC Camera, Panavision Super PSR R-200

Lenses | Panavision Super Speed Lenses

The Man with the Golden Gun (1974)

Motion Picture | 2D | Film Project | Color | 1.66:1, 1.85:1 | 125 Minutes

Directed by | Guy Hamilton | Cinematography by | Ted Moore, Oswald Morris | Editing by | Raymond Poulton, John Shirley

Starring | Roger Moore, Christopher Lee, Britt Ekland, Maud Adams

Cameras | ARRIFLEX 35 IIC Camera, Panavision Panaflex Camera, Panavision Super PSR R-200

Lenses | Panavision Super Speed Lenses

The Spy Who Loved Me (1977)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 125 Minutes

Directed by | Lewis Gilbert | Cinematography by | Claude Renoir | Editing by | John Glen

Starring | Roger Moore, Barbara Bach, Curd Jürgens

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex-X Camera

Lenses | Cooke Lenses, Panavision C Series Anamorphic Lenses

Moonraker (1979)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 126 Minutes

Directed by | Lewis Gilbert | Cinematography by | Jean Tournier | Editing by | John Glen

Starring | Roger Moore, Lois Chiles, Michael Lonsdale

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex-X Camera

Lenses | Cooke Lenses, Panavision C Series Anamorphic Lenses

For Your Eyes Only (1981)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 127 Minutes

Directed by | John Glen | Cinematography by | Alan Hume | Editing by | John Grover

Starring | Roger Moore, Carole Bouquet, Topol

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Camera, Panavision Panaflex Gold Camera, Panavision Panaflex-X Camera

Lenses | Cooke Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

The Living Daylights (1987)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 130 Minutes

Directed by | John Glen | Cinematography by | Alec Mills | Editing by | Peter Davies, John Grover

Starring | Timothy Dalton, Maryam d'Abo, Jeroen Krabbé, Joe Don Baker

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Platinum Camera

Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

GoldenEye (1995)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 130 Minutes

Directed by | Martin Campbell | Cinematography by | Phil Meheux | Editing by | Terry Rawlings

Starring | Pierce Brosnan, Sean Bean, Izabella Scorupco, Famke Janssen

Cameras | ARRIFLEX 35 III Camera, ARRIFLEX 35 IIIC Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera

Lenses | Cooke Lenses, Nikon - Nikkor Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

A View to a Kill (1985)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 131 Minutes

Directed by | John Glen | Cinematography by | Alan Hume | Editing by | Peter Davies

Starring | Roger Moore, Christopher Walken, Tanya Roberts

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera

Lenses | Panavision E Series Anamorphic Lenses

Tomorrow Never Dies (1997)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 119 Minutes

Directed by | Roger Spottiswoode | Cinematography by | Robert Elswit | Editing by | Michel Arcand, Dominique Fortin

Starring | Pierce Brosnan, Jonathan Pryce, Michelle Yeoh, Teri Hatcher

Cameras | Panavision Panaflex Gold II Camera

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

The World Is Not Enough (1999)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 128 Minutes

Directed by | Michael Apted | Cinematography by | Adrian Biddle | Editing by | Jim Clark

Starring | Pierce Brosnan, Sophie Marceau, Robert Carlyle, Denise Richards

Cameras | Pan-Arri 435 Camera, Panavision Panaflex Gold Camera

Lenses | Panavision C Series Anamorphic Lenses

Diamonds Are Forever (1971)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 120 Minutes

Directed by | Guy Hamilton | Cinematography by | Ted Moore | Editing by | Bert Bates, John W. Holmes

Starring | Sean Connery, Jill St. John, Charles Gray, Lana Wood

Cameras | ARRIFLEX 35 IIA Camera, Panavision Super PSR R-200

Lenses | Panavision C Series Anamorphic Lenses, Panavision Lenses

On Her Majesty’s Secret Service (1969)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 142 Minutes

Directed by | Peter R. Hunt | Cinematography by | Michael Reed | Editing by | John Glen

Starring | George Lazenby, Diana Rigg, Telly Savalas

Cameras | ARRIFLEX 35 IIA Camera, Mitchell BNC Camera

Lenses | Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses

Licence to Kill (1989)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 133 Minutes

Directed by | John Glen | Cinematography by | Alec Mills | Editing by | John Grover

Starring | Timothy Dalton, Robert Davi, Carey Lowell

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera

Lenses | Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Casino Royale (1967)

Motion Picture | 2D | Film Project | Black & White, Color | 2.35:1 | 131 Minutes

Directed by | Val Guest, Ken Hughes, John Huston, Joseph McGrath, Robert Parrish, Richard Talmadge | Cinematography by | Jack Hildyard | Editing by | Bill Lenny

Starring | David Niven, Peter Sellers, Ursula Andress, Orson Welles

Cameras | Panavision Cameras

Lenses | Panavision Lenses

Dr. No (1962)

Motion Picture | 2D | Film Project | Color | 1.66:1, 1.85:1 | 110 Minutes

Directed by | Terence Young | Cinematography by | Ted Moore | Editing by | Peter R. Hunt

Starring | Sean Connery, Ursula Andress, Bernard Lee, Joseph Wiseman

Cameras | Mitchell BNC Camera

Die Another Day (2002)

Motion Picture | 2D | Film Project | Black & White, Color | 2.39:1 | 133 Minutes

Directed by | Lee Tamahori | Cinematography by | David Tattersall | Editing by | Andrew MacRitchie, Christian Wagner

Starring | Pierce Brosnan, Halle Berry, Rosamund Pike, Toby Stephens

Cameras | ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera

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

Blood and Sand (1941)

Motion Picture | 2D | Film Project | Color | 1.37:1 | 125 Minutes

Directed by | Rouben Mamoulian | Cinematography by | Ernest Palmer, Ray Rennahan | Editing by | Robert Bischoff

Starring | Tyrone Power, Linda Darnell, Rita Hayworth

Cameras | Technicolor 3-Strip Camera

Joan of Arc (1948)

Motion Picture | 2D | Film Project | Color | 1.37:1, 1.85:1 | 145 Minutes

Directed by | Victor Fleming | Cinematography by | Winton C. Hoch, William V. Skall, Joseph A. Valentine | Editing by | Frank Sullivan

Starring | Ingrid Bergman, José Ferrer, Selena Royle

Cameras | Technicolor 3-Strip Camera

Shane (1953)

Motion Picture | 2D | Film Project | Color | 1.37:1, 1.66:1 | 118 Minutes

Directed by | George Stevens | Cinematography by | Loyal Griggs | Editing by | William Hornbeck, Tom McAdoo

Starring | Alan Ladd, Jean Arthur, Van Heflin

Cameras | Technicolor 3-Strip Camera

Shanghai Express (1932)

Motion Picture | 2D | Film Project | Black & White | 1.37:1 | 82 Minutes

Directed by | Josef von Sternberg | Cinematography by | Lee Garmes, James Wong Howe | Editing by | Frank Sullivan

Starring | Marlene Dietrich, Clive Brook, Anna May Wong

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