HD Project | 99 Titles
Family Obligations (2019)
Country | USA
Type | Direct to Video
Running Time | 81 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Kenneth R. Frank | Cinematography by | Kenneth R. Frank | Editing by | Chris Mollica, Kevin Wolfring Cameras | Blackmagic Pocket Cinema Camera
modified:
Hangman (2015)
Country | UK
Type | Direct to Video
Running Time | 85 Minutes
Aspect Ratio | 1.78:1 (16x9)
Directed by | Adam Mason | Cinematography by | Tobias Deml Cameras | Canon VIXIA HF G10 Camera
Lenses | Canon Lenses
modified:
Devil’s Due (2014)
Country | USA
Type | Motion Picture
Running Time | 89 Minutes
Aspect Ratio | 1.85:1
Directed by | Matt Bettinelli-Olpin, Tyler Gillett | Cinematography by | Justin Martinez | Editing by | Rod Deanmodified:
Bright Red (2014)
Country | Portugal
Type | Short Film
Aspect Ratio | 1.78:1 (16x9)
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | David Barros | Cinematography by | David Barros | Editing by | Francisco Wanzeller Cameras | Canon EOS-5D Mark II Camera
Lenses | Canon EF 24-105 mm f4.0 L IS Lens
modified:
Missing Girl (2017)
Country | Dominican Republic
Type | Short Film
Running Time | 8 Minutes
Aspect Ratio | 2.39:1
Directed by | Jimmy Barranco | Cinematography by | Jimmy Barranco | Editing by | Jimmy Barranco Cameras | Blackmagic Pocket Cinema Camera
Lenses | Canon Lenses, Sigma Lenses
modified:
Til the End of the Day (2011)
Country | Canada
Type | Motion Picture
Running Time | 27 Minutes
Aspect Ratio | 1.78:1 (16x9)
Directed by | Callen Diederichs | Cinematography by | Alain Astruc | Editing by | Jean-Sebastien Gauthier Cameras | ARRIFLEX 16SR2 Camera
Lenses | Zeiss Lenses
modified:
The Radicalization of Jeff Boyd (2017)
Country | Switzerland
Type | Motion Picture
Running Time | 117 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Uwe Schwarzwalder | Cinematography by | Brian Pinkus, Uwe Schwarzwalder | Editing by | Uwe Schwarzwalder Cameras | Blackmagic Pocket Cinema Camera
modified:
Queen of the South (2016)
Country | USA, Spain, Malta, Mexico
Type | Television Series
Running Time | 42 Minutes
Aspect Ratio | 1.78:1 (16x9)
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
| Cinematography by | Abraham Martinez, John Brawley, Cameron Duncan, Alejandro Martínez | Editing by | Matthew Philip Smith, Priscilla Nedd-Friendly, Briana London, Juan Carlos Garza, Philip Carr Neel, Nicole Brik, Amy M. Fleming, Betsy C. Thompson, Harvey Rosenstock, Benjamin Howdeshell Cameras | ARRI ALEXA Mini Camera, Blackmagic Design Cameras
Lenses | Panavision PVintage 100 mm T1.6 Lens, Panavision PVintage 14 mm T1.9 Lens, Panavision PVintage 17 mm T1.9 Lens, Panavision PVintage 24 mm T1.2 Lens, Panavision PVintage 29 mm T1.2 Lens, Panavision PVintage 35 mm T1.6 Lens, Panavision PVintage 40 mm T1.3 Lens, Panavision PVintage 50 mm T1.0 Lens, Panavision PVintage 75 mm T1.6 Lens
modified:
The Resident (2018)
Country | USA
Type | Television Series
Running Time | 60 Minutes
Aspect Ratio | 1.78:1 (16x9)
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
| Cinematography by | John Brawley, Hilda Mercado, Elliot Davis | Editing by | Timothy A. Good, William Paley, Nicole Vaskell, Greg Babor, Amanda Panella, Emily Mendez, Patrick McMahon Cameras | ARRI ALEXA Mini Camera, Blackmagic Micro Cinema Camera, Blackmagic Pocket Cinema 4K Camera, Blackmagic URSA Mini Pro 4.6K G2 Camera, Blackmagic URSA Mini Pro Camera
Lenses | Leica Summicron-C 135 mm T2.0 Lens, Leica Summicron-C 18 mm T2.0 Lens, Leica Summicron-C 21 mm T2.0 Lens, Leica Summicron-C 25 mm T2.0 Lens, Leica Summicron-C 29 mm T2.0 Lens, Leica Summicron-C 35 mm T2.0 Lens, Leica Summicron-C 40 mm T2.0 Lens, Leica Summicron-C 50 mm T2.0 Lens, Leica Summicron-C 75 mm T2.0 Lens, Panavision Primo Primes Spherical Lenses, SLR Magic APO HyperPrime Cine 25mm T2.1 Lens, SLR Magic APO HyperPrime Cine 32mm T2.1 Lens, SLR Magic APO HyperPrime Cine 50mm T2.1 Lens, SLR Magic APO HyperPrime Cine 85mm T2.1 Lens, Zeiss Lenses
modified:
Netherwood (2011)
Country | New Zealand
Type | Motion Picture
Running Time | 90 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Cristobal Araus Lobos | Editing by | Cristobal Araus Lobos Cameras | Canon EOS-7D Camera
modified:
Superman Returns (2006)
Country | USA
Type | Motion Picture
Running Time | 154 Minutes
Aspect Ratio | 2.39:1
Directed by | Bryan Singer | Cinematography by | Newton Thomas Sigel | Editing by | Elliot Graham, John Ottman Cameras | Panavision Genesis Camera
modified:
Set Fire to the Stars (2014)
Country | UK
Type | Motion Picture
Running Time | 97 Minutes
Aspect Ratio | 2.39:1
Directed by | Andy Goddard | Cinematography by | Chris Seager | Editing by | Mike Jones Cameras | ARRI ALEXA Series Cameras
modified:
Empire (2015)
Country | USA
Type | Television Series
Running Time | 42 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | Paul M. Sommers, Joe 'Jody' Williams, Sidney Sidell, Andrew Dunn | Editing by | Ishai Setton, Eli Nilsen, Raúl Dávalos, Zack Arnold, Joe Leonard, Lauren A. Schaffer, Stefanie Visser, Evonne Moritz, James Stanton, Matt Barber, David Greenspan, Sharidan Williams-Sotelo Cameras | ARRI ALEXA Camera, Digital Bolex D16
modified:
Under the Bed (2017)
Country | USA
Type | Motion Picture
Running Time | 120 Minutes
Directed by | Daniel Myrick | Cinematography by | Stephanie Martin | Editing by | Daniel Myrick, Byron Wong Cameras | Blackmagic Pocket Cinema Camera
modified:
Red Riding Hood (2006)
Country | USA
Type | Motion Picture
Running Time | 82 Minutes
Directed by | Randal Kleiser | Cinematography by | David Stump | Editing by | Harry Hitner Cameras | Thomson Viper Camera
Lenses | Canon Lenses
modified:
Tailgate (2015)
Country | Australia
Type | Motion Picture
Running Time | 83 Minutes
Aspect Ratio | 2.39:1
Directed by | Jai Hogg | Cinematography by | Mark Broadbent | Editing by | Joe Lancaster Lenses | Zeiss ZF.2 21mm Distagon f2.8 Lens, Zeiss ZF.2 28mm Distagon f2.0 Lens, Zeiss ZF.2 35mm Distagon f1.4 Lens, Zeiss ZF.2 50mm Micro Planar f2.0 Lens, Zeiss ZF.2 85mm Planar f1.4 Lens
modified:
Genesis: Live at Wembley Stadium (1988)
Country | UK
Type | Direct to Video
Running Time | 120 Minutes
Directed by | James Yukich | Editing by | Jerry Behrensmodified:
Rocky Balboa (2006)
Country | USA
Type | Motion Picture
Running Time | 102 Minutes
Aspect Ratio | 1.85:1
Directed by | Sylvester Stallone | Cinematography by | Clark Mathis | Editing by | Sean Albertson Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Sony HDW-F900R Camera
Lenses | Zeiss Master Prime Lenses
modified:
CSI: Miami (2002)
Country | USA
Type | Television Series
Running Time | 43 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | Charles Mills, Ken Glassing, Eagle Egilsson, Darren Genet, Thomas Yatsko, Dermott Downs, Walt Lloyd, Michael D. O'Shea, Michael Barrett, Garett Griffin, Curtis Wehr, Robert M. Stevens, Joe Meade, Cynthia Pusheck, Donald E. Thorin Jr. | Editing by | Mark C. Baldwin, James Wilcox, John Refoua, Joshua Charson, Tom Costantino, Brian Ray, Edward R. Abroms, Jean Crupper, J. Benjamin Chulay, John M. Vitale, Juan Carlos Garza, Scott Lerner, Lawrence Jordan, Kevin Ward, Jim Page, Dana Devorzon, Christopher Cooke, Sara Mineo, Richmond Riedel Cameras | ARRI ALEXA Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera, Sony CineAlta F35 Camera
Lenses | Panavision Lenses
modified:
Lost Girl (2010)
Country | Canada
Type | Television Series
Running Time | 44 Minutes
Aspect Ratio | 1.78:1 (16x9)
| Cinematography by | David Greene, Craig Wright, Joachim Martin, Anton Van Rooyen | Editing by | Paul G. Day, Ben Wilkinson, Teresa Hannigan, Mike Lee, Dale Gagne, Brett Sullivan, Wendy Hallam Martin Cameras | Panavision Genesis Camera
Lenses | Panavision Lenses
modified:
