Americas | 1723 Titles
The Day After Tomorrow (2004)
Directed by | Roland Emmerich | Cinematography by | Ueli Steiger | Editing by | David Brenner
Cameras | ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
1 Out of 7 (2011)
Directed by | York Alec Shackleton | Cinematography by | Adam Silver | Editing by | Thomas K. Nash, York Alec Shackleton, D.W. Thomas
Cameras | ARRIFLEX 235 Camera
Snakes on a Train (2006)
Directed by | Peter Mervis | Cinematography by | Mark Atkins | Editing by | Peter Mervis
Cameras | Sony HDW-F900 Camera
Home Alone 2: Lost in New York (1992)
Directed by | Chris Columbus | Cinematography by | Julio Macat | Editing by | Raja Gosnell
Cameras | Panavision Panaflex Platinum Camera
Talladega Nights: The Ballad of Ricky Bobby (2006)
Directed by | Adam McKay | Cinematography by | Oliver Wood | Editing by | Brent White
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Argentina, 1985 (2022)
Directed by | Santiago Mitre | Cinematography by | Javier Julia | Editing by | Andrés Pepe Estrada
Cameras | ARRI ALEXA Mini LF Camera
Bardo: False Chronicle of a Handful of Truths (2022)
Directed by | Alejandro G. Iñárritu | Cinematography by | Darius Khondji | Editing by | Alejandro G. Iñárritu, Monica Salazar
Cameras | ARRI ALEXA 65 Camera
Lenses | Panavision Sphero 65 Series Lenses
Double Indemnity (1944)
Mean Girls (2004)
Directed by | Mark Waters | Cinematography by | Daryn Okada | Editing by | Wendy Greene Bricmont
Cameras | Panavision Cameras
Elemental (2023)
Directed by | Peter Sohn | Cinematography by | David Juan Bianchi, Jean-Claude Kalache | Editing by | Stephen Schaffer
To Leslie (2022)
Directed by | Michael Morris | Cinematography by | Larkin Seiple | Editing by | Chris McCaleb
Cameras | ARRICAM Lite (LT) Camera
The Maltese Falcon (1941)
Directed by | John Huston | Cinematography by | Arthur Edeson | Editing by | Thomas Richards
Cameras | Mitchell BNC Camera
Fay Grim (2006)
Directed by | Hal Hartley | Cinematography by | Sarah Cawley | Editing by | Hal Hartley
Cameras | Sony HDW-F900 Camera
Lenses | Zeiss DigiPrime Lenses
Guillermo del Toro’s Pinocchio (2022)
Directed by | Guillermo del Toro, Mark Gustafson | Cinematography by | Frank Passingham | Editing by | Holly Klein, Ken Schretzmann
Cameras | Canon EOS-1D Mark IV Camera
The Fabelmans (2022)
Directed by | Steven Spielberg | Cinematography by | Janusz Kaminski | Editing by | Sarah Broshar, Michael Kahn
Cameras | ARRI ALEXA Mini LF Camera, ARRIFLEX 16ST Camera, ARRIFLEX 416 Camera, Panavision Panaflex Millennium XL2 Camera
Turning Red (2022)
Directed by | Domee Shi | Cinematography by | Mahyar Abousaeedi, Jonathan Pytko | Editing by | Steve Bloom, Nicholas C. Smith
Everything Everywhere All at Once (2022) 
Directed by | Daniel Kwan, Daniel Scheinert | Cinematography by | Larkin Seiple | Editing by | Paul Rogers
Cameras | ARRI ALEXA Mini Camera
Lenses | Atlas Orion Anamorphic Series Lenses, Hawk V-Lite Lenses, Todd-AO Lenses, Zeiss Master Prime Lenses
Tár (2022)
Directed by | Todd Field | Cinematography by | Florian Hoffmeister | Editing by | Monika Willi
Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini LF Camera
Lenses | ARRI Signature Prime Lenses
Maestro (2023)
Directed by | Bradley Cooper | Cinematography by | Matthew Libatique | Editing by | Michelle Tesoro
Lenses | Panavision PVintage Prime Lenses
The Saint of the Impossible (2020)
Directed by | Marc Raymond Wilkins | Cinematography by | A. Burak Turan | Editing by | Jann Anderegg
Cameras | Sony CineAlta VENICE Camera
Lenses | Cooke Anamorphic/i 180mm T2.8 Lens, Cooke Anamorphic/i 32mm T2.3 Lens, Cooke Anamorphic/i 40mm T2.3 Lens, Cooke Anamorphic/i 50mm T2.3 Lens, Cooke Anamorphic/i 75mm T2.3 Lens, Optica Elite 35 Anamorphic 100 mm T2.1 Lens, Optica Elite 35 Anamorphic 40 mm T2.1 Lens, Optica Elite 35 Anamorphic 75 mm T2.1 Lens
