Americas | 1901 Titles
Drinking Buddies (2013)
Directed by | Joe Swanberg | Cinematography by | Ben Richardson | Editing by | Joe Swanberg
Cameras | Red Scarlet Camera
Lenses | Zeiss Compact Prime CP.2 Distagon 18 mm T3.6 Lens, Zeiss Compact Prime CP.2 Distagon 21 mm T2.9 Lens, Zeiss Compact Prime CP.2 Distagon 25 mm T2.9 Lens, Zeiss Compact Prime CP.2 Distagon 28 mm T2.1 Lens, Zeiss Compact Prime CP.2 Distagon 35 mm T2.1 Lens, Zeiss Compact Prime CP.2 Makro-Planar 100 mm T2.1 CF Lens, Zeiss Compact Prime CP.2 Planar 50 mm T2.1 Macro Lens, Zeiss Compact Prime CP.2 Planar 85 mm T2.1 Lens, Zeiss Compact Prime Lenses
2 Guns (2013)
Lovelace (2013)
Directed by | Rob Epstein, Jeffrey Friedman | Cinematography by | Eric Alan Edwards | Editing by | Robert Dalva, Matt Landon
Cameras | ARRIFLEX 416 Camera
Prince Avalanche (2013)
Directed by | David Gordon Green | Cinematography by | Tim Orr | Editing by | Colin Patton
Cameras | ARRI ALEXA Camera
Lenses | Bausch & Lomb Super Baltar Lenses
Don Jon (2013)
Directed by | Joseph Gordon-Levitt | Cinematography by | Thomas Kloss | Editing by | Lauren Zuckerman
Insidious: Chapter 2 (2013)
Directed by | James Wan | Cinematography by | John R. Leonetti | Editing by | Kirk M. Morri
Cameras | ARRI ALEXA Camera
Out of the Furnace (2013)
Directed by | Scott Cooper | Cinematography by | Masanobu Takayanagi | Editing by | David Rosenbloom
Redemption (2013)
Directed by | Jon Alpert, Matthew O'Neill | Editing by | Adam Barton, John Custodio, Rob Kuhns, David Meneses, Jay Arthur Sterrenberg
Jobs (2013)
Directed by | Joshua Michael Stern | Cinematography by | Russell Carpenter | Editing by | Robert Komatsu
Cameras | ARRI ALEXA Camera
Lenses | Zeiss Ultra Prime Lenses
The Bling Ring (2013)
Directed by | Sofia Coppola | Cinematography by | Christopher Blauvelt, Harris Savides | Editing by | Sarah Flack
Cameras | Red Epic Camera
The Internship (2013)
Directed by | Shawn Levy | Cinematography by | Jonathan Brown | Editing by | Dean Zimmerman
Cameras | ARRI ALEXA Plus Camera
Killing Season (2013)
Directed by | Mark Steven Johnson | Cinematography by | Peter Menzies Jr. | Editing by | Sean Albertson
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Blue Jasmine (2013)
Directed by | Woody Allen | Cinematography by | Javier Aguirresarobe | Editing by | Alisa Lepselter
Lenses | Zeiss Master Prime Lenses
The Purge (2013)
Directed by | James DeMonaco | Cinematography by | Jacques Jouffret | Editing by | Peter Gvozdas
Cameras | ARRI ALEXA Plus Camera
We’re the Millers (2013)
Directed by | Rawson Marshall Thurber | Cinematography by | Barry Peterson | Editing by | Michael L. Sale
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
The Way Way Back (2013)
Directed by | Nat Faxon, Jim Rash | Cinematography by | John Bailey | Editing by | Tatiana S. Riegel
Cameras | ARRI ALEXA Camera
The Heat (2013)
Directed by | Paul Feig | Cinematography by | Robert D. Yeoman | Editing by | Jay Deuby, Brent White
The Colony (2013)
Directed by | Jeff Renfroe | Cinematography by | Pierre Gill | Editing by | Aaron Marshall
Cameras | ARRI ALEXA Camera
Lenses | Panavision Primo Anamorphic Lenses
Oldboy (2013)
Directed by | Spike Lee | Cinematography by | Sean Bobbitt | Editing by | Barry Alexander Brown
Lenses | ARRI / Fujinon Lenses, Cooke 5/i Lenses
Hemlock Grove (2013)
| Cinematography by | Fernando Argüelles, John Grillo, Steven Poster | Editing by | Paul G. Day, Don Cassidy, Bert Kish, James Coblentz, Jim Munro, Roslyn Kalloo, Monty DeGraff, Conrad Smart, Roger Mattiussi, Ronald Sanders, Michael G. England, David B. Thompson
Cameras | ARRI ALEXA Camera, Canon EOS-C300 Camera
Lenses | Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens
