California | 794 Titles
A Place in the Sun (1951)
Directed by | George Stevens | Cinematography by | William C. Mellor | Editing by | William Hornbeck
The Grapes of Wrath (1940)
Directed by | John Ford | Cinematography by | Gregg Toland | Editing by | Robert L. Simpson
Cameras | Mitchell Cameras
Us (2019)
The Black Swan (1942)
Directed by | Henry King | Cinematography by | Leon Shamroy | Editing by | Barbara McLean
Cameras | Technicolor Cameras
Giant (1956)
Directed by | George Stevens | Cinematography by | William C. Mellor | Editing by | William Hornbeck, Robert Lawrence
Cameras | Mitchell BNC Camera
The Birth of a Nation (1915)
Directed by | D.W. Griffith | Cinematography by | G.W. Bitzer | Editing by | D.W. Griffith, Joseph Henabery, James Smith, Rose Smith, Raoul Walsh
Cameras | Pathé Cameras
The Towering Inferno (1974)
Directed by | John Guillermin | Cinematography by | Fred J. Koenekamp | Editing by | Carl Kress, Harold F. Kress
Cameras | Panavision Silent Reflex PSR Camera
Happy Death Day (2017)
Directed by | Christopher Landon | Cinematography by | Toby Oliver | Editing by | Gregory Plotkin
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Lenses, Cooke S4/i Lenses
Bonnie and Clyde (1967)
Directed by | Arthur Penn | Cinematography by | Burnett Guffey | Editing by | Dede Allen
Cameras | Mitchell BNCR Camera
To Catch a Thief (1955)
Directed by | Alfred Hitchcock | Cinematography by | Robert Burks | Editing by | George Tomasini
Cameras | VistaVision Cameras
Spartacus (1960)
Directed by | Stanley Kubrick | Cinematography by | Russell Metty | Editing by | Robert Lawrence, Irving Lerner
Cameras | Technirama Camera
I Think We’re Alone Now (2018)
Directed by | Reed Morano | Cinematography by | Reed Morano | Editing by | Madeleine Gavin
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo Anamorphic Lenses
The Big Sleep (1946)
All About Eve (1950) 
Directed by | Joseph L. Mankiewicz | Cinematography by | Milton R. Krasner | Editing by | Barbara McLean
WALL·E (2008)
Around the World in Eighty Days (1956)
Directed by | Michael Anderson, John Farrow | Cinematography by | Lionel Lindon | Editing by | Howard Epstein, Gene Ruggiero, Paul Weatherwax
Cameras | Todd-AO 65mm Camera
Lenses | Todd-AO Lenses
La La Land (2016)
Directed by | Damien Chazelle | Cinematography by | Linus Sandgren | Editing by | Tom Cross
Lenses | Panavision C Series Anamorphic Lenses, Panavision C35 35 mm T2.3 Lens, Panavision C50 50 mm T2.3 Lens, Panavision E Series Anamorphic Lenses, Panavision E35 35 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens
Roman J. Israel, Esq. (2017)
Directed by | Dan Gilroy | Cinematography by | Robert Elswit | Editing by | John Gilroy
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Series Cameras, Panavision Panaflex Millennium XL2 Camera
Lenses | Panavision Primo Primes Spherical Lenses, Panavision Super Speed Lenses, Zeiss ARRI Macro Lenses
Destroyer (2018)
Directed by | Karyn Kusama | Cinematography by | Julie Kirkwood | Editing by | Plummy Tucker
Cameras | ARRI ALEXA Mini Camera
Lenses | Panavision Lenses
Battle of the Sexes (2017)
Directed by | Jonathan Dayton, Valerie Faris | Cinematography by | Linus Sandgren | Editing by | Pamela Martin
