Massachusetts | 47 Titles
Mutiny on the Bounty (1935)
Country | USA
Type | Motion Picture
Running Time | 132 Minutes
Aspect Ratio | 1.37:1
Directed by | Frank Lloyd | Cinematography by | Arthur Edeson, Charles G. Clarke, Sidney Wagner | Editing by | Margaret Boothmodified:
The Hunting Ground (2015)
Country | USA
Type | Documentary, Motion Picture
Running Time | 103 Minutes
Directed by | Kirby Dick | Cinematography by | Aaron Kopp, Thaddeus Wadleigh | Editing by | Douglas Blush, Derek Boonstra, Kim Robertsmodified:
Joy (2015)
Country | USA
Type | Motion Picture
Running Time | 124 Minutes
Aspect Ratio | 1.85:1
Directed by | David O. Russell | Cinematography by | Linus Sandgren | Editing by | Alan Baumgarten, Jay Cassidy, Tom Cross, Christopher Tellefsen
Lenses | Zeiss Ultra Prime Lenses
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Spotlight (2015)
Country | USA
Type | Motion Picture
Running Time | 129 Minutes
Aspect Ratio | 1.85:1
Directed by | Tom McCarthy | Cinematography by | Masanobu Takayanagi | Editing by | Tom McArdle
Cameras | ARRI ALEXA XT Camera
Lenses | Panavision Lightweight Zoom Lenses, Panavision Super Speed Lenses, Panavision Ultra Speed MKII Lenses, Panavision Ultra Speed Z Series (Zeiss) Lenses
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Annabelle Hooper and the Ghosts of Nantucket (2016)
Country | USA
Type | Motion Picture, Television Movie
Running Time | 92 Minutes
Capture Resolution | 3840x2160 - (1.78:1) Capture Resolution
Directed by | Paul Serafini | Cinematography by | Ryan Patrick Dean
Cameras | Sony PXW-FS7 Camera, Sony α7R II Camera
Lenses | Zeiss Compact Prime Lenses
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Bob and the Trees (2015)
Country | USA, France
Type | Motion Picture
Running Time | 91 Minutes
Directed by | Diego Ongaro | Cinematography by | Chris Teague, Daniel Vecchione | Editing by | Benoit Sauvage
Cameras | Blackmagic Pocket Cinema Camera
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Labor Day (2013)
Country | USA
Type | Motion Picture
Running Time | 111 Minutes
Aspect Ratio | 2.39:1
Directed by | Jason Reitman | Cinematography by | Eric Steelberg | Editing by | Dana E. Glauberman
Cameras | Red Epic Camera
Lenses | Angenieux Optimo Zoom Lenses, Bausch & Lomb Super Baltar Lenses, Cooke Varotal Lenses, Fujinon Premier Lenses, Zeiss Master Prime Lenses
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Glen Campbell: I’ll Be Me (2014)
Country | USA
Type | Motion Picture
Running Time | 116 Minutes
Aspect Ratio | 1.78:1 (16x9)
Directed by | James Keach | Cinematography by | Alex Exline | Editing by | Elisa Bonoramodified:
The Bostonians (1984)
Country | UK, USA
Type | Motion Picture
Running Time | 122 Minutes
Directed by | James Ivory | Cinematography by | Walter Lassally | Editing by | Mark Potter Jr., Katherine Wenningmodified:
The Hunger Games: Mockingjay – Part 2 (2015)
Country | USA
Type | Motion Picture
Running Time | 137 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 2880x2160 - (1.33:1) Capture Resolution
Directed by | Francis Lawrence | Cinematography by | Jo Willems | Editing by | Alan Edward Bell, Mark Yoshikawa
Cameras | ARRI ALEXA XT Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
modified:
Who’s Afraid of Virginia Woolf? (1966)
Country | USA
Type | Motion Picture
Running Time | 131 Minutes
Directed by | Mike Nichols | Cinematography by | Haskell Wexler | Editing by | Sam O'Steenmodified:
The Judge (2014)
Country | USA
Type | Motion Picture
Running Time | 141 Minutes
Aspect Ratio | 2.39:1
Directed by | David Dobkin | Cinematography by | Janusz Kaminski | Editing by | Mark Livolsi
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The Equalizer (2014)
Country | USA
Type | Motion Picture
Running Time | 132 Minutes
Aspect Ratio | 2.39:1
Directed by | Antoine Fuqua | Cinematography by | Mauro Fiore | Editing by | John Refoua
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Angenieux Optimo Anamorphic 56-152mm 2S T4.0 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
modified:
Sex Tape (2014)
Country | USA
Type | Motion Picture
Running Time | 94 Minutes
Directed by | Jake Kasdan | Cinematography by | Tim Suhrstedt | Editing by | Steve Edwards, Tara Timpone
Cameras | ARRI ALEXA XT Camera
modified:
The Hunger Games: Mockingjay – Part 1 (2014)
Country | USA
Type | Motion Picture
Running Time | 123 Minutes
Aspect Ratio | 2.39:1
Capture Resolution | 2880x2160 - (1.33:1) Capture Resolution
Directed by | Francis Lawrence | Cinematography by | Jo Willems | Editing by | Alan Edward Bell, Mark Yoshikawa
Cameras | ARRI ALEXA XT Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
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American Hustle (2013)
Country | USA
Type | Motion Picture
Running Time | 138 Minutes
Aspect Ratio | 2.39:1
Directed by | David O. Russell | Cinematography by | Linus Sandgren | Editing by | Alan Baumgarten, Jay Cassidy, Crispin Struthers
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The Way Way Back (2013)
Country | USA
Type | Motion Picture
Running Time | 103 Minutes
Aspect Ratio | 1.85:1
Directed by | Nat Faxon, Jim Rash | Cinematography by | John Bailey | Editing by | Tatiana S. Riegel
Cameras | ARRI ALEXA Camera
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The Heat (2013)
Country | USA
Type | Motion Picture
Running Time | 117 Minutes
Aspect Ratio | 2.39:1
Directed by | Paul Feig | Cinematography by | Robert D. Yeoman | Editing by | Jay Deuby, Brent White
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Captain Phillips (2013)
Country | USA
Type | Motion Picture
Running Time | 134 Minutes
Aspect Ratio | 2.39:1
Directed by | Paul Greengrass | Cinematography by | Barry Ackroyd | Editing by | Christopher Rouse
Cameras | Aaton Penelope Camera, Aaton XTR Prod Camera, ARRI ALEXA Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, GoPro (Woodman Labs) Cameras, VistaVision Cameras
Lenses | Angenieux Optimo 24-290mm T2.8 Lens, Angenieux Optimo 28-76mm T2.6 Lens, ARRI / Zeiss Lenses, Canon Lenses, Leica Summilux-C Series Lenses, Zeiss Super Speed Lenses
modified:
Grown Ups 2 (2013)
Country | USA
Type | Motion Picture
Running Time | 101 Minutes
Aspect Ratio | 1.85:1
Directed by | Dennis Dugan | Cinematography by | Theo van de Sande | Editing by | Tom Costain
Cameras | Red Epic Camera
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