North America | 1782 Titles
California Forever (2011)
Directed by | David Vassar | Cinematography by | Christopher Tufty | Editing by | Christian White
Cameras | Red One MX Camera
Neighbors 2: Sorority Rising (2016)
Directed by | Nicholas Stoller | Cinematography by | Brandon Trost | Editing by | Zene Baker, Michael A. Webber
Cameras | ARRI ALEXA XT Plus Camera
Dirty Grandpa (2016)
Directed by | Dan Mazer | Cinematography by | Eric Alan Edwards | Editing by | Anne McCabe
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Cooke S4 Lenses
Barbershop: The Next Cut (2016)
Directed by | Malcolm D. Lee | Cinematography by | Greg Gardiner | Editing by | Paul Millspaugh
Cameras | Sony PMW-F55 Camera
The Boy (2016)
Directed by | William Brent Bell | Cinematography by | Daniel Pearl | Editing by | Brian Berdan
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Hawk Vantage One Lenses
The Boss (2016)
Directed by | Ben Falcone | Cinematography by | Julio Macat | Editing by | Craig Alpert
Cameras | ARRI ALEXA 65 Camera
Lenses | Leitz Summilux-C Series Lenses
The Huntsman: Winter’s War (2016)
Directed by | Cedric Nicolas-Troyan | Cinematography by | Phedon Papamichael | Editing by | Conrad Buff IV
Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA XT Plus Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses
My Big Fat Greek Wedding 2 (2016)
Directed by | Kirk Jones | Cinematography by | Jim Denault | Editing by | Mark Czyzewski
Cameras | Red Epic Dragon Camera
X-Men: Apocalypse (2016)
Directed by | Bryan Singer | Cinematography by | Newton Thomas Sigel | Editing by | Michael Louis Hill, John Ottman
Cameras | Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses | Leitz Summilux-C Series Lenses
The Jungle Book (2016)
Directed by | Jon Favreau | Cinematography by | Bill Pope | Editing by | Adam Gerstel, Mark Livolsi
Cameras | ARRI ALEXA XT M Camera
God’s Not Dead 2 (2016)
Directed by | Harold Cronk | Cinematography by | Brian Shanley | Editing by | Vance Null, Wynton Payne
Cameras | ARRI ALEXA Camera, Red Epic Camera
Everybody Wants Some!! (2016)
Directed by | Richard Linklater | Cinematography by | Shane F. Kelly | Editing by | Sandra Adair
Cameras | ARRI ALEXA Camera
Dope (2015)
Directed by | Rick Famuyiwa | Cinematography by | Rachel Morrison | Editing by | Lee Haugen
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Camera
The 5th Wave (2016)
Directed by | J Blakeson | Cinematography by | Enrique Chediak | Editing by | Paul Rubell
Cameras | ARRI ALEXA XT Plus Camera
The Father and the Bear (2016)
Directed by | John Putch | Cinematography by | Keith J. Duggan | Editing by | John Putch
Lenses | Zeiss Lenses, Zeiss ZE Prime Lenses
Route 30 Three! (2014)
Directed by | John Putch | Cinematography by | Keith J. Duggan | Editing by | John Putch
Cameras | Sony PMW-F3 Camera
11.22.63 (2016)
| Cinematography by | Adam Suschitzky, David Katznelson | Editing by | Sue Blainey, Michael R. Fox, Plummy Tucker, Dorian Harris
Cameras | Red Epic Dragon Camera
Fuller House (2016)
Regret to Inform (1998)
Directed by | Barbara Sonneborn | Cinematography by | Emiko Omori, Daniel Reeves, Nancy Schiesari | Editing by | Lucy Massie Phenix, Ken Schneider