North America | 1782 Titles
The Spy Who Loved Me (1977)
Moonraker (1979)
The Living Daylights (1987)
Directed by | John Glen | Cinematography by | Alec Mills | Editing by | Peter Davies, John Grover
Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Platinum Camera
GoldenEye (1995)
Directed by | Martin Campbell | Cinematography by | Phil Meheux | Editing by | Terry Rawlings
Cameras | ARRIFLEX 35 III Camera, ARRIFLEX 35 IIIC Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses | Cooke Lenses, Nikon - Nikkor Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
A View to a Kill (1985)
Tomorrow Never Dies (1997)
Directed by | Roger Spottiswoode | Cinematography by | Robert Elswit | Editing by | Michel Arcand, Dominique Fortin
Cameras | Panavision Panaflex Gold II Camera
Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Diamonds Are Forever (1971)
Directed by | Guy Hamilton | Cinematography by | Ted Moore | Editing by | Bert Bates, John W. Holmes
Cameras | ARRIFLEX 35 IIA Camera, Panavision Super PSR R-200
Licence to Kill (1989)
Directed by | John Glen | Cinematography by | Alec Mills | Editing by | John Grover
Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Octopussy (1983)
Directed by | John Glen | Cinematography by | Alan Hume | Editing by | Peter Davies, Henry Richardson
Die Another Day (2002)
Directed by | Lee Tamahori | Cinematography by | David Tattersall | Editing by | Andrew MacRitchie, Christian Wagner
Cameras | ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Meet Natasha (2022)
Directed by | Antonio Oliveros-Nikol | Cinematography by | Benjamin Steeper | Editing by | Antonio Oliveros-Nikol
Cameras | Blackmagic Pocket Cinema 4K Camera
Lenses | Meike Lenses
Molly’s Game (2017)
Directed by | Aaron Sorkin | Cinematography by | Charlotte Bruus Christensen | Editing by | Alan Baumgarten, Elliot Graham, Josh Schaeffer
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Joan of Arc (1948)
Directed by | Victor Fleming | Cinematography by | Winton C. Hoch, William V. Skall, Joseph A. Valentine | Editing by | Frank Sullivan
Cameras | Technicolor 3-Strip Camera
My Friend Dahmer (2017)
Directed by | Marc Meyers | Cinematography by | Daniel Katz | Editing by | Jamie Kirkpatrick
Cameras | ARRI ALEXA XT Series Cameras
Lenses | Panavision Primo Anamorphic Lenses
The BFG (2016)
Directed by | Steven Spielberg | Cinematography by | Janusz Kaminski | Editing by | Michael Kahn
Cameras | ARRI ALEXA XT Series Cameras
Game Night (2018)
Directed by | John Francis Daley, Jonathan Goldstein | Cinematography by | Barry Peterson | Editing by | David Egan, Jamie Gross, Gregory Plotkin
Lenses | Cooke S4/i Lenses
The Little Church That Could (2022)
Directed by | James Newhook | Cinematography by | James Newhook, Ben Power | Editing by | James Newhook
Cameras | Blackmagic URSA Camera
Shane (1953) 
Directed by | George Stevens | Cinematography by | Loyal Griggs | Editing by | William Hornbeck, Tom McAdoo
Cameras | Technicolor 3-Strip Camera
The Protectors (2020)
Haunted State (2019)
