United States | 1624 Titles
Sarah Landon and the Paranormal Hour (2007)
Directed by | Lisa Comrie | Cinematography by | Andrew Kuepper | Editing by | Andrew Cohen
Cameras | Panasonic AG-HVX200 Camera
Breakup at a Wedding (2013)
Directed by | Victor Quinaz | Cinematography by | Giovanni P. Autran | Editing by | Giovanni P. Autran, Evan Leed, Charlie Porter
Cameras | Sony PMW-EX1 Camera
The Remnant (2001)
A-List (2006)
Directed by | Shira-Lee Shalit | Cinematography by | John Lazear | Editing by | Annette Davey, Paul Frost, Tim Goodwin
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 IIC Camera, Bell & Howell Eyemo Camera, Cineflex Cameras
Lenses | Cooke Lenses
Con Games (2001)
Directed by | Jefferson Edward Donald | Cinematography by | John Lazear | Editing by | Chris Conlee
Cameras | ARRIFLEX 35 BL4 Camera
Lenses | Angenieux Lenses
Grand Piano (2013)
Directed by | Eugenio Mira | Cinematography by | Unax Mendia | Editing by | José Luis Romeu, Rodrigo Cortés
Lenses | Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
Shame (2011)
Directed by | Steve McQueen | Cinematography by | Sean Bobbitt | Editing by | Joe Walker
Cameras | ARRICAM Lite (LT) Camera
Lenses | Cooke S4 Lenses
The French Minister (2013)
Directed by | Bertrand Tavernier | Cinematography by | Jérôme Alméras | Editing by | Guy Lecorne
Cameras | ARRI ALEXA Plus Camera
Jimmy P. (2013)
Directed by | Arnaud Desplechin | Cinematography by | Stéphane Fontaine | Editing by | Laurence Briaud
The Innovators (2014)
Labor Day (2013)
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
Eden (2014)
Directed by | Mia Hansen-Løve | Cinematography by | Denis Lenoir | Editing by | Marion Monnier
Cameras | ARRI ALEXA Plus Camera
Lenses | Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo 45-120 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Zeiss Super Speed Lenses
Mondays at Racine (2012)
Directed by | Cynthia Wade | Cinematography by | David Teague, Cynthia Wade | Editing by | David Teague
Kings Point (2012)
Directed by | Sari Gilman | Cinematography by | Daniel B. Gold, Gabriel Miller, Toby Oppenheimer | Editing by | Jeffrey Friedman
Kelly & Cal (2014)
Directed by | Jen McGowan | Cinematography by | Philip Lott | Editing by | David Hopper
Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Hawk V-Series Lenses
Alone Yet Not Alone (2013)
Directed by | Ray Bengston, George D. Escobar | Cinematography by | James Suttles | Editing by | M. Scott Smith
Saving Mr. Banks (2013)
Directed by | John Lee Hancock | Cinematography by | John Schwartzman | Editing by | Mark Livolsi
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Bad Grandpa (2013)
Directed by | Jeff Tremaine | Cinematography by | Lance Bangs, Dimitry Elyashkevich | Editing by | Seth Casriel, Matthew Kosinski, Matthew Probst
Prison Terminal: The Last Days of Private Jack Hall (2013)
Directed by | Edgar Barens | Cinematography by | Edgar Barens | Editing by | Geof Bartz, Gladys Murphy
