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United States | 1624 Titles

United States 3.00/5 1 Vote

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Never Say Never Again (1983)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 134 Minutes

Directed by | Irvin Kershner | Cinematography by | Douglas Slocombe | Editing by | Ian Crafford

Starring | Sean Connery, Kim Basinger, Klaus Maria Brandauer

Cameras | Panavision Panaflex Camera

Lenses | Panavision Lenses

10 (1979)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 122 Minutes

Directed by | Blake Edwards | Cinematography by | Frank Stanley | Editing by | Ralph E. Winters

Starring | Dudley Moore, Bo Derek, Julie Andrews

Cameras | Panavision Panaflex Gold Camera, Panavision Panaflex-X Camera

Lenses | Cooke Lenses

Thoroughbreds (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 92 Minutes

Directed by | Cory Finley | Cinematography by | Lyle Vincent | Editing by | Louise Ford

Starring | Olivia Cooke, Anya Taylor-Joy, Anton Yelchin

Cameras | ARRI ALEXA Mini Camera

Lenses | Angenieux HR Zoom Lenses, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

The Old Man & the Gun (2018)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 93 Minutes

Directed by | David Lowery | Cinematography by | Joe Anderson | Editing by | Lisa Zeno Churgin

Starring | Robert Redford, Casey Affleck, Sissy Spacek

Cameras | ARRIFLEX 416 Camera

Lenses | Canon Lenses, Cooke S4 Lenses

Wind River (2017)

Motion Picture | 2D | 2K Project | Color | 2.39:1 | 107 Minutes

Directed by | Taylor Sheridan | Cinematography by | Ben Richardson | Editing by | Gary Roach

Starring | Elizabeth Olsen, Jeremy Renner, Graham Greene

Cameras | ARRI ALEXA XT Camera, ARRI ALEXA XT Plus Camera

Lenses | Angenieux Lenses, Zeiss Standard Speed Prime Lenses

Guardians of the Galaxy Vol. 3 (2023)

Motion Picture | 2D, 3D | Color | 1.90:1, 2.39:1 | 150 Minutes

Directed by | James Gunn | Cinematography by | Henry Braham | Editing by | Greg D'Auria, Fred Raskin

Starring | Chris Pratt, Chukwudi Iwuji, Bradley Cooper

Cameras | Red Digital Cinema Cameras, Red Komodo Camera, Red Monstro 8K Camera, Red V-Raptor Camera

Lenses | Angenieux Optimo Ultra 12x Lens, Angenieux Type EZ-1 VV 45-135 mm T3.0 Lens, Angenieux Type EZ-2 VV 22-60 mm T3.0 Lens, Leitz M 0.8 Series Lenses

Tully (2018)

Motion Picture | 2D | 2K Project | Color | 1.85:1 | 95 Minutes

Directed by | Jason Reitman | Cinematography by | Eric Steelberg | Editing by | Stefan Grube

Starring | Charlize Theron, Mackenzie Davis, Ron Livingston

Cameras | ARRI ALEXA Mini Camera

Lenses | Panavision Lenses, Panavision Primo Primes Spherical Lenses

The Informer (1935)

Motion Picture | 2D | Film Project | Black & White | 1.37:1 | 91 Minutes

Directed by | John Ford | Cinematography by | Joseph H. August | Editing by | George Hively

Starring | Victor McLaglen, Heather Angel, Preston Foster

Cameras | Mitchell Standard Camera

Goldfinger (1964)

Motion Picture | 2D | Film Project | Color | 1.85:1 | 110 Minutes

Directed by | Guy Hamilton | Cinematography by | Ted Moore | Editing by | Peter R. Hunt

Starring | Sean Connery, Gert Fröbe, Honor Blackman

Cameras | Mitchell BNC Camera

Thunderball (1965)

Motion Picture | 2D | Film Project | Color | 2.35:1 | 130 Minutes

Directed by | Terence Young | Cinematography by | Ted Moore | Editing by | Ernest Hosler

Starring | Sean Connery, Claudine Auger, Adolfo Celi

Cameras | ARRIFLEX 35 IIA Camera, Mitchell BNC Camera

Lenses | Panavision B Series Anamorphic Lenses

Live and Let Die (1973)

Motion Picture | 2D | Film Project | Color | 1.85:1 | 121 Minutes

Directed by | Guy Hamilton | Cinematography by | Ted Moore | Editing by | Bert Bates, Raymond Poulton, John Shirley

Starring | Roger Moore, Yaphet Kotto, Jane Seymour, Clifton James

Cameras | ARRIFLEX 35 IIC Camera, Panavision Super PSR R-200

Lenses | Panavision Super Speed Lenses

Moonraker (1979)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 126 Minutes

Directed by | Lewis Gilbert | Cinematography by | Jean Tournier | Editing by | John Glen

Starring | Roger Moore, Lois Chiles, Michael Lonsdale

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex-X Camera

Lenses | Cooke Lenses, Panavision C Series Anamorphic Lenses

The Living Daylights (1987)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 130 Minutes

Directed by | John Glen | Cinematography by | Alec Mills | Editing by | Peter Davies, John Grover

Starring | Timothy Dalton, Maryam d'Abo, Jeroen Krabbé, Joe Don Baker

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Platinum Camera

Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

GoldenEye (1995)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 130 Minutes

Directed by | Martin Campbell | Cinematography by | Phil Meheux | Editing by | Terry Rawlings

Starring | Pierce Brosnan, Sean Bean, Izabella Scorupco, Famke Janssen

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)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 131 Minutes

Directed by | John Glen | Cinematography by | Alan Hume | Editing by | Peter Davies

Starring | Roger Moore, Christopher Walken, Tanya Roberts

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera

Lenses | Panavision E Series Anamorphic Lenses

Tomorrow Never Dies (1997)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 119 Minutes

Directed by | Roger Spottiswoode | Cinematography by | Robert Elswit | Editing by | Michel Arcand, Dominique Fortin

Starring | Pierce Brosnan, Jonathan Pryce, Michelle Yeoh, Teri Hatcher

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)

Motion Picture | 2D | Film Project | Color | 2.39:1 | 120 Minutes

Directed by | Guy Hamilton | Cinematography by | Ted Moore | Editing by | Bert Bates, John W. Holmes

Starring | Sean Connery, Jill St. John, Charles Gray, Lana Wood

Cameras | ARRIFLEX 35 IIA Camera, Panavision Super PSR R-200

Lenses | Panavision C Series Anamorphic Lenses, Panavision Lenses

Licence to Kill (1989)

Motion Picture | 2D | Film Project | Color | 2.20:1, 2.39:1 | 133 Minutes

Directed by | John Glen | Cinematography by | Alec Mills | Editing by | John Grover

Starring | Timothy Dalton, Robert Davi, Carey Lowell

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera

Lenses | Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Octopussy (1983)

Motion Picture | 2D | 2K Project | Color | 2.20:1, 2.39:1 | 131 Minutes

Directed by | John Glen | Cinematography by | Alan Hume | Editing by | Peter Davies, Henry Richardson

Starring | Roger Moore, Maud Adams, Louis Jourdan

Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Camera, Panavision Panaflex Gold Camera

Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

Die Another Day (2002)

Motion Picture | 2D | Film Project | Black & White, Color | 2.39:1 | 133 Minutes

Directed by | Lee Tamahori | Cinematography by | David Tattersall | Editing by | Andrew MacRitchie, Christian Wagner

Starring | Pierce Brosnan, Halle Berry, Rosamund Pike, Toby Stephens

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

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