2K Scan Resolution | 84 Titles
The Paperboy (2012)
Directed by | Lee Daniels | Cinematography by | Roberto Schaefer | Editing by | Joe Klotz
Cameras | Aaton XTR Prod Camera, ARRIFLEX 16SR3 Camera
Lenses | Canon Lenses, Zeiss Super Speed Lenses
Curfew (2012)
Directed by | Shawn Christensen | Cinematography by | Daniel Katz | Editing by | Shawn Christensen, Evan Henke
Cameras | Red One Camera
Silver Linings Playbook (2012)
Directed by | David O. Russell | Cinematography by | Masanobu Takayanagi | Editing by | Jay Cassidy, Crispin Struthers
Les Misérables (2012)
Directed by | Tom Hooper | Cinematography by | Danny Cohen | Editing by | Chris Dickens, Melanie Oliver
Bullet to the Head (2012)
Directed by | Walter Hill | Cinematography by | Lloyd Ahern II | Editing by | Timothy Alverson
Cameras | ARRI ALEXA Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Oblivion (2013)
Directed by | Joseph Kosinski | Cinematography by | Claudio Miranda | Editing by | Richard Francis-Bruce
Cameras | Red Epic Camera, Sony CineAlta F65 Camera
Lenses | Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 Lens, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
The Reader (2008)
Directed by | Stephen Daldry | Cinematography by | Roger Deakins, Chris Menges | Editing by | Claire Simpson
Lenses | Zeiss Master Prime Lenses
Stranger Than Fiction (2006)
The Clink of Ice (2010)
Directed by | Bertrand Blier | Cinematography by | François Catonné | Editing by | Marion Monestier
Cameras | Aaton Penelope Camera
The First Aggregate (2012)
Directed by | Darhad Erdenibulag, Emyr ap Richard | Cinematography by | Emyr ap Richard | Editing by | Jinlei Kong, Matthieu Laclau
Cameras | ARRI ALEXA Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bolex H16 Camera, Red Epic Camera, Red One Camera, Red One MX Camera
Lenses | Kern-Paillard Switar Lens, Red Pro Zoom 17-50 mm T2.9 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Standard Prime MKII 32 mm T2.1 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens
Hard Boiled Sweets (2012)
Directed by | David L.G. Hughes | Cinematography by | Sara Deane | Editing by | Lloyd George
Cameras | Canon EOS-5D Mark II Camera
Lenses | Canon L Series Lenses
Charlie Wilson’s War (2007)
Directed by | Mike Nichols | Cinematography by | Stephen Goldblatt | Editing by | John Bloom, Antonia Van Drimmelen
Eine ganz heiße Nummer (2011)
Directed by | Markus Goller | Cinematography by | Ueli Steiger | Editing by | Markus Goller, Simon Gstöttmayr
Cameras | Moviecam Compact MK2 Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Distagon 14 mm T1.9 Lens
King Kong (2005)
Directed by | Peter Jackson | Cinematography by | Andrew Lesnie | Editing by | Jamie Selkirk
Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, Mitchell Cameras
Happy in the Valley (2009)
Finding Neverland (2004)
The Brazen Bull (2010)
Directed by | Douglas Elford-Argent | Cinematography by | Jayson Crothers | Editing by | Wendy Elford-Argent
Cameras | Red One Camera
J. Edgar (2011)
Directed by | Clint Eastwood | Cinematography by | Tom Stern | Editing by | Joel Cox, Gary Roach
Lenses | Panavision C Series Anamorphic Lenses, Panavision C100 100 mm T2.8 Lens, Panavision C75 75 mm T2.5 Lens, Panavision E Series Anamorphic Lenses, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens
Flags of Our Fathers (2006)
Directed by | Clint Eastwood | Cinematography by | Tom Stern | Editing by | Joel Cox
Cameras | ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Platinum Camera, Sony HVR-Z1U Camera
1989 (2009)
