Underwater | 37 Titles
DamNation (2014)
The Night of the Hunter (1955)
Divergent (2014)
Directed by | Neil Burger | Cinematography by | Alwin H. Küchler | Editing by | Richard Francis-Bruce, Nancy Richardson
Cameras | ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Lenses | Panavision E Series Anamorphic Lenses, Panavision Primo Zooms Spherical Lenses, Panavision PVintage Prime Lenses
All Is Lost (2013)
Directed by | J.C. Chandor | Cinematography by | Frank G. DeMarco, Peter Zuccarini | Editing by | Pete Beaudreau
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Standard Speed Prime Lenses
Captain Phillips (2013)
Directed by | Paul Greengrass | Cinematography by | Barry Ackroyd | Editing by | Christopher Rouse
Cameras | Aaton Penelope Camera, Aaton XTR Prod Camera, ARRI ALEXA Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, GoPro (Woodman Labs) Cameras, VistaVision Cameras
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, ARRI / Zeiss Lenses, Canon Lenses, Leitz Summilux-C Series Lenses, Zeiss Super Speed Lenses
The Impossible (2012)
Directed by | J.A. Bayona | Cinematography by | Oscar Faura | Editing by | Elena Ruiz, Bernat Vilaplana
Lenses | Zeiss Master Prime Lenses
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
Fool’s Gold (2008)
Directed by | Andy Tennant | Cinematography by | Don Burgess | Editing by | Troy Takaki, Tracey Wadmore-Smith
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Altergeist (2014)
Directed by | Tedi Sarafian | Cinematography by | Aaron Heck | Editing by | Andrew Coutts, David W. Hagar
Cameras | ARRI ALEXA Plus Camera, Indiecam Cameras, Silicon Imaging SI-2K Mini Camera, Sony PMW-F3 Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens
Sexy Beast (2000)
Directed by | Jonathan Glazer | Cinematography by | Ivan Bird | Editing by | John Scott, Sam Sneade
Cameras | ARRI ARRIFLEX Series Cameras
Lenses | ARRI Lenses
Charlie Wilson’s War (2007)
Directed by | Mike Nichols | Cinematography by | Stephen Goldblatt | Editing by | John Bloom, Antonia Van Drimmelen
Tomorrow Never Dies (1997)
Directed by | Roger Spottiswoode | Cinematography by | Robert Elswit | Editing by | Michel Arcand, Dominique Fortin
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Jumper (2008)
Directed by | Doug Liman | Cinematography by | Barry Peterson | Editing by | Saar Klein, Dean Zimmerman, Don Zimmerman
Cameras | Panavision Cameras, Red One Camera
Storm Surfers 3D (2012)
Directed by | Justin McMillan, Christopher Nelius | Cinematography by | David Maguire | Editing by | Rodrigo Balart
Cameras | Canon EOS 550D Camera, GoPro HD Hero Camera, Panasonic AG-3DA1 Camera, Silicon Imaging SI-2K Camera, Sony PMW-EX3 Camera
Lenses | Fujinon Lenses, Kowa Lenses
Un heureux événement (2011)
Directed by | Rémi Bezançon | Cinematography by | Antoine Monod | Editing by | Sophie Reine
Cameras | ARRICAM Studio (ST) Camera
Raiders of the Lost Ark (1981)
Directed by | Steven Spielberg | Cinematography by | Douglas Slocombe | Editing by | Michael Kahn, George Lucas
Cameras | Panavision Cameras
Lenses | Panavision Lenses
Andre (1994)
Directed by | George Miller | Cinematography by | Thomas Burstyn | Editing by | Harry Hitner, Patrick Kennedy
Cameras | ARRIFLEX 535 Camera
Lenses | Clairmont Anamorphic Lenses
