Digital Domain | 37 Titles
RRR (2022)
Directed by | S.S. Rajamouli | Cinematography by | KK Senthil Kumar | Editing by | A. Sreekar Prasad
Cameras | ARRI ALEXA LF Camera
Lenses | ARRI Signature Prime Lenses
What Dreams May Come (1998)
Directed by | Vincent Ward | Cinematography by | Eduardo Serra | Editing by | David Brenner, Maysie Hoy
Avengers: Endgame (2019)
Directed by | Anthony Russo, Joe Russo | Cinematography by | Trent Opaloch | Editing by | Jeffrey Ford, Matthew Schmidt
Cameras | ALEXA IMAX Camera
Apollo 13 (1995)
Directed by | Ron Howard | Cinematography by | Dean Cundey | Editing by | Daniel P. Hanley, Mike Hill
Cameras | Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, VistaVision Cameras
Ready Player One (2018)
Directed by | Steven Spielberg | Cinematography by | Janusz Kaminski | Editing by | Sarah Broshar, Michael Kahn
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision PVintage Prime Lenses, Panavision T Series Anamorphic Lenses
Shazam! (2019)
Directed by | David F. Sandberg | Cinematography by | Maxime Alexandre | Editing by | Michel Aller
Lenses | Zeiss Master Prime Lenses
A Beautiful Mind (2001) 
Directed by | Ron Howard | Cinematography by | Roger Deakins | Editing by | Daniel P. Hanley, Mike Hill
Cameras | ARRIFLEX 435 ES Camera, ARRIFLEX 535 B Camera
The Lord of the Rings: The Fellowship of the Ring (2001)
Directed by | Peter Jackson | Cinematography by | Andrew Lesnie | Editing by | John Gilbert
Lenses | Zeiss Ultra Prime Lenses
House of Cards (2013)
| Cinematography by | David M. Dunlap, Igor Martinovic, Eigil Bryld, Peter Konczal, Martin Ahlgren, Tim Norman, Paul Elliott, Tim Ives | Editing by | Lisa Bromwell, Byron Smith, Cindy Mollo, Sidney Wolinsky, Michelle Tesoro, Yuka Shirasuna, Kirk Baxter, Michael Ruscio, Katherine Skjerping, Josh Beal, Grant Surmi, Kyle Traynor
Lenses | Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Lenses
Thor (2011)
Directed by | Kenneth Branagh | Cinematography by | Haris Zambarloukos | Editing by | Paul Rubell
Cameras | ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Standard Primes (SP) Lenses
Transformers (2007)
Directed by | Michael Bay | Cinematography by | Mitchell Amundsen | Editing by | Tom Muldoon, Paul Rubell, Glen Scantlebury
Cameras | ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses | Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
How the Grinch Stole Christmas (2000)
Directed by | Ron Howard | Cinematography by | Donald Peterman | Editing by | Daniel P. Hanley, Mike Hill
Lenses | Panavision SL10 10 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL35-CF 35 mm T1.8 Lens
X-Men: Apocalypse (2016)
Directed by | Bryan Singer | Cinematography by | Newton Thomas Sigel | Editing by | Michael Louis Hill, John Ottman
Cameras | Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses | Leitz Summilux-C Series Lenses
The Jungle Book (2016)
Directed by | Jon Favreau | Cinematography by | Bill Pope | Editing by | Adam Gerstel, Mark Livolsi
Cameras | ARRI ALEXA XT M Camera
Deadpool (2016)
Directed by | Tim Miller | Cinematography by | Ken Seng | Editing by | Julian Clarke
Cameras | ARRI ALEXA XT Plus Camera
Ender’s Game (2013)
Directed by | Gavin Hood | Cinematography by | Donald McAlpine | Editing by | Lee Smith, Zach Staenberg
Cameras | Red Epic Camera
Jack the Giant Slayer (2013)
Directed by | Bryan Singer | Cinematography by | Newton Thomas Sigel | Editing by | Bob Ducsay, John Ottman
Into the Storm (2014)
Directed by | Steven Quale | Cinematography by | Brian Pearson | Editing by | Eric A. Sears
Cameras | ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses | Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
G.I. Joe: Retaliation (2013)
Directed by | Jon M. Chu | Cinematography by | Stephen F. Windon | Editing by | Roger Barton, Jim May
Iron Man Three (2013)
Directed by | Shane Black | Cinematography by | John Toll | Editing by | Peter S. Elliot, Jeffrey Ford
Cameras | ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
