Luma Pictures | 13 Titles
Mary Poppins Returns (2018)
Directed by | Rob Marshall | Cinematography by | Dion Beebe | Editing by | Wyatt Smith
Lenses | Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo V Lenses, Panavision Primo V PV21 21mm T1.9 Lens, Panavision Primo V PV27 27mm T1.9 Lens, Panavision Primo V PV50 50mm T1.9 Lens
Deadpool (2016)
Directed by | Tim Miller | Cinematography by | Ken Seng | Editing by | Julian Clarke
Cameras | ARRI ALEXA XT Plus Camera
Avengers: Age of Ultron (2015)
Directed by | Joss Whedon | Cinematography by | Ben Davis | Editing by | Jeffrey Ford, Lisa Lassek
Cameras | ARRI ALEXA XT Studio Camera, Blackmagic Pocket Cinema Camera, Canon EOS-C500 Camera, GoPro HD Hero3 Camera, Red One MX Camera
Lenses | Panavision Primo Anamorphic Lenses
Run All Night (2015)
Directed by | Jaume Collet-Serra | Cinematography by | Martin Ruhe | Editing by | Dirk Westervelt
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses
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
Crash (2004) 
Directed by | Paul Haggis | Cinematography by | James M. Muro | Editing by | Hughes Winborne
Cameras | Panavision Panaflex Millennium XL Camera
Lenses | Panavision Super Speed Lenses
Captain America: The Winter Soldier (2014)
Directed by | Anthony Russo, Joe Russo | Cinematography by | Trent Opaloch | Editing by | Jeffrey Ford, Matthew Schmidt
Cameras | ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Oz the Great and Powerful (2013)
Directed by | Sam Raimi | Cinematography by | Peter Deming | Editing by | Bob Murawski
Cameras | Red Epic Camera
G.I. Joe: Retaliation (2013)
Directed by | Jon M. Chu | Cinematography by | Stephen F. Windon | Editing by | Roger Barton, Jim May
Battle Los Angeles (2011)
Directed by | Jonathan Liebesman | Cinematography by | Lukas Ettlin | Editing by | Christian Wagner
Cameras | ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Sony PMW-EX3 Camera
Lenses | Panavision Compact Zoom Lenses, Panavision Lightweight Zoom Lenses, Panavision Primo Primes Spherical Lenses
Charlie’s Angels: Full Throttle (2003)
Directed by | McG | Cinematography by | Russell Carpenter | Editing by | Wayne Wahrman
Lenses | Panavision Primo Anamorphic Lenses
A Lot Like Love (2005)
Directed by | Nigel Cole | Cinematography by | John de Borman | Editing by | Susan Littenberg
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
Underworld: Rise of the Lycans (2009)
Directed by | Patrick Tatopoulos | Cinematography by | Ross Emery | Editing by | Peter Amundson, Eric Potter
Cameras | Panavision Genesis Camera, Red One Camera
