Movie
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Lee Smith
Cameras: ARRI ALEXA LF Camera
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Lee Smith
Cameras: ARRI ALEXA Mini LF Camera
Lenses: ARRI Signature Prime 35mm T1.8 Lens, ARRI Signature Prime 40mm T1.8 Lens, ARRI Signature Prime 47mm T1.8 Lens
Editing System: Avid Editing System
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera
Lenses: ARRI / Zeiss Zoom Lenses, 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Adobe Premiere Editing System
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Directed by: Dean DeBlois
Cinematography by: Gil Zimmerman
Edited by: John K. Carr
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Cameras: ARRI ALEXA Studio Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Cinematography by: Yong Duk Jhun
Edited by: Darren T. Holmes
Directed by: Peter Ramsey
Edited by: Joyce Arrastia
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Directed by: Andrew Niccol
Cinematography by: Roger Deakins
Edited by: Zach Staenberg
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Directed by: Chris Miller
Cinematography by: Gil Zimmerman
Edited by: Erika Dapkewicz
Directed by: Gore Verbinski
Cinematography by: Roger Deakins
Edited by: Craig Wood
Editing System: Avid Editing System
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Directed by: John Wells
Cinematography by: Roger Deakins
Edited by: Robert Frazen
Cinematography by: Gil Zimmerman
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Tariq Anwar
Lenses: Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Directed by: Stephen Daldry
Edited by: Claire Simpson
Lenses: Zeiss Master Prime Lenses
Directed by: Andrew Stanton
Cinematography by: Martin Rosenberg
Edited by: Stephen Schaffer
Directed by: John Patrick Shanley
Cinematography by: Roger Deakins
Edited by: Dylan Tichenor
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Directed by: Paul Haggis
Cinematography by: Roger Deakins
Edited by: Jo Francis
Lenses: Zeiss Master Prime Lenses
Cinematography by: Roger Deakins
Lenses: Cooke S4 Lenses, Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Directed by: Andrew Dominik
Cinematography by: Roger Deakins
Lenses: Cooke Lenses, Cooke S4 Lenses
Directed by: Jon Fauer
Edited by: Matthew R. Blute
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Cinematography by: Roger Deakins
Editing System: Final Cut Pro Editing System
Directed by: M. Night Shyamalan
Cinematography by: Roger Deakins
Edited by: Christopher Tellefsen
Lenses: Cooke S4 Lenses
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 Camera
Editing System: Final Cut Pro Editing System
Directed by: Vadim Perelman
Cinematography by: Roger Deakins
Edited by: Lisa Zeno Churgin
Lenses: Cooke S4 Lenses
Directed by: Ed Solomon
Cinematography by: Roger Deakins
Edited by: Pietro Scalia
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Directed by: Ron Howard
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 435 ES Camera, ARRIFLEX 535 B Camera
Editing System: Avid Editing System
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Directed by: Norman Jewison
Cinematography by: Roger Deakins
Edited by: Stephen E. Rivkin
Lenses: Cooke S4 Lenses
Directed by: Wayne Wang
Cinematography by: Roger Deakins
Edited by: Nicholas C. Smith
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 535 B Camera
Directed by: Martin Scorsese
Cinematography by: Roger Deakins
Edited by: Thelma Schoonmaker
Cameras: ARRIFLEX 535 B Camera
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 35 BL4 Camera
Directed by: Edward Zwick
Cinematography by: Roger Deakins
Edited by: Steven Rosenblum
Directed by: Tim Robbins
Cinematography by: Roger Deakins
Cameras: ARRI Cameras
Cinematography by: Roger Deakins
Edited by: Thom Noble
Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Directed by: Frank Darabont
Cinematography by: Roger Deakins
Edited by: Richard Francis-Bruce
Lenses: ARRI / Zeiss Lenses
Directed by: Agnieszka Holland
Cinematography by: Roger Deakins
Edited by: Isabelle Lorente
Cameras: Panavision Cameras
Directed by: Michael Apted
Cinematography by: Roger Deakins
Edited by: Ian Crafford
Cameras: ARRI Cameras
Directed by: John Sayles
Cinematography by: Roger Deakins
Edited by: John Sayles
Directed by: Roger Spottiswoode
Cinematography by: Roger Deakins
Cameras: ARRIFLEX Camera
Lenses: ARRI / Zeiss Lenses
Directed by: Richard Pearce
Cinematography by: Roger Deakins
Edited by: Bill Yahraus
Directed by: Mike Figgis
Cinematography by: Roger Deakins
Edited by: David Martin