|
|
8.2 |
1985 |
AdCSf![Color (Technicolor); Aspect: 1.85:1; 35 mm (also horizontal) (Eastman 125T 5247, 400T 5294); Spherical VistaVision (special effects); Panaflex Camera and Lenses by Panavision; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) (as Dolby Stereo) Color (Technicolor)](icons/rgb.png) |
Back to the Future |
Robert Zemeckis, W, W, P, M |
|
8.2 |
1980 |
AAdSf![Color; Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 100T 5247); VistaVision (special effects) Panavision (anamorphic); AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Star Wars: Episode V - The Empire Strikes Back |
Irvin Kershner, W, W, ++, P, M |
|
8.2 |
1946 |
DRW![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
The Best Years of Our Lives |
William Wyler, W, W, P, M |
|
8.1 |
2015 |
AAdSfT![Color; Aspect: 1.85:1; Codex Redcode RAW Video (HD); ARRIRAW (3.4K) (source format) Canon Cinema RAW (4K) (source format) Digital Intermediate (2K) (master format) H.264 MPEG4 HD (1080p/25) (source format) ProRes 4:2:2 HQ (1080p/24) (source format) Redcode RAW (5K) (source format); Arri Alexa XT Studio, Panavision Primo Lenses Blackmagic Pocket Cinema Camera Canon EOS C500 GoPro HD Hero 3 Red Epic MX, Panavision Primo Lenses; AUDIO: Dolby Atmos, Dolby Digital Color](icons/d-rgb.png) |
Avengers: Age of Ultron |
Joss Whedon, W, W, ++, P, M, M |
|
8.1 |
2001 |
CDR![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
My Sassy Girl |
Jae-young Kwak, W, W, P, M «Yeopgijeogin geunyeo» |
|
8.0 |
1981 |
AAdDHW![Color (Fujicolor); Aspect: 1.85:1; 35 mm (Fuji A 250T 8518); AUDIO: Dolby Digital (director's cut), Dolby (original release), SDDS (director's cut) Color (Fujicolor)](icons/rgb.png) |
Das Boot |
Wolfgang Petersen, W, W, P, M |
|
8.0 |
1966 |
AdWe![Color (Technicolor); Aspect: 2.35:1; 35 mm (2-perf); Techniscope (as Techniscope ®); AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
The Good, the Bad and the Ugly |
Sergio Leone, W, W, ++, P, M «Il buono, il brutto, il cattivo» |
|
8.0 |
1931 |
CDR![Black and White; Silent](icons/bw.png) |
City Lights |
Charles Chaplin, W, ++, P, P, M |
|
7.9 |
2007 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate; Arriflex 535; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Like Stars on Earth |
Aamir Khan, ++, W, P, M, M, M «Taare Zameen Par» |
|
7.9 |
1994 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293); Arriflex 35 BL4S, Zeiss Standard Speed and Super Speed Lenses Moviecam Compact, Zeiss Standard Speed and Super Speed Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Shawshank Redemption |
Frank Darabont, W, W, P, M |
|
7.9 |
1988 |
AnDW![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono, Dolby (as Dolby Stereo) (theatrical print) Color (Technicolor)](icons/rgb.png) |
Grave of the Fireflies |
Isao Takahata, W, W, P, M «Hotaru no haka» |
|
7.9 |
1986 |
AdD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Stand by Me |
Rob Reiner, W, W, ++, P, M |
|
7.8 |
1994 |
DMR![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; AUDIO: Dolby, Dolby SR Color (Eastmancolor)](icons/rgb.png) |
Three Colors: Red |
Krzysztof Kieslowski, W, W, P, M «Trois couleurs: Rouge» |
|
7.8 |
1981 |
AAd![Color; Aspect: 2.20:1; 35 mm (Eastman 100T 5247); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Raiders of the Lost Ark |
Steven Spielberg, W, W, ++, P, M |
|
7.8 |
1976 |
DSp![Color (Technicolor); Aspect: 1.33:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Rocky |
John G. Avildsen, W, P, M |
|
7.8 |
1975 |
AdHoT![Color; Aspect: 2.35:1; 35 mm (Eastman 100T 5254); Panavision (anamorphic); Arriflex 35-III, Panavision C-Series Lenses (some shots) Panavision Panaflex, Panavision C-Series Lenses; AUDIO: Mono (Westrex Recording System), Dolby Digital (Dolby 5.1), DTS (DTS 5.1), Dolby Surround 7.1 (DTS HD Master Audio) Color](icons/rgb.png) |
Jaws |
Steven Spielberg, W, W, ++, P, M |
|
7.8 |
1960 |
HoMT![Black and White; Aspect: 1.37:1; 35 mm; Mitchell BNC; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Psycho |
Alfred Hitchcock, W, W, P, M |
|
7.8 |
1936 |
CD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Noiseless Recording Sound System) Black and White](icons/bw.png) |
Modern Times |
Charles Chaplin, W, P, P, M |
|
7.7 |
2007 |
D![Color; Aspect: 1.85:1; 16 mm (Fuji Super F-64D 8622, Eterna 500T 8673); Digital Intermediate (2K) (master format) Super 16 (source format); Arriflex 416, Zeiss Master Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Boy A |
John Crowley, W, W, P, M |
|
7.7 |
1999 |
AnAAdCCrFSf![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245); Celco Scope (anamorphic); Celco Cameras and Lenses; AUDIO: Dolby Digital, DTS, SDDS Color (Technicolor)](icons/rgb.png) |
The Iron Giant |
Brad Bird, W, W, ++, P, M |
|
7.7 |
1998 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279); Super 35; Moviecam Cameras Panaflex Cameras; AUDIO: Dolby SR Color](icons/rgb.png) |
Central Station |
Walter Salles, W, W, ++, P, M, M «Central do Brasil» |
|
7.7 |
1995 |
AnAdCFFan![Color (Technicolor); Aspect: 1.85:1; Digital; Digital; AUDIO: Dolby Digital Color (Technicolor)](icons/d-rgb.png) |
Toy Story |
John Lasseter, W, W, ++, M |
|
7.7 |
1994 |
AC![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (remastered version) Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: SDDS (US version), Mono (original version), Dolby Digital (US version), DTS (US version) Color](icons/rgb.png) |
The Legend of Drunken Master |
Chia-Liang Liu, ++, W, W, ++, P, P, P++, M, M «Jui kuen II» |
|
7.7 |
1991 |
CrD![Color (DeLuxe); Aspect: 1.85:1; 35 mm; Arriflex Camera and Lenses; AUDIO: Dolby Color (DeLuxe)](icons/rgb.png) |
Boyz n the Hood |
John Singleton, W, P, M |
|
7.7 |
1991 |
ASfT![Color; Aspect: 2.20:1; 35 mm (Eastman EXR 50D 5245, EXR 500T 5296, 250D 5297); Super 35; Arriflex Cameras and Lenses; AUDIO: 70 mm 6-Track (analog 70 mm prints), CDS (digital 35 mm and 70 mm prints), Dolby SR (analog 35 mm prints) Color](icons/rgb.png) |
Terminator 2: Judgment Day |
James Cameron, W, W, P, M |
|
7.7 |
1988 |
AT![Color; Aspect: 2.20:1; 35 mm (Eastman 400T 5295) 65 mm (special effects) (Eastman 125T 5247, 400T 5295); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Die Hard |
John McTiernan, W, W, ++, P, M |
|
7.7 |
1984 |
ASf![Color; Aspect: 1.85:1; 35 mm (Eastman 250T 5293); AUDIO: Mono, Dolby Color](icons/rgb.png) |
The Terminator |
James Cameron, W, W, ++, P, M |
|
7.7 |
1980 |
BD![Black and White; Aspect: 2.35:1; 35 mm (Eastman Plus-X 5231); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Black and White](icons/bw.png) |
The Elephant Man |
David Lynch, W, W, ++, P, M |
|
7.7 |
1954 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
La Strada |
Federico Fellini, W, W, ++, P, P, M «La strada» |
|
7.6 |
2003 |
CCr![Color; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Munnabhai M.B.B.S. |
Rajkumar Hirani, W, W, ++, P, M |
|
7.6 |
2002 |
CrD![Color; Aspect: 1.85:1; 16 mm (Eastman EXR 50D 7245, Kodak Vision 250D 7246, Vision 200T 7274, Vision 500T 7279) 35 mm (Eastman EXR 50D 5245, Kodak Vision 250D 5246, Vision 200T 5274, Vision 500T 5279); Digital Intermediate (2K) (master format) Super 16 (source format) Super 35 (source format); Aaton 35-III, Zeiss Super Speed Lenses Aaton A-Minima, Zeiss Super Speed and Angenieux HR Lenses Aaton XTR Prod, Zeiss Super Speed and Angenieux HR Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
City of God |
Fernando Meirelles, Kátia Lund, W, W, P, M, M «Cidade de Deus» |
|
7.6 |
1993 |
CDFanR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby SR (as Dolby Stereo) Color (Technicolor)](icons/rgb.png) |
Groundhog Day |
Harold Ramis, W, W, ++, P, M |
|
7.6 |
1993 |
CDFSp![Black and White, Color; Aspect: 2.35:1; 35 mm; J-D-C Scope (anamorphic); Moviecam Cameras, Cooke Xtal Express Lenses; AUDIO: Dolby Black and White, Color](icons/rgb-bw.png) |
The Sandlot |
David M. Evans, W, W, P, M |
|
7.6 |
1991 |
AnFFanMlR![Color (Technicolor); Aspect: 1.66:1; 35 mm (Eastman) Digital; Digital Spherical; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints), Sonics-DDP (IMAX version) Color (Technicolor)](icons/rgb.png) |
Beauty and the Beast |
Gary Trousdale, Kirk Wise, W, W, ++, M |
|
7.6 |
1990 |
BCrDT![Color (Technicolor); Aspect: 1.85:1; 35 mm; Arriflex 35 BL4S, Zeiss Lenses; AUDIO: Dolby SR Color (Technicolor)](icons/rgb.png) |
Goodfellas |
Martin Scorsese, W, ++, P |
|
7.6 |
1980 |
D![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Ordinary People |
Robert Redford, W, W, ++, P |
|
7.6 |
1974 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Mitchell BNCR, Bausch & Lomb Super Baltar and Kowa Cine Prominar Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
The Godfather: Part II |
Francis Ford Coppola, W, W, ++, P, M |
|
7.6 |
1961 |
AAd![Black and White; Aspect: 2.35:1; 35 mm; Tohoscope (anamorphic); AUDIO: Perspecta Stereo (Westrex Recording System) Black and White](icons/bw.png) |
Yojimbo |
Akira Kurosawa, W, ++, P, M «Yôjinbô» |
|
7.6 |
1957 |
D![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
12 Angry Men |
Sidney Lumet, W, P, M |
|
7.6 |
1952 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Ikiru |
Akira Kurosawa, W, W, ++, P, M |
|
7.6 |
1947 |
CDFFan![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Miracle on 34th Street |
George Seaton, W, W, P, P, M |
|
7.6 |
1946 |
DFFan![Color, Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Color, Black and White](icons/rgb-bw.png) |
It's a Wonderful Life |
Frank Capra, W, W, ++, P, P, P, M |
|
7.6 |
1938 |
AAdR![Color (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
The Adventures of Robin Hood |
Michael Curtiz, William Keighley, W, W, ++, P, P, M |
|
7.6 |
1921 |
CDF![Black and White; Silent](icons/bw.png) |
The Kid |
Charles Chaplin, W, P, M |
|
7.5 |
2010 |
ACrDT![Color; Aspect: 1.85:1; 35 mm (Kodak); Digital Intermediate (master format) Spherical (source format); Aaton Cameras; AUDIO: Dolby Digital Color](icons/rgb.png) |
Elite Squad: The Enemy Within |
José Padilha, W, ++, P, M «Tropa de Elite 2 - O Inimigo Agora É Outro» |
|
7.5 |
2006 |
AnCDRSf![Color; Aspect: 1.85:1; Digital; Digital Intermediate (master format) Digital (source format); AUDIO: Dolby Digital Color](icons/d-rgb.png) |
The Girl Who Leapt Through Time |
Mamoru Hosoda, W, W, M «Toki o kakeru shôjo» |
|
7.5 |
1999 |
AnAdCFFan![Color (Technicolor); Aspect: 1.85:1; Digital; Digital; AUDIO: DTS, SDDS, Dolby Digital Color (Technicolor)](icons/d-rgb.png) |
Toy Story 2 |
John Lasseter, Ash Brannon, ++, W, W, ++, P, M |
|
7.5 |
1998 |
CDR![Color; Aspect: 1.85:1; 16 mm; Super 16; AUDIO: Dolby SR Color](icons/rgb.png) |
Show Me Love |
Lukas Moodysson, W, P «Fucking Åmål» |
|
7.5 |
1997 |
CrDMT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279, Eastman EXR 200T 5293); Super 35; Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Lightweight, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
L.A. Confidential |
Curtis Hanson, W, W, ++, P, M |
|
7.5 |
1994 |
AnAdDFMl![Color (Technicolor); Aspect: 1.66:1; 35 mm (Eastman); AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Lion King |
Roger Allers, Rob Minkoff, W, W, ++, M |
|
7.5 |
1993 |
BDT![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman); J-D-C Cameras and Lenses; AUDIO: Dolby, DTS Color (Technicolor)](icons/rgb.png) |
In the Name of the Father |
Jim Sheridan, W, W, ++, P, M |
|
7.5 |
1993 |
BDSp![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision Panavision Camera and Lenses; AUDIO: Dolby SR, SDDS (8 channels) Color (Technicolor)](icons/rgb.png) |
Rudy |
David Anspaugh, W, P, M |
|
7.5 |
1993 |
DR![Color (Technicolor); Aspect: 2.20:1; 35 mm (Eastman EXR 200T 5293, EXR 500T 5296); Super 35; Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints), SDDS (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Remains of the Day |
James Ivory, W, W, P, M |
|
7.5 |
1990 |
DFanR![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 50D 5245); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (analog 70 mm prints), CDS (digital 70 mm prints), Dolby SR (35 mm prints), CDS (digital 35 mm prints) Color](icons/rgb.png) |
Edward Scissorhands |
Tim Burton, W, W, ++, P, M |
|
7.5 |
1988 |
D![Color; Aspect: 1.66:1; 35 mm (Kodak); AUDIO: Dolby Color](icons/rgb.png) |
Cinema Paradiso |
Giuseppe Tornatore, W, ++, P, M «Nuovo Cinema Paradiso» |
|
7.5 |
1988 |
ACCrR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
The Naked Gun: From the Files of Police Squad! |
David Zucker, W, W, ++, P, M |
|
7.5 |
1987 |
AAdSf![Color; Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5294); Arriflex 35-III, Panavision Super Speed Z-Series MKII and Ultra Speed Z-Series MKII Lenses Panavision Panaflex Gold, Panavision Super Speed Z-Series MKII, Ultra Speed Z-Series MKII and Canon Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Predator |
John McTiernan, W, W, P, M |
|
7.5 |
1986 |
AAdSfT![Color (Eastmancolor); Aspect: 1.85:1; 35 mm (Eastman 400T 5294, 400T 5295); Arriflex 35-III, Canon K35 Lenses Moviecam SuperAmerica, Canon K35 Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Eastmancolor)](icons/rgb.png) |
Aliens |
James Cameron, W, W, ++, P, M |
|
7.5 |
1982 |
HoMSfT![Color; Aspect: 2.20:1; 35 mm (Eastman 100T 5247); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Stereo (35 mm prints), 70 mm 6-Track (70 mm prints) Color](icons/rgb.png) |
The Thing |
John Carpenter, W, W, P, M |
|
7.5 |
1952 |
CMlR![Color (Technicolor), Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Sound System) Color (Technicolor), Black and White](icons/rgb-bw.png) |
Singin' in the Rain |
Stanley Donen, Gene Kelly, W, W, ++, P, M |
|
7.5 |
1950 |
DN![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Sunset Blvd. |
Billy Wilder, W, W, ++, P, M |
|
7.5 |
1944 |
CrDNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Mirrophonic Recording) Black and White](icons/bw.png) |
Double Indemnity |
Billy Wilder, W, W, ++, P, M |
|
7.5 |
1939 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Mirrophonic Recording) Black and White](icons/bw.png) |
Mr. Smith Goes to Washington |
Frank Capra, W, W, ++, P, M |
|
7.4 |
2014 |
CT![Color; Aspect: 2.35:1 Color](icons/q-rgb.png) |
Wild Tales |
Damián Szifron, W, P, M «Relatos salvajes» |
|
7.4 |
2006 |
DT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Hawk Scope (anamorphic); Arriflex 535B, Hawk C- and V-Series Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Lives of Others |
Florian Henckel von Donnersmarck, W, P, M, M «Das Leben der Anderen» |
|
7.4 |
1999 |
BDF![Color; Aspect: 2.35:1; 35 mm (Eastman); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
October Sky |
Joe Johnston, W, W, P, M |
|
7.4 |
1994 |
BCD![Black and White; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby SR Black and White](icons/bw.png) |
Ed Wood |
Tim Burton, W, W, ++, P, M |
|
7.4 |
1994 |
CrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 200T 5293, EXR 500T 5296); Technovision (anamorphic); Arriflex 35 BL4, Technovision/Zeiss Super Speed and Angenieux HR Lenses Arriflex 35-III, Technovision/Zeiss Super Speed and Angenieux HR Lenses; AUDIO: Dolby Digital, SDDS (8 channels) Color (Technicolor)](icons/rgb.png) |
Léon: The Professional |
Luc Besson, W, P, M «Léon» |
|
7.4 |
1992 |
AAdRW![Color; Aspect: 2.20:1; 35 mm (Agfa XT 320, Eastman EXR 100T 5248, EXR 500T 5296); Panavision (anamorphic); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
The Last of the Mohicans |
Michael Mann, W, W, ++, P, M, M |
|
7.4 |
1988 |
AAdCCrT![Color; Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Dolby Color](icons/rgb.png) |
Midnight Run |
Martin Brest, W, P, M |
|
7.4 |
1962 |
DHoT![Black and White; Aspect: 1.33:1; 35 mm; AUDIO: Mono (RCA Sound Recording) Black and White](icons/bw.png) |
What Ever Happened to Baby Jane? |
Robert Aldrich, W, W, P, M |
|
7.4 |
1961 |
DHW![Black and White; Aspect: 1.75:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Judgment at Nuremberg |
Stanley Kramer, W, ++, P, M |
|
7.4 |
1960 |
CDR![Black and White; Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
The Apartment |
Billy Wilder, W, W, P, M |
|
7.4 |
1957 |
DM![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Witness for the Prosecution |
Billy Wilder, W, W, ++, P, M |
|
7.4 |
1953 |
AdDT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric) Black and White](icons/bw.png) |
The Wages of Fear |
Henri-Georges Clouzot, W, W, ++, P, M «Le salaire de la peur» |
|
7.4 |
1948 |
CrD![Black and White; Aspect: 1.37:1; 35 mm; Arriflex II C; AUDIO: Mono Black and White](icons/bw.png) |
Bicycle Thieves |
Vittorio De Sica, W, W, ++, P, M «Ladri di biciclette» |
|
7.4 |
1939 |
AdFFanMl![Black and White (Sepiatone), Color (Technicolor); Aspect: 1.37:1; 35 mm; Metroscope (1955 re-release) Spherical; Technicolor Three-Strip Camera; AUDIO: Mono (Western Electric Sound System: The Voice of Action), Dolby Digital (2005 re-issue) Black and White (Sepiatone), Color (Technicolor)](icons/rgb-bw.png) |
The Wizard of Oz |
Victor Fleming, ++, W, W, ++, P |
|
7.4 |
1930 |
DW![Black and White; Aspect: 1.20:1; 35 mm; AUDIO: Mono (Western Electric Sound System) Black and White](icons/bw.png) |
All Quiet on the Western Front |
Lewis Milestone, W, W, ++, P, P, M, M |
|
7.3 |
2013 |
D![Color; Color](icons/q-rgb.png) |
Short Term 12 |
Destin Cretton, W, P, M |
|
7.3 |
2011 |
BCD![Color; Aspect: 1.85:1; 35 mm (Fuji Eterna Vivid 250D 8546); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Aaton Penelope, Panavision Primo Lenses Arri Alexa, Panavision Primo Lenses (some night scenes) Arriflex 435, Panavision Primo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Intouchables |
Olivier Nakache, Eric Toledano, W, W, P, M «Intouchables» |
|
7.3 |
2004 |
BDHW![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218, Vision 250D 5246); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Ultra Prime Lenses Arricam ST, Zeiss Ultra Prime Lenses Arriflex 435, Zeiss Ultra Prime Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Downfall |
Oliver Hirschbiegel, W, W, ++, P, M «Der Untergang» |
|
7.3 |
2004 |
DR![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Head-On |
Fatih Akin, W, P, M, M «Gegen die Wand» |
|
7.3 |
1993 |
D![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby, Dolby SR Color](icons/rgb.png) |
What's Eating Gilbert Grape |
Lasse Hallström, W, P, M, M |
|
7.3 |
1990 |
BD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
Awakenings |
Penny Marshall, W, W, P, M |
|
7.3 |
1989 |
DHW![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5294); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Glory |
Edward Zwick, W, W, ++, P, M |
|
7.3 |
1988 |
AnFFan![Color; Aspect: 1.85:1; 35 mm; Spherical (hard-matted); AUDIO: Dolby (Stereo) Color](icons/rgb.png) |
My Neighbor Totoro |
Hayao Miyazaki, W, P, M «Tonari no Totoro» |
|
7.3 |
1986 |
AnAAdFFanR![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Color](icons/rgb.png) |
Castle in the Sky |
Hayao Miyazaki, W, P, M «Tenkû no shiro Rapyuta» |
|
7.3 |
1975 |
AAd![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); AUDIO: 4-Track Stereo Color (Technicolor)](icons/rgb.png) |
The Man Who Would Be King |
John Huston, W, W, ++, P, M |
|
7.3 |
1968 |
AdWe![Color (Technicolor); Aspect: 2.35:1; 35 mm (2-perf); Techniscope; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Once Upon a Time in the West |
Sergio Leone, W, W, ++, P, M «C'era una volta il West» |
|
7.3 |
1961 |
DSp![Black and White; Aspect: 2.35:1; 35 mm; CinemaScope; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
The Hustler |
Robert Rossen, W, W, ++, P, M |
|
7.3 |
1957 |
DW![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Paths of Glory |
Stanley Kubrick, W, W, ++, P, M |
|
7.3 |
1954 |
CrD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
On the Waterfront |
Elia Kazan, W, ++, P, M |
|
7.3 |
1953 |
CDR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Roman Holiday |
William Wyler, W, W, ++, P, P, M |
|
7.3 |
1951 |
DSfT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
The Day the Earth Stood Still |
Robert Wise, W, W, P, M |
|
7.3 |
1950 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
All About Eve |
Joseph L. Mankiewicz, W, ++, P, M |
|
7.3 |
1948 |
AAdDWe![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Treasure of the Sierra Madre |
John Huston, W, W, P, M |
|
7.3 |
1931 |
CrNT![Black and White; Aspect: 1.20:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
M |
Fritz Lang, W, W, ++, P |
|
7.2 |
2015 |
DSf![Color; Aspect: 2.35:1; AXSM SRMemory Video (HD); Digital Intermediate (2K) (master format) J-D-C Scope (anamorphic) (source format) Kowa Scope (anamorphic) (source format) (some scenes); GoPro Hero 3 Black Edition Sony CineAlta F65, Cooke Xtal Express, Kowa Prominar and Angenieux Optimo Lenses Sony CineAlta PMW-F55, Cooke Xtal Express, Kowa Prominar and Angenieux Optimo Lenses; AUDIO: Dolby Digital, SDDS, Datasat Color](icons/q-rgb.png) |
Ex Machina |
Alex Garland, W, P, M, M |
|
7.2 |
1997 |
AnAdFan![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital (English-language version), Dolby Color](icons/rgb.png) |
Princess Mononoke |
Hayao Miyazaki, W, P, M «Mononoke-hime» |
|
7.2 |
1989 |
AnAdFFan![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Color](icons/rgb.png) |
Kiki's Delivery Service |
Hayao Miyazaki, W, W, P, M «Majo no takkyûbin» |
|
7.2 |
1987 |
ACrSf![Color; Aspect: 1.85:1; 35 mm; Arriflex 35 BL, Zeiss Super Speed Lenses; AUDIO: Dolby SR (35 mm prints), 70 mm 6-Track (70 mm prints), DTS (special edition) Color](icons/rgb.png) |
RoboCop |
Paul Verhoeven, W, W, P, P, M |
|
7.2 |
1987 |
AdCFFanR![Color; Aspect: 1.85:1; 35 mm; J-D-C Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
The Princess Bride |
Rob Reiner, W, P, M |
|
7.2 |
1985 |
ADW![Color; Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Dolby (35 mm prints), 70 mm 6-Track (70 mm prints) Color](icons/rgb.png) |
Ran |
Akira Kurosawa, W, W, ++, P, P, P, M |
|
7.2 |
1984 |
CFFan![Color (Metrocolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Metrocolor)](icons/rgb.png) |
Ghostbusters |
Ivan Reitman, W, W, ++, P, M «Ghost Busters» |
|
7.2 |
1984 |
DHW![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
The Killing Fields |
Roland Joffé, W, P, M |
|
7.2 |
1980 |
C![Color (Metrocolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: 4-Track Stereo Color (Metrocolor)](icons/rgb.png) |
Airplane! |
Jim Abrahams, David Zucker, ++, W, W, ++, P, M |
|
7.2 |
1980 |
ACCrMc![Color (Technicolor); Aspect: 1.33:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: 4-Track Stereo (magnetic prints), Mono (optical prints) Color (Technicolor)](icons/rgb.png) |
The Blues Brothers |
John Landis, W, W, P |
|
7.2 |
1979 |
HoSf![Color; Aspect: 2.20:1; 35 mm (Eastman 100T 5247); Panavision (anamorphic); AUDIO: 70 mm 6-Track (70 mm prints), Dolby (as Dolby Stereo) Color](icons/rgb.png) |
Alien |
Ridley Scott, W, W, ++, P, M |
|
7.2 |
1979 |
C![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; Arriflex Cameras and Lenses; AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
Life of Brian |
Terry Jones, W, W, ++, P, M |
|
7.2 |
1975 |
D![Color; Aspect: 1.85:1; 35 mm (Eastman 100T 5254); AUDIO: Mono Color](icons/rgb.png) |
One Flew Over the Cuckoo's Nest |
Milos Forman, W, W, ++, P, M |
|
7.2 |
1968 |
HoSf![Black and White; Aspect: 1.33:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Night of the Living Dead |
George A. Romero, W, W, P |
|
7.2 |
1968 |
AdMSf![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); AUDIO: 4-Track Stereo (Westrex Recording System) Color](icons/rgb.png) |
Planet of the Apes |
Franklin J. Schaffner, W, W, ++, P, M |
|
7.2 |
1964 |
CMl![Black and White; Aspect: 1.75:1; 35 mm; AUDIO: Mono (RCA Sound Recording) Black and White](icons/bw.png) |
A Hard Day's Night |
Richard Lester, W, P |
|
7.2 |
1955 |
HoMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (A.R.T.E.C.) Black and White](icons/bw.png) |
Diabolique |
Henri-Georges Clouzot, W, W, ++, P, M «Les diaboliques» |
|
7.2 |
1954 |
AD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono, Stereo (re-release prints) Black and White](icons/bw.png) |
Seven Samurai |
Akira Kurosawa, W, W, ++, P, M «Shichinin no samurai» |
|
7.2 |
1950 |
CD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Harvey |
Henry Koster, W, ++, P, M |
|
7.2 |
1942 |
DRW![Black and White; Aspect: 1.37:1; 35 mm; Mitchell BNC; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Casablanca |
Michael Curtiz, W, W, ++, P, M |
|
7.2 |
1937 |
AnFFanMlR![Color (Technicolor); Aspect: 1.37:1; 35 mm; Bell & Howell 2709; AUDIO: Mono (RCA Victor High Fidelity Sound System) Color (Technicolor)](icons/rgb.png) |
Snow White and the Seven Dwarfs |
William Cottrell, David Hand, ++, W, W, ++, M, M |
|
7.1 |
2013 |
D![Color; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Dallas Buyers Club |
Jean-Marc Vallée, W, W, P |
|
7.1 |
2012 |
DT![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435 Xtreme, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Kahaani |
Sujoy Ghosh, W, ++, P, M, M |
|
7.1 |
2011 |
D![Color; Aspect: 1.85:1; 35 mm (Fuji Eterna 500T 8573, Eterna 400T 8583); Aaton 35 III, Zeiss Lenses Aaton Camera; AUDIO: Dolby SR Color](icons/rgb.png) |
A Separation |
Asghar Farhadi, W, P, M «Jodaeiye Nader az Simin» |
|
7.1 |
2010 |
AnAdCFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format) Disney Digital 3-D (3-D version) PixarVision; AUDIO: DTS, Dolby Digital EX, SDDS, Sonics-DDP (IMAX version), Dolby (Dolby 7.1 Surround Sound) Color](icons/d-rgb.png) |
Toy Story 3 |
Lee Unkrich, W, W, ++, M |
|
7.1 |
2004 |
BDHW![Color; Aspect: 2.35:1; 35 mm (Kodak); Super 35 (source format) Digital Intermediate (master format); AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Hotel Rwanda |
Terry George, W, W, P, M, M, M |
|
7.1 |
2004 |
DFHSp![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Miracle |
Gavin O'Connor, W, P, M |
|
7.1 |
2003 |
CrDMT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Memories of Murder |
Joon-ho Bong, W, W, ++, P, M «Salinui chueok» |
|
7.1 |
2001 |
DW![Color; Aspect: 2.35:1; 35 mm (Fuji Super F-250T 8552, Super F-500T 8572); Super 35; Aaton 35-III, Cooke S4 and Canon Lenses Arriflex 35 BL4S, Cooke S4 and Canon Lenses; AUDIO: Dolby SR Color](icons/rgb.png) |
No Man's Land |
Danis Tanovic, W, P, M |
|
7.1 |
2000 |
CrDT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Nine Queens |
Fabián Bielinsky, W, P, M «Nueve reinas» |
|
7.1 |
1998 |
CrD![Black and White, Color; Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: SDDS, Dolby Digital, DTS Black and White, Color](icons/rgb-bw.png) |
American History X |
Tony Kaye, W, P, M |
|
7.1 |
1996 |
CrDT |
The Bandit |
Yavuz Turgul, W, P, M, M «Eskiya» |
|
7.1 |
1996 |
CrD![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293); Aaton 35-III, Zeiss Standard Speed Lenses Arriflex 35 BL4, Zeiss Standard Speed Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Trainspotting |
Danny Boyle, W, W, P |
|
7.1 |
1994 |
AFan![Color; Aspect: 1.85:1; 35 mm; J-D-C Cameras; AUDIO: Dolby, DTS, Dolby SR Color](icons/rgb.png) |
The Crow |
Alex Proyas, W, W, ++, P, M |
|
7.1 |
1992 |
BDH![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 50D 5245, EXR 500T 5296, 250D 5297); Super 35; AUDIO: Dolby Digital (35 mm prints), 70 mm 6-Track (70 mm prints) Color](icons/rgb.png) |
Malcolm X |
Spike Lee, W, W, ++, P, M |
|
7.1 |
1989 |
BD![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
My Left Foot |
Jim Sheridan, W, W, ++, P, M «My Left Foot: The Story of Christy Brown» |
|
7.1 |
1987 |
CD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Cameras by Panavision; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
Planes, Trains & Automobiles |
John Hughes, W, P, M |
|
7.1 |
1984 |
BDMc![Color (Technicolor); Aspect: 2.20:1; 35 mm (Eastman 250T 5293); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby Digital (director's cut), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Amadeus |
Milos Forman, W, P |
|
7.1 |
1978 |
HoT![Color (Metrocolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono Color (Metrocolor)](icons/rgb.png) |
Halloween |
John Carpenter, W, W, P, M |
|
7.1 |
1974 |
CrDMT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 100T 5254); Panavision (anamorphic); Panavision Panaflex, Panavision C-Series Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Chinatown |
Roman Polanski, W, ++, P, P, M |
|
7.1 |
1973 |
T![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 100T 5254); AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
The Day of the Jackal |
Fred Zinnemann, W, W, P, M |
|
7.1 |
1971 |
DMl![Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (Westrex Recording System) (70 mm prints), Mono (35 mm prints), Stereo (35 mm mag-optical prints) Color (Technicolor)](icons/rgb.png) |
Fiddler on the Roof |
Norman Jewison, W, W, ++, P, M |
|
7.1 |
1966 |
CrDHW![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
The Battle of Algiers |
Gillo Pontecorvo, W, W, P, M, M «La battaglia di Algeri» |
|
7.1 |
1965 |
We![Color (Technicolor); Aspect: 2.35:1; 35 mm; Techniscope; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
For a Few Dollars More |
Sergio Leone, W, W, ++, P, M «Per qualche dollaro in più» |
|
7.1 |
1959 |
AAdCrMT![Color (Technicolor); Aspect: 1.66:1; 35 mm (horizontal); VistaVision; Mitchell VistaVision Cameras; AUDIO: Mono (Westrex Recording System), Dolby SR, Dolby Digital Color (Technicolor)](icons/rgb.png) |
North by Northwest |
Alfred Hitchcock, W, P, M |
|
7.1 |
1959 |
C![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Some Like It Hot |
Billy Wilder, W, W, ++, P, M |
|
7.1 |
1948 |
CrDT![Color (Technicolor); Aspect: 1.37:1; 35 mm; Technicolor Three-Strip Camera; AUDIO: Mono (RCA Sound System) Color (Technicolor)](icons/rgb.png) |
Rope |
Alfred Hitchcock, W, W, ++, P, P, M |
|
7.1 |
1940 |
AnAdDFFanMc![Color (Technicolor); Aspect: 1.33:1; 35 mm; AUDIO: Mono (RCA Victor High Fidelity Sound System) Color (Technicolor)](icons/rgb.png) |
Pinocchio |
Norman Ferguson, T. Hee, ++, W, W, ++, M, M |
|
7.1 |
1934 |
CR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Noiseless Recording) Black and White](icons/bw.png) |
It Happened One Night |
Frank Capra, W, W, P, M |
|
7.1 |
1925 |
AdCFRWe![Black and White; Silent](icons/bw.png) |
The Gold Rush |
Charles Chaplin, W, P, M, M, M |
|
7.0 |
2007 |
BD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 500T 5279, Fuji Eterna 250D 8563); Digital Intermediate (2K) (master format) (some scenes) Spherical (source format); Arriflex 435, Zeiss Super Speed, Arri Shift & Tilt and Lensbaby Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Diving Bell and the Butterfly |
Julian Schnabel, W, W, P, M «Le scaphandre et le papillon» |
|
7.0 |
2005 |
CCrD![Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: Dolby SR Color](icons/rgb.png) |
Adam's Apples |
Anders Thomas Jensen, W, P, M «Adams æbler» |
|
7.0 |
1998 |
CD![Color (Eastmancolor); Aspect: 2.35:1; 35 mm (Kodak); Technovision; Panavision Cameras and Lenses; AUDIO: Dolby Digital Color (Eastmancolor)](icons/rgb.png) |
The Dinner Game |
Francis Veber, W, P, M «Le dîner de cons» |
|
7.0 |
1997 |
DMRSf![Color; Aspect: 1.85:1; 35 mm (Kodak); AUDIO: Dolby Digital Color](icons/rgb.png) |
Open Your Eyes |
Alejandro Amenábar, W, W, P, M, M «Abre los ojos» |
|
7.0 |
1995 |
DR![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Dolby SR, SDDS (8 channels), Dolby Digital Color (Technicolor)](icons/rgb.png) |
Sense and Sensibility |
Ang Lee, W, W, P, M |
|
7.0 |
1993 |
CrDT![Black and White, Color; Aspect: 2.35:1; 35 mm (Eastman); Panavision (anamorphic); Panavision Panaflex Gold II, Panavision C-Series Lenses; AUDIO: DTS, Dolby Black and White, Color](icons/rgb-bw.png) |
Carlito's Way |
Brian De Palma, W, W, P, M |
|
7.0 |
1992 |
CCr![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby SR Color](icons/rgb.png) |
My Cousin Vinny |
Jonathan Lynn, W, P, M |
|
7.0 |
1992 |
CDFFanMcMl![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
The Muppet Christmas Carol |
Brian Henson, W, W, P, M |
|
7.0 |
1990 |
DHoM![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Dolby Stereo Color (Technicolor)](icons/rgb.png) |
Jacob's Ladder |
Adrian Lyne, W, P, M |
|
7.0 |
1990 |
CrDT![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby SR Color](icons/rgb.png) |
Miller's Crossing |
Joel Coen, ++, W, W, ++, P, M |
|
7.0 |
1988 |
D![Color; Aspect: 1.85:1; 35 mm (Eastman 400T 5295); Panaflex Camera and Lenses by Panavision Panavision Panaflex Cameras, Panavision Primo Lenses; AUDIO: Dolby SR, Dolby Stereo Color](icons/rgb.png) |
Rain Man |
Barry Levinson, W, W, ++, P, M |
|
7.0 |
1984 |
CMc![Color; Aspect: 1.70:1; 16 mm; Super 16; AUDIO: Dolby Color](icons/rgb.png) |
This Is Spinal Tap |
Rob Reiner, W, W, ++, P, M, M, M++ |
|
7.0 |
1982 |
AAdSfT![Color; Aspect: 2.20:1; 35 mm (Fuji A 250T 8518); Panavision (anamorphic); AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Star Trek II: The Wrath of Khan |
Nicholas Meyer, W, W, ++, P, M «Star Trek: The Wrath of Khan» |
|
7.0 |
1981 |
AAdT![Black and White (archive footage), Color; Aspect: 2.20:1; 35 mm; Panavision (anamorphic) (as Panavision ®); AUDIO: Dolby (35 mm prints) (as Dolby Stereo), 70 mm 6-Track (70 mm prints) Black and White (archive footage), Color](icons/rgb-bw.png) |
Mad Max 2: The Road Warrior |
George Miller, W, W, ++, P, M «Mad Max 2» |
|
7.0 |
1976 |
D![Color (Metrocolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Metrocolor)](icons/rgb.png) |
Network |
Sidney Lumet, W, P, M |
|
7.0 |
1975 |
CrD![Color (Technicolor); Aspect: 1.33:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Dog Day Afternoon |
Sidney Lumet, W, W, ++, P |
|
7.0 |
1975 |
AdCFan![Color (Technicolor); Aspect: 1.66:1; 35 mm; AUDIO: Dolby Digital (2001 re-release), Mono (original release) Color (Technicolor)](icons/rgb.png) |
Monty Python and the Holy Grail |
Terry Gilliam, Terry Jones, W, W, ++, P |
|
7.0 |
1967 |
CrD![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Cool Hand Luke |
Stuart Rosenberg, W, W, ++, P, M |
|
7.0 |
1967 |
CrDMT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Sound) Color](icons/rgb.png) |
In the Heat of the Night |
Norman Jewison, W, W, P, M |
|
7.0 |
1964 |
DHW![Color (Technicolor); Aspect: 2.20:1; 35 mm (horizontal); Super Technirama 70; AUDIO: 4-Track Stereo (35 mm magnetic prints), 70 mm 6-Track (70 mm prints), Mono (35 mm optical prints) Color (Technicolor)](icons/rgb.png) |
Zulu |
Cy Endfield, W, W, ++, P, M |
|
7.0 |
1962 |
AdBDHW![Color (Technicolor); Aspect: 2.20:1; 65 mm (Eastman); Super Panavision 70; Panavision Lenses; AUDIO: 70 mm 6-Track (RCA Sound Recording) (70 mm prints), Mono (35 mm prints) (original version), 4-Track Stereo (magnetic prints) (35 mm) (original version) Color (Technicolor)](icons/rgb.png) |
Lawrence of Arabia |
David Lean, W, W, ++, P, M |
|
7.0 |
1962 |
DRWe![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
The Man Who Shot Liberty Valance |
John Ford, W, W, ++, P, M |
|
7.0 |
1962 |
DMRSfTW![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System), Dolby SR, Dolby Digital Black and White](icons/bw.png) |
The Manchurian Candidate |
John Frankenheimer, W, W, ++, P, M |
|
7.0 |
1960 |
AdBDH![Color (Technicolor); Aspect: 2.20:1; 35 mm (horizontal); Super Technirama 70 (anamorphic); Panavision Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Mono (Westrex Recording System) (35 mm prints, original release) Color (Technicolor)](icons/rgb.png) |
Spartacus |
Stanley Kubrick, W, W, ++, P, M |
|
7.0 |
1959 |
CrD![Black and White; Aspect: 2.35:1; 35 mm; Dyaliscope; Chevereau Cameras; AUDIO: Mono Black and White](icons/bw.png) |
The 400 Blows |
François Truffaut, W, W, ++, P, M «Les quatre cents coups» |
|
7.0 |
1957 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Wild Strawberries |
Ingmar Bergman, W, P, M, M «Smultronstället» |
|
7.0 |
1956 |
AAdSf![Color (Eastmancolor) (as Eastman Color); Aspect: 2.55:1; 35 mm; CinemaScope; AUDIO: Mono (Perspecta Sound encoding) (Western Electric Sound System) Color (Eastmancolor) (as Eastman Color)](icons/rgb.png) |
Forbidden Planet |
Fred M. Wilcox, W, W, ++, P |
|
7.0 |
1953 |
DWe![Color (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Color (Technicolor)](icons/rgb.png) |
Shane |
George Stevens, W, W, ++, P, M |
|
7.0 |
1951 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
A Streetcar Named Desire |
Elia Kazan, W, W, ++, P, M |
|
7.0 |
1932 |
DHoT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Sound System) Black and White](icons/bw.png) |
Freaks |
Tod Browning, W, ++, P |
|
7.0 |
1926 |
AAdCRW![Black and White (Sepiatone); Silent](icons/bw.png) |
The General |
Clyde Bruckman, Buster Keaton, W, W, ++, P, P, M, M, M++ |
|
7.0 |
1920 |
Ho![Black and White (tinted); Silent](icons/bw.png) |
The Cabinet of Dr. Caligari |
Robert Wiene, W, W, P, M, M, M++ «Das Cabinet des Dr. Caligari» |
|
6.9 |
2007 |
AnBDW![Black and White, Color; Aspect: 1.85:1; Digital; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Persepolis |
Vincent Paronnaud, Marjane Satrapi, W, W, M |
|
6.9 |
2004 |
D![Color (Eastmancolor); Aspect: 2.35:1; 35 mm (Kodak); (anamorphic); Arriflex 435; AUDIO: DTS, Dolby Digital, Dolby SR, Mono Color (Eastmancolor)](icons/rgb.png) |
Swades |
Ashutosh Gowariker, W, W, ++, P, M «Swades: We, the People» |
|
6.9 |
2001 |
AnACrDSfT![Color; Aspect: 1.85:1; 35 mm (Kodak) Digital; Digital Spherical; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
Cowboy Bebop: The Movie |
Shinichirô Watanabe, ++, W, W, ++, P, M «Cowboy Bebop: Tengoku no tobira» |
|
6.9 |
2001 |
D![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 200T 5274, Vision 500T 5279); Hawk Scope (anamorphic); Arriflex 535B, Hawk Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Dil Chahta Hai |
Farhan Akhtar, W, W, P, M, M, M |
|
6.9 |
1995 |
D![Black and White; Aspect: 1.85:1; 35 mm (Kodak); AUDIO: Dolby SR Black and White](icons/bw.png) |
La Haine |
Mathieu Kassovitz, W, P, M «La haine» |
|
6.9 |
1993 |
AAdCrMT![Color; Aspect: 1.85:1; 35 mm (also horizontal); Spherical VistaVision (effects shots); Panavision Cameras and Lenses; AUDIO: Dolby (as Dolby Stereo) Color](icons/rgb.png) |
The Fugitive |
Andrew Davis, W, W, ++, P, M |
|
6.9 |
1993 |
AnFFanMl![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248); Disney Digital 3-D (re-release version) Spherical; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Nightmare Before Christmas |
Henry Selick, W, W, ++, P, M |
|
6.9 |
1991 |
CDFan![Color (Technicolor); Aspect: 1.85:1; 35 mm; Super 35; Panaflex Cameras; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
The Fisher King |
Terry Gilliam, W, P, M |
|
6.9 |
1991 |
CrDT![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Dolby SR Color (Eastmancolor)](icons/rgb.png) |
The Silence of the Lambs |
Jonathan Demme, W, W, P, M |
|
6.9 |
1990 |
DT![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Misery |
Rob Reiner, W, W, P, M |
|
6.9 |
1989 |
AAd![Color; Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 125T 5247, 400T 5295); Panavision (anamorphic) VistaVision (special effects); Panavision Panaflex Cameras, Panavision Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Indiana Jones and the Last Crusade |
Steven Spielberg, W, W, ++, P, M |
|
6.9 |
1986 |
HoSf![Color; Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5294); Arriflex Cameras; AUDIO: Dolby Color](icons/rgb.png) |
The Fly |
David Cronenberg, W, W, ++, P, M |
|
6.9 |
1982 |
CD![Color; Aspect: 1.85:1; 35 mm; Arriflex Cameras; AUDIO: Mono Color](icons/rgb.png) |
The King of Comedy |
Martin Scorsese, W, P |
|
6.9 |
1979 |
AT![Color; Aspect: 1.78:1; 35 mm; Lenses and Panaflex Cameras by Panavision; AUDIO: Mono Color](icons/rgb.png) |
The Warriors |
Walter Hill, W, W, ++, P, M |
|
6.9 |
1974 |
C![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Young Frankenstein |
Mel Brooks, W, W, ++, P, M |
|
6.9 |
1973 |
CD![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 100T 5254); AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Amarcord |
Federico Fellini, W, W, ++, P, M |
|
6.9 |
1973 |
ACrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 100T 5254); Panavision (anamorphic); Arriflex 35 IIC, Panavision C-Series and Angenieux Lenses; AUDIO: DTS (re-release), Dolby Digital (re-release), Mono (original release), SDDS (re-release) Color (Technicolor)](icons/rgb.png) |
Enter the Dragon |
Robert Clouse, W, P, M |
|
6.9 |
1971 |
ACrT![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Lenses; AUDIO: Mono Color](icons/rgb.png) |
Dirty Harry |
Don Siegel, W, W, ++, P, M |
|
6.9 |
1970 |
BDHW![Color; Aspect: 2.20:1; 65 mm; Dimension 150; AUDIO: 70 mm 6-Track (70 mm prints) (Westrex Recording System), Mono (35 mm prints), DTS 70 mm (70 mm re-release) Color](icons/rgb.png) |
Patton |
Franklin J. Schaffner, W, W, ++, P, M |
|
6.9 |
1964 |
AAdCrT![Color (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
Goldfinger |
Guy Hamilton, W, W, ++, P, M |
|
6.9 |
1963 |
CMRT![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 50T 5251); AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
Charade |
Stanley Donen, W, ++, P, M |
|
6.9 |
1956 |
HoSf![Black and White; Aspect: 1.85:1; 35 mm; Spherical SuperScope (as Superscope) (anamorphic); AUDIO: Mono (Perspecta Sound encoding) (Western Electric Recording) Black and White](icons/bw.png) |
Invasion of the Body Snatchers |
Don Siegel, W, W, ++, P, M |
|
6.9 |
1954 |
CrMT![Color (WarnerColor); Aspect: 1.85:1; 35 mm; StereoVision 3-D (re-release version) WarnerVision (dual-strip 3-D); Warner All-Media; AUDIO: Mono (RCA Sound System) Color (WarnerColor)](icons/rgb.png) |
Dial M for Murder |
Alfred Hitchcock, W, P, M |
|
6.9 |
1950 |
CrD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Rashomon |
Akira Kurosawa, W, W, ++, P, M «Rashômon» |
|
6.9 |
1949 |
NMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
The Third Man |
Carol Reed, W, ++, P, M |
|
6.9 |
1948 |
CrDNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Key Largo |
John Huston, W, W, ++, P, M |
|
6.9 |
1944 |
DNMR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Laura |
Otto Preminger, W, W, ++, P, P, M |
|
6.9 |
1938 |
CMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
The Lady Vanishes |
Alfred Hitchcock, W, W, ++, P, M, M |
|
6.9 |
1933 |
AdFanHo![Black and White; Aspect: 1.37:1; 35 mm; Mitchell Camera; AUDIO: Mono (RCA Photophone System) Black and White](icons/bw.png) |
King Kong |
[ Merian C. Cooper, Ernest B. Schoedsack ], W, W, ++, P, P, P++, M |
|
6.8 |
2014 |
CD![Color; Color](icons/q-rgb.png) |
Queen |
Vikas Bahl, W, W, ++, P, P, M |
|
6.8 |
2013 |
ABDSp![Color; Aspect: 2.35:1; Codex Redcode RAW Video (HD); ARRIRAW (2.8K) (source format) Canon H264 (1080p/24) (source format) (some shots) Digital Intermediate (2K) (master format) Redcode RAW (5K) (source format) (visual effects); Arri Alexa Plus, Cooke S2, Zeiss Master Prime and Bausch & Lomb Super Baltar Lenses Arri Alexa Studio, Cooke S2, Zeiss Master Prime and Bausch & Lomb Super Baltar Lenses Canon EOS 1D Mark IV Canon EOS C300, Cooke S2 and Bausch & Lomb Super Baltar Lenses GoPro HD Hero Indiecam GS2K, Indiecam Lenses Indiecam IndiePOV, Indiecam Lenses Phantom Flex Red Epic V.I.O. POV HD; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
Rush |
Ron Howard, W, P, M |
|
6.8 |
2013 |
D![Color; Aspect: 1.85:1; Arri Alexa Color](icons/d-rgb.png) |
The Past |
Asghar Farhadi, W, W, P, M, M «Le passé» |
|
6.8 |
2010 |
CHo![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (4K) (source format); Red One Camera; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Tucker and Dale vs Evil |
Eli Craig, W, W, P, M |
|
6.8 |
2009 |
AnCD![Black and White, Color; Aspect: 1.85:1; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Mary and Max |
Adam Elliot, W, P, M |
|
6.8 |
2007 |
ACrDT![Color; Aspect: 1.85:1; 35 mm (Kodak); Digital Intermediate (master format) Spherical (source format); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Elite Squad |
José Padilha, W, W, ++, P, M «Tropa de Elite» |
|
6.8 |
2004 |
CrD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Moviecam Compact, Cooke S4 Lenses Moviecam SL, Cooke S4 Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Maria Full of Grace |
Joshua Marston, W, P, M, M |
|
6.8 |
2003 |
DR![Color; Aspect: 2.35:1; 35 mm (Kodak); (anamorphic); AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Kal Ho Naa Ho |
Nikhil Advani, W, ++, P, M, M, M |
|
6.8 |
2001 |
AdDMlRSp![Color; Aspect: 2.35:1; 35 mm (Kodak); Arriscope (anamorphic); Arriflex 535, Arriscope Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Lagaan: Once Upon a Time in India |
Ashutosh Gowariker, W, ++, P, M |
|
6.8 |
2001 |
AnAdCFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: SDDS, Dolby Digital, DTS Color](icons/d-rgb.png) |
Monsters, Inc. |
Pete Docter, David Silverman, ++, W, W, ++, M |
|
6.8 |
2001 |
AnAdFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: DTS-ES, Dolby Digital EX, Dolby (English-language version), Dolby Digital (English-language version) Color](icons/d-rgb.png) |
Spirited Away |
Hayao Miyazaki, W, P, M «Sen to Chihiro no kamikakushi» |
|
6.8 |
1998 |
ASfT![Black and White, Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293) Video (selected scenes); Arriflex 535; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Run Lola Run |
Tom Tykwer, W, P, M, M, M «Lola rennt» |
|
6.8 |
1998 |
DMcR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279); Technovision (anamorphic); AUDIO: Dolby Digital Color](icons/rgb.png) |
The Legend of 1900 |
Giuseppe Tornatore, W, W, P, M «La leggenda del pianista sull'oceano» |
|
6.8 |
1997 |
BCrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm; Super 35; Panavision Cameras and Lenses; AUDIO: SDDS, Dolby Digital Color (Technicolor)](icons/rgb.png) |
Donnie Brasco |
Mike Newell, W, W, ++, P, M |
|
6.8 |
1996 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Sling Blade |
Billy Bob Thornton, W, P, M |
|
6.8 |
1994 |
BCrDFan![Color (Eastmancolor); Aspect: 2.35:1; 35 mm (Eastman); Super 35; Arriflex Cameras and Lenses; AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
Heavenly Creatures |
Peter Jackson, W, W, P, M |
|
6.8 |
1994 |
DH![Color; Aspect: 1.85:1; 35 mm; Arriflex Cameras; AUDIO: Dolby, Dolby Digital Color](icons/rgb.png) |
Quiz Show |
Robert Redford, W, W, P, M |
|
6.8 |
1993 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby, Dolby SR Color (Technicolor)](icons/rgb.png) |
A Bronx Tale |
Robert De Niro, W, P, M |
|
6.8 |
1992 |
AnAdCFFanMlR![Color (Technicolor); Aspect: 1.66:1; 35 mm; AUDIO: Dolby SR (as Dolby Stereo) Color (Technicolor)](icons/rgb.png) |
Aladdin |
Ron Clements, John Musker, W, W, ++, M |
|
6.8 |
1992 |
D![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Of Mice and Men |
Gary Sinise, W, W, P, M |
|
6.8 |
1992 |
AnAdFanR![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248); AUDIO: Dolby, Dolby Digital Color](icons/rgb.png) |
Porco Rosso |
Hayao Miyazaki, W, P, P, M «Kurenai no buta» |
|
6.8 |
1991 |
CFanSf![Color; Aspect: 1.66:1; 35 mm (Kodak); Technovision Cameras; AUDIO: Dolby Color](icons/rgb.png) |
Delicatessen |
Marc Caro, Jean-Pierre Jeunet, W, W, ++, P, M |
|
6.8 |
1991 |
CD![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 500T 5296); Arriflex 35 BL3, Zeiss Super Speed Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Night on Earth |
Jim Jarmusch, W, P, M |
|
6.8 |
1990 |
AAdT![Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Hunt for Red October |
John McTiernan, W, W, ++, P, M |
|
6.8 |
1989 |
C![Color; Aspect: 1.37:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Christmas Vacation |
Jeremiah S. Chechik, W, P, M |
|
6.8 |
1989 |
CD![Color; Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono Color](icons/rgb.png) |
Crimes and Misdemeanors |
Woody Allen, W, P |
|
6.8 |
1986 |
DSp![Color (CFI); Aspect: 1.85:1; 35 mm; Arriflex Cameras and Lenses; AUDIO: Dolby SR Color (CFI)](icons/rgb.png) |
Hoosiers |
David Anspaugh, W, P, M |
|
6.8 |
1986 |
AdFFanMl![Color; Aspect: 2.20:1; 35 mm; J-D-C Scope (anamorphic); AUDIO: Dolby Color](icons/rgb.png) |
Labyrinth |
Jim Henson, W, W, ++, P, M |
|
6.8 |
1985 |
CDT![Color; Aspect: 1.85:1; 35 mm; Arriflex Cameras and Lenses; AUDIO: Mono Color](icons/rgb.png) |
After Hours |
Martin Scorsese, W, P, M |
|
6.8 |
1985 |
CFanR![Black and White, Color; Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Mono Black and White, Color](icons/rgb-bw.png) |
The Purple Rose of Cairo |
Woody Allen, W, P, M |
|
6.8 |
1984 |
Ho![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
A Nightmare on Elm Street |
Wes Craven, W, P, M |
|
6.8 |
1984 |
AnAAdFanSf![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Nausicaä of the Valley of the Wind |
Hayao Miyazaki, W, M «Kaze no tani no Naushika» |
|
6.8 |
1982 |
DR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Sophie's Choice |
Alan J. Pakula, W, W, P, M |
|
6.8 |
1979 |
D![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Kramer vs. Kramer |
Robert Benton, W, W, P |
|
6.8 |
1969 |
D![Black and White, Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono, Dolby Digital (DVD Release) Black and White, Color](icons/rgb-bw.png) |
Midnight Cowboy |
John Schlesinger, W, W, P, M |
|
6.8 |
1967 |
BCrD![Color (Technicolor); Aspect: 1.78:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Bonnie and Clyde |
Arthur Penn, W, W, ++, P, M |
|
6.8 |
1965 |
BDFMlR![Color; Aspect: 2.35:1; 65 mm; Todd-AO (produced on); MCS-70 (Modern Cinema Systems) (aerial views); AUDIO: 70 mm 6-Track (70 mm prints), Mono (Westrex Recording System) (35 mm prints), Stereo (some 35 mm prints), DTS 70 mm (70mm re-release) Color](icons/rgb.png) |
The Sound of Music |
Robert Wise, W, W, ++, P, M |
|
6.8 |
1964 |
We![Color (Technicolor) (as Technicolor®); Aspect: 2.35:1; 35 mm (Eastman) Techniscope 2 perf 35mm (printed to Cinemascope); Techniscope; Arriflex II C; AUDIO: Mono (Western Electric Sound System) Color (Technicolor) (as Technicolor®)](icons/rgb.png) |
A Fistful of Dollars |
Sergio Leone, W, W, ++, P, P, M «Per un pugno di dollari» |
|
6.8 |
1963 |
AAdCrT![Color (as Colour by) (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono (Westrex Recording System) Color (as Colour by) (Technicolor)](icons/rgb.png) |
From Russia with Love |
Terence Young, W, W, ++, P, M |
|
6.8 |
1959 |
AAdDHR![Color (Technicolor); Aspect: 2.76:1; 65 mm; MGM Camera 65 (anamorphic); Panavision Lenses; AUDIO: 70 mm 6-Track (70 mm prints) (Westrex Recording System), Dolby (1993 re-release) Color (Technicolor)](icons/rgb.png) |
Ben-Hur |
William Wyler, W, W, ++, P, M |
|
6.8 |
1959 |
We![Color; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound Recording) Color](icons/rgb.png) |
Rio Bravo |
Howard Hawks, W, W, ++, P, M |
|
6.8 |
1958 |
D![Color (Metrocolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono (Perspecta Sound) (Westrex Recording System) Color (Metrocolor)](icons/rgb.png) |
Cat on a Hot Tin Roof |
Richard Brooks, W, W, ++, P, M |
|
6.8 |
1954 |
MT![Color (Eastmancolor) (negative), Color (Technicolor) (prints); Aspect: 1.66:1; 35 mm (Eastman 25T 5248); Mitchell BNC; AUDIO: Mono (Western Electric Recording) Color (Eastmancolor) (negative), Color (Technicolor) (prints)](icons/rgb.png) |
Rear Window |
Alfred Hitchcock, W, W, P, M |
|
6.8 |
1941 |
CrDNM![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Maltese Falcon |
John Huston, W, W, P, M |
|
6.8 |
1940 |
CDR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Mirrophonic Recording) Black and White](icons/bw.png) |
His Girl Friday |
Howard Hawks, W, W, ++, P, M, M |
|
6.8 |
1940 |
CDW![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Great Dictator |
Charles Chaplin, W, P, P, M, M |
|
6.8 |
1940 |
CR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Sound System) Black and White](icons/bw.png) |
The Philadelphia Story |
George Cukor, W, W, ++, P, M |
|
6.8 |
1922 |
Ho![Black and White; Silent](icons/bw.png) |
Nosferatu |
F.W. Murnau, W, ++, P, P, M, M, M++ «Nosferatu, eine Symphonie des Grauens» |
|
6.7 |
2014 |
CrDRT![Color; Aspect: 2.35:1; Redcode RAW; Red Epic (Cooke S5i lenses) Red Epic (Optimo Zoom 24-290mm) Red Epic (optimo zoom 15-40mm) Color](icons/d-rgb.png) |
Haider |
Vishal Bhardwaj, W, W, ++, P, M |
|
6.7 |
2012 |
D![Color; Aspect: 2.35:1; SxS Pro; Digital Intermediate (2K) (master format) ProRes 4:4:4 (1080p/24) (source format); Arri Alexa Plus, Zeiss Master Prime Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
The Hunt |
Thomas Vinterberg, W, W, P, M «Jagten» |
|
6.7 |
2010 |
ACrT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss and Angenieux Lenses Arricam ST, Zeiss and Angenieux Lenses Canon EOS 7D (some shots); AUDIO: Dolby Digital Color](icons/rgb.png) |
The Man from Nowhere |
Jeong-beom Lee, W, P, M «Ajeossi» |
|
6.7 |
2010 |
AnAdFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
The Secret World of Arrietty |
Hiromasa Yonebayashi, W, W, ++, P, M «Kari-gurashi no Arietti» |
|
6.7 |
2009 |
BCDSp![Color; Aspect: 1.85:1; 16 mm (Eastman Double-X 7222, Kodak Ektachrome 100D 7285) 35 mm (Fuji Eterna Vivid 160T 8543, Eterna 250D 8563, Eterna 500T 8573) Video; Digital Intermediate (2K) (master format) Super 16 (source format) Super 35 (3-perf) (source format) Video (source format); Aaton XTR Prod, Panavision Primo Lenses Arricam LT, Panavision Primo and Zeiss Ultra Prime Lenses Arricam ST, Panavision Primo and Zeiss Ultra Prime Lenses Ikegami 79; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Damned United |
Tom Hooper, W, W, P, M |
|
6.7 |
2008 |
ABDHSp![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 500T 8573); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss Ultra Prime and Angenieux Optimo Lenses Arriflex 35 BL4, Zeiss Ultra Prime and Angenieux Optimo Lenses Arriflex 435 Xtreme, Zeiss Ultra Prime and Angenieux Optimo Lenses Arriflex 535B, Zeiss Ultra Prime and Angenieux Optimo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Ip Man |
Wilson Yip, W, W, P, M «Yip Man» |
|
6.7 |
2006 |
AdDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 500T 5279); Digital Intermediate (2K) (master format) Hawk Scope (anamorphic) (source format); Arricam ST, Hawk C- and V-Series Lenses Arriflex 235, Hawk C- and V-Series Lenses Arriflex 435, Hawk C- and V-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Blood Diamond |
Edward Zwick, W, ++, P, M |
|
6.7 |
2006 |
ABDSp![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex Cameras; AUDIO: Dolby Digital Color](icons/rgb.png) |
Fearless |
Ronny Yu, W, W, P, M «Huo Yuan Jia» |
|
6.7 |
2005 |
D![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby SR Color](icons/rgb.png) |
C.R.A.Z.Y. |
Jean-Marc Vallée, W, W, P, M |
|
6.7 |
2005 |
BDRSp![Color (Technicolor); Aspect: 2.35:1; 16 mm (Kodak Ektachrome 160D 7239) 35 mm (Eastman Double-X 5222, Kodak Vision2 Expression 500T 5229, EXR 100T 5248, EXR 200T 5293); Digital Intermediate (2K) (master format) Spherical (16 mm segments) (source format) Super 35 (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses Arriflex 35-IIC, Cooke S4 Lenses Arriflex 435, Cooke S4 and Century Lenses Bell & Howell Eyemo, Nikkor Lenses Canon Scoopic; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Cinderella Man |
Ron Howard, W, W, ++, P, M |
|
6.7 |
2005 |
BDSp![Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: Dolby Digital EX Color](icons/rgb.png) |
The World's Fastest Indian |
Roger Donaldson, W, P, M |
|
6.7 |
2003 |
CDR![Black and White (archive footage), Color; Aspect: 1.85:1; 35 mm (Kodak) 8 mm (some scenes); Moviecam Cameras; AUDIO: Dolby Digital Black and White (archive footage), Color](icons/rgb-bw.png) |
Good Bye Lenin! |
Wolfgang Becker, W, W, ++, P, M |
|
6.7 |
2003 |
AAdSfT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 500T 5279, Ektachrome 100D 5285, SFX 200T); Super 35; Aaton 35-III, Panavision Primo and Frazier Lenses Panavision Panaflex Millennium XL, Panavision Primo and Frazier Lenses Panavision Panaflex Millennium, Panavision Primo and Frazier Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
X2 |
Bryan Singer, W, W, ++, P, M |
|
6.7 |
2002 |
BCCrD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 320T 5277); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Millennium, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Catch Me If You Can |
Steven Spielberg, W, W, ++, P, M |
|
6.7 |
2002 |
CrMT![Black and White, Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision Expression 500T 5284); Digital Intermediate (2K) (master format) Elite Scope (anamorphic) (source format); Arriflex 535B, Optica Elite, Canon and Angenieux Lenses; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Infernal Affairs |
Wai-keung Lau, Alan Mak, W, W, P, P, M «Mou gaan dou» |
|
6.7 |
2002 |
BDHW![Black and White (archive footage), Color; Aspect: 1.85:1; 35 mm; Arricam LT Arricam ST; AUDIO: DTS, Dolby Digital Black and White (archive footage), Color](icons/rgb-bw.png) |
The Pianist |
Roman Polanski, W, W, P, M |
|
6.7 |
1995 |
DH![Color (DeLuxe); Aspect: 1.78:1; 35 mm (also horizontal) (Eastman EXR 200T 5293, EXR 500T 5298); IMAX DMR (2002 re-release) Super 35 VistaVision (special effects); Panavision Panaflex Cameras, Panavision Primo Lenses; AUDIO: DTS-Stereo, DTS, IMAX 6-Track (IMAX version), Dolby SR Color (DeLuxe)](icons/rgb.png) |
Apollo 13 |
Ron Howard, W, W, ++, P, M |
|
6.7 |
1993 |
BDHW![Black and White, Color; Aspect: 1.85:1; 35 mm (Eastman Double-X 5222, Plus-X 5231, EXR 500T 5296); Arriflex 35 III Arriflex 535B Arriflex 535; AUDIO: DTS, DTS-Stereo Black and White, Color](icons/rgb-bw.png) |
Schindler's List |
Steven Spielberg, W, W, P, M |
|
6.7 |
1993 |
DMcMR![Color (Eastmancolor); Aspect: 1.85:1; 35 mm (Kodak); AUDIO: Dolby SR Color (Eastmancolor)](icons/rgb.png) |
Three Colors: Blue |
Krzysztof Kieslowski, W, W, ++, P, M «Trois couleurs: Bleu» |
|
6.7 |
1993 |
ADHRWe![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Dolby Stereo Color (Technicolor)](icons/rgb.png) |
Tombstone |
George P. Cosmatos, ++, W, P, M |
|
6.7 |
1992 |
ACrDT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Hard Boiled |
John Woo, W, W, ++, P, M «Lat sau san taam» |
|
6.7 |
1989 |
CD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaglide Camera by Panavision; AUDIO: Dolby, Dolby Digital (DVD version) Color (Technicolor)](icons/rgb.png) |
Driving Miss Daisy |
Bruce Beresford, W, P, M |
|
6.7 |
1989 |
ACrT![Color; Aspect: 1.85:1; 35 mm; Panavision Panaflex Cameras, Panavision Primo Lenses; AUDIO: Mono Color](icons/rgb.png) |
The Killer |
John Woo, W, P, P, M «Dip huet seung hung» |
|
6.7 |
1988 |
DR![Color (Eastmancolor); Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5295); Moviecam SuperAmerica; AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
Dangerous Liaisons |
Stephen Frears, W, W, ++, P, M |
|
6.7 |
1988 |
DMT![Color; Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Dolby SR Color](icons/rgb.png) |
Mississippi Burning |
Alan Parker, W, P, M |
|
6.7 |
1987 |
AT![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5294); Panaflex Camera and Lenses by Panavision; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Lethal Weapon |
Richard Donner, W, P, M, M |
|
6.7 |
1987 |
CD![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Withnail & I |
Bruce Robinson, W, P, M, M |
|
6.7 |
1986 |
CD![Color (Metrocolor); Aspect: 2.35:1; 35 mm; Super 35; Lenses and Panaflex Cameras by Panavision; AUDIO: Dolby Color (Metrocolor)](icons/rgb.png) |
Ferris Bueller's Day Off |
John Hughes, W, P, M, M, M |
|
6.7 |
1986 |
ADW![Color; Aspect: 1.85:1; 35 mm; J-D-C Cameras; AUDIO: Stereo (Dolby Stereo) Color](icons/rgb.png) |
Platoon |
Oliver Stone, W, P, M |
|
6.7 |
1985 |
CrDRT![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Cameras by Panavision; AUDIO: Dolby (as Dolby Stereo) Color (Technicolor)](icons/rgb.png) |
Witness |
Peter Weir, W, W, ++, P, M |
|
6.7 |
1984 |
CrT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Ultra Stereo (original version), Dolby Digital (director's cut) Color](icons/rgb.png) |
Blood Simple. |
Joel Coen, ++, W, W, P, M |
|
6.7 |
1982 |
AAdDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 100T 5247, 250T 5293); Panavision (anamorphic); AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
First Blood |
Ted Kotcheff, W, W, ++, P, M |
|
6.7 |
1981 |
Ho![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: DTS (re-release), Mono Color (Technicolor)](icons/rgb.png) |
An American Werewolf in London |
John Landis, W, P, M |
|
6.7 |
1976 |
DHMT![Color (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
All the President's Men |
Alan J. Pakula, W, W, ++, P, M |
|
6.7 |
1976 |
We![Color; Aspect: 2.35:1; 35 mm (Eastman 100T 5254); Panavision (anamorphic); AUDIO: Mono Color](icons/rgb.png) |
The Outlaw Josey Wales |
Clint Eastwood, W, W, ++, P, M |
|
6.7 |
1973 |
CCrD![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
The Sting |
George Roy Hill, W, P |
|
6.7 |
1967 |
CDR![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 4-Track Stereo (Westrex Recording System), Mono (35 mm optical prints) Color (Technicolor)](icons/rgb.png) |
The Graduate |
Mike Nichols, W, W, ++, P |
|
6.7 |
1964 |
CFFanMl![Color (Technicolor); Aspect: 1.66:1; 35 mm; AUDIO: Stereo (RCA Sound Recording) Color (Technicolor)](icons/rgb.png) |
Mary Poppins |
Robert Stevenson, W, W, ++, P, M |
|
6.7 |
1956 |
CrNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Killing |
Stanley Kubrick, W, W, ++, P, M |
|
6.7 |
1951 |
CrNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Strangers on a Train |
Alfred Hitchcock, W, W, ++, P, M |
|
6.7 |
1943 |
T![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Shadow of a Doubt |
Alfred Hitchcock, W, W, ++, P, M |
|
6.7 |
1935 |
HoSf![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Sound System) Black and White](icons/bw.png) |
The Bride of Frankenstein |
James Whale, W, W, ++, P, M «Bride of Frankenstein» |
|
6.7 |
1931 |
HoSf![Black and White; Aspect: 1.37:1; 35 mm; Mitchell Standard; AUDIO: Mono (Western Electric Sound System) Black and White](icons/bw.png) |
Frankenstein |
James Whale, W, W, ++, P, P, M |
|
6.7 |
1927 |
DSf![Black and White; Silent](icons/bw.png) |
Metropolis |
Fritz Lang, W, ++, P, P, P, M, M, M++ |
|
6.6 |
2013 |
D![Color; Aspect: 1.85:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Philomena |
Stephen Frears, W, W, ++, P, M |
|
6.6 |
2012 |
DHR![Color; Aspect: 2.35:1; 35 mm (Kodak); Arricam ST, Zeiss Master Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
A Royal Affair |
Nikolaj Arcel, W, W, ++, P, M, M «En kongelig affære» |
|
6.6 |
2012 |
DT![Color; Aspect: 1.85:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (5K) (source format); Red Epic; AUDIO: Dolby Color](icons/d-rgb.png) |
Disconnect |
Henry Alex Rubin, W, P, M |
|
6.6 |
2012 |
ACrDT![Color; 35 mm; Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435 Xtreme Arriflex 535; AUDIO: Dolby Digital, Datasat Color](icons/rgb.png) |
Gangs of Wasseypur |
Anurag Kashyap, W, W, ++, P, M |
|
6.6 |
2011 |
CD![Color; Aspect: 1.85:1; 35 mm; Panavision Panaflex Millennium XL2, Panavision Primo Lenses; AUDIO: Dolby Digital, SDDS, DTS (as Datasat Digital Sound) Color](icons/rgb.png) |
50/50 |
Jonathan Levine, W, P, M |
|
6.6 |
2010 |
BDH![Color; Aspect: 1.85:1; 35 mm (Fuji Super F-64D 8522, Eterna Vivid 160T 8543, Eterna Vivid 500T 8547); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime Lenses Arricam ST, Zeiss Master Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The King's Speech |
Tom Hooper, W, P, M |
|
6.6 |
2008 |
DMc![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218); Digital Intermediate (2K) (master format) Spherical (source format); Arricam Cameras, Zeiss and Angenieux Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Departures |
Yôjirô Takita, W, P, M «Okuribito» |
|
6.6 |
2007 |
DFSp![Color; Aspect: 2.35:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Chakde! India |
Shimit Amin, W, P, M, M |
|
6.6 |
2002 |
DF![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision Expression 500T 5284); Super 35; Arriflex 435 ES, Zeiss Ultra Prime and Angenieux HR Lenses Arriflex 535B, Zeiss Ultra Prime and Angenieux HR Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Whale Rider |
Niki Caro, W, W, P, M |
|
6.6 |
1999 |
AnCMl![Color; Aspect: 1.85:1; 35 mm; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
South Park: Bigger Longer & Uncut |
Trey Parker, W, W, ++, M |
|
6.6 |
1998 |
D![Color; Aspect: 1.33:1; Video (PAL); Sony PC-7E Camera; AUDIO: Dolby Color](icons/v-rgb.png) |
The Celebration |
[ Thomas Vinterberg ], W, W, ++, P, M «Festen» |
|
6.6 |
1997 |
DRSfT![Color (Technicolor); Aspect: 2.35:1; 35 mm; Super 35; Arriflex Cameras Moviecam Cameras; AUDIO: Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Gattaca |
Andrew Niccol, W, P, M |
|
6.6 |
1995 |
CDW![Color; Aspect: 1.78:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Underground |
Emir Kusturica, W, W, P, M |
|
6.6 |
1993 |
AdSf![Color (Eastmancolor); Aspect: 1.85:1; 35 mm (also horizontal) (Eastman EXR 50D 5245, EXR 100T 5248, EXR 500T 5296); Spherical VistaVision (visual effects); Panavision Panaflex Platinum, Panavision Primo and Slant Focus Lenses; AUDIO: Dolby, DTS Color (Eastmancolor)](icons/rgb.png) |
Jurassic Park |
Steven Spielberg, W, ++, P, M |
|
6.6 |
1993 |
CrT![Color; Aspect: 2.35:1; 35 mm (Eastman); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby SR, Dolby Color](icons/rgb.png) |
True Romance |
Tony Scott, W, ++, P, M |
|
6.6 |
1992 |
CFanHo![Color; Aspect: 1.66:1; 35 mm; Clairmont Camera; AUDIO: Dolby SR Color](icons/rgb.png) |
Army of Darkness |
Sam Raimi, W, W, P, M |
|
6.6 |
1991 |
DC![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 50D 5245, EXR 100T 5248, EXR 500T 5296); Super 35; Panavision Panaflex Gold, Panavision Primo Lenses; AUDIO: Dolby SR Color](icons/rgb.png) |
Fried Green Tomatoes |
Jon Avnet, W, ++, P, M |
|
6.6 |
1989 |
AnFFanMlR![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: 70 mm 6-Track (70 mm prints) (original release), DTS (re-release) (1997), Dolby Digital (re-release) (1997), Dolby (35 mm prints) (original release), SDDS (re-release) (1997) Color (Technicolor)](icons/rgb.png) |
The Little Mermaid |
Ron Clements, John Musker, W, W, ++, M |
|
6.6 |
1988 |
AnCCrFFan![Color; Aspect: 1.85:1; 35 mm (also horizontal) (Agfa XT 320, Eastman 125T 5247, 400T 5294, 250D 5297); Spherical VistaVision (effects shots); Panaflex Cameras and Lenses by Panavision VistaFlex Cameras; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Who Framed Roger Rabbit |
Robert Zemeckis, W, W, ++, P, M |
|
6.6 |
1983 |
C![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Cameras by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Trading Places |
John Landis, W, W, P, M |
|
6.6 |
1983 |
AdCR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Vacation |
Harold Ramis, W, P, M |
|
6.6 |
1982 |
BDH![Black and White, Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby (35 mm prints) (as Dolby Stereo), 70 mm 6-Track (70 mm prints) Black and White, Color (Technicolor)](icons/rgb-bw.png) |
Gandhi |
Richard Attenborough, W, P, P, M |
|
6.6 |
1982 |
CDR![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 250T 5293); Panavision (anamorphic); Panaflex Lenses and Cameras by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Tootsie |
Sydney Pollack, W, W, ++, P, M |
|
6.6 |
1981 |
AdDHW![Color (Eastmancolor); Aspect: 2.35:1; 35 mm (Eastman 125T 5247); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Gallipoli |
Peter Weir, W, W, ++, P |
|
6.6 |
1979 |
CrDHT![Color; Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono Color](icons/rgb.png) |
Escape from Alcatraz |
Don Siegel, W, W, P, M |
|
6.6 |
1978 |
HoSf![Color (Technicolor); Aspect: 1.85:1; 35 mm; Arriflex 2C Arriflex 35 BL I; AUDIO: 4-Track Stereo (German prints), Mono Color (Technicolor)](icons/rgb.png) |
Dawn of the Dead |
George A. Romero, W, P, M, M, M++ |
|
6.6 |
1978 |
DR![Color (Metrocolor); Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Dolby (35 mm prints), 70 mm 6-Track (70 mm prints) Color (Metrocolor)](icons/rgb.png) |
Days of Heaven |
Terrence Malick, W, P, M |
|
6.6 |
1973 |
CD![Color (Technicolor); Aspect: 2.35:1; 35 mm; Techniscope; AUDIO: 4-Track Stereo Color (Technicolor)](icons/rgb.png) |
American Graffiti |
George Lucas, W, W, ++, P, P |
|
6.6 |
1973 |
CrD![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Badlands |
Terrence Malick, W, P, P, P, M |
|
6.6 |
1971 |
FFanMl![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Mono (Westrex Recording System), 4-Track Stereo Color (Technicolor)](icons/rgb.png) |
Willy Wonka & the Chocolate Factory |
Mel Stuart, W, ++, P |
|
6.6 |
1969 |
We![Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); AUDIO: 70 mm 6-Track (70 mm prints), DTS (1995 re-release), Dolby Digital (1995 re-release), Mono (35 mm prints), SDDS (1995 re-release) Color (Technicolor)](icons/rgb.png) |
The Wild Bunch |
Sam Peckinpah, W, W, ++, P, M |
|
6.6 |
1967 |
AnAdFMl![Color (Technicolor); Aspect: 1.33:1; 35 mm; AUDIO: Mono (RCA Sound Recording) Color (Technicolor)](icons/rgb.png) |
The Jungle Book |
Wolfgang Reitherman, W, W, ++, M |
|
6.6 |
1963 |
AdDHTW![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); AUDIO: 4-Track Stereo (Westrex Recording System), Mono Color](icons/rgb.png) |
The Great Escape |
John Sturges, W, W, ++, P, M |
|
6.6 |
1961 |
AAdDW![Black and White (archive footage), Color (Eastmancolor); Aspect: 2.20:1; 35 mm (Eastman 50T 5250); CinemaScope (anamorphic); AUDIO: 4-Track Stereo (35 mm magnetic prints), 70 mm 6-Track (70 mm prints) (Japan theatrical release), Mono (35 mm optical prints), Dolby (Restored version) Black and White (archive footage), Color (Eastmancolor)](icons/rgb-bw.png) |
The Guns of Navarone |
J. Lee Thompson, ++, W, W, P, M |
|
6.6 |
1946 |
DRT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Notorious |
Alfred Hitchcock, W, ++, P, M |
|
6.6 |
1944 |
CCrRT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Arsenic and Old Lace |
Frank Capra, W, W, ++, P, M |
|
6.6 |
1940 |
DMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Noiseless Recording) Black and White](icons/bw.png) |
Rebecca |
Alfred Hitchcock, W, W, ++, P, M |
|
6.5 |
2014 |
CrT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 200T 5213) Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format) (some scenes); Arri Alexa XT, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses Panavision Panaflex Millennium XL2, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses; AUDIO: Dolby Digital, Datasat Color](icons/rgb.png) |
Nightcrawler |
Dan Gilroy, W, P, M |
|
6.5 |
2013 |
BDHSp![Color; Phantom Flex Red Epic Weisscam HS-2; AUDIO: Dolby Atmos Color](icons/d-rgb.png) |
Bhaag Milkha Bhaag |
Rakeysh Omprakash Mehra, W, W, P, M, M, M |
|
6.5 |
2010 |
AnCFFanMlR![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Disney Digital 3-D (source format); AUDIO: Dolby Digital, SDDS, DTS Color](icons/d-rgb.png) |
Tangled |
Nathan Greno, Byron Howard, W, W, ++, M |
|
6.5 |
2009 |
DSf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219, Vision 200T 5274); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Panavision Primo Lenses Arriflex 435, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Moon |
Duncan Jones, W, W, P, M |
|
6.5 |
2008 |
AnAdFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: Dolby Digital EX (as Dolby Digital Surround EX), DTS-ES (6.1 channels), Dolby Digital (English-language version) Color](icons/d-rgb.png) |
Ponyo |
Hayao Miyazaki, W, P, M «Gake no ue no Ponyo» |
|
6.5 |
2004 |
ADW![Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: Dolby Digital Color](icons/rgb.png) |
Tae Guk Gi: The Brotherhood of War |
Je-kyu Kang, W, W, ++, P, M «Taegukgi hwinalrimyeo» |
|
6.5 |
2003 |
AAdFan![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 320T 5277); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital EX, SDDS, DTS Color](icons/rgb.png) |
Pirates of the Caribbean: The Curse of the Black Pearl |
Gore Verbinski, W, W, ++, P, M |
|
6.5 |
2003 |
D![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Spring, Summer, Fall, Winter... and Spring |
Ki-duk Kim, W, P, M «Bom yeoreum gaeul gyeoul geurigo bom» |
|
6.5 |
2003 |
DMT![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 320T 5277); Arriflex Cameras; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Return |
Andrey Zvyagintsev, W, W, P, M «Vozvrashchenie» |
|
6.5 |
2003 |
CD![Color; Aspect: 1.85:1; 16 mm (Kodak Vision 200T 7274, Fuji Super F-64D 8622, Super F-250D 8662); Super 16; Arriflex 16 SR3, Zeiss Super Speed and Angenieux HR Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Station Agent |
Thomas McCarthy, W, P, M |
|
6.5 |
1999 |
CCr![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses Color](icons/rgb.png) |
Office Space |
Mike Judge, W, P, M |
|
6.5 |
1999 |
BD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 200T 5274, Vision 500T 5279); Panavision (anamorphic); Panavision Panaflex Gold II, Panavision C-Series Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Straight Story |
David Lynch, W, W, P, M |
|
6.5 |
1995 |
CrD![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293); Arriflex Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Dead Man Walking |
Tim Robbins, W, W, P, M |
|
6.5 |
1995 |
ACrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 500T 5298); Panavision (anamorphic); Cine SL 35, Panavision E-Series Lenses Panavision Panaflex Platinum, Panavision Primo, E-Series and Super High Speed Lenses; AUDIO: Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Heat |
Michael Mann, W, P, M |
|
6.5 |
1992 |
CrDMT![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
A Few Good Men |
Rob Reiner, W, P, M |
|
6.5 |
1992 |
D![Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: Dolby Color](icons/rgb.png) |
Glengarry Glen Ross |
James Foley, W, P, M |
|
6.5 |
1989 |
AFan![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 400T 5295); Panaflex Cameras and Lenses by Panavision; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints), DTS (DVD version), Dolby Digital (Dolby 5.1) Color (Technicolor)](icons/rgb.png) |
Batman |
Tim Burton, W, W, ++, P, M |
|
6.5 |
1987 |
C![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Raising Arizona |
Joel Coen, ++, W, W, P, M |
|
6.5 |
1985 |
AdCF![Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Goonies |
Richard Donner, W, W, P, M |
|
6.5 |
1983 |
AAdFanSf![Color; Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 250T 5293); J-D-C Scope (anamorphic) VistaVision (special effects); Arriflex 35 BL3, Cooke Xtal Express and Varotal Lenses Arriflex 35-IIC, Cooke Xtal Express and Varotal Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Star Wars: Episode VI - Return of the Jedi |
Richard Marquand, W, W, ++, P, P, M |
|
6.5 |
1982 |
DFanM![Color (Eastmancolor); Aspect: 1.66:1; 35 mm; Arriflex 35 BL; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Fanny and Alexander |
Ingmar Bergman, W, P, M «Fanny och Alexander» |
|
6.5 |
1982 |
DMl![Color (Metrocolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panaflex Camera and Lenses by Panavision; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Metrocolor)](icons/rgb.png) |
Pink Floyd The Wall |
Alan Parker, W, P, M |
|
6.5 |
1973 |
We![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
High Plains Drifter |
Clint Eastwood, W, ++, P, M |
|
6.5 |
1969 |
AdBCrWe![Color, Black and White (Sepiatone); Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); Panavision Cameras and Lenses; AUDIO: Mono (Westrex Recording System) Color, Black and White (Sepiatone)](icons/rgb-bw.png) |
Butch Cassidy and the Sundance Kid |
George Roy Hill, W, P, M |
|
6.5 |
1964 |
DMlR![Color (Technicolor); Aspect: 2.20:1; 65 mm (Eastman 50T 5251); Super Panavision 70; AUDIO: 4-Track Stereo (35 mm magnetic prints), DTS (re-release), Dolby Digital (re-release), Mono (16 mm prints), Mono (35 mm optical prints), 70 mm 6-Track (RCA Sound Recording) (70 mm prints) Color (Technicolor)](icons/rgb.png) |
My Fair Lady |
George Cukor, W, W, ++, P, M |
|
6.5 |
1962 |
CrDM![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
To Kill a Mockingbird |
Robert Mulligan, W, W, P, M |
|
6.5 |
1953 |
DRW![Black and White (archive footage), Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Western Electric Recording), 3 Channel Stereo Black and White (archive footage), Black and White](icons/bw.png) |
From Here to Eternity |
Fred Zinnemann, W, W, P, P, M |
|
6.5 |
1952 |
DWe![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
High Noon |
Fred Zinnemann, W, W, P, M |
|
6.5 |
1951 |
AdRW![Color (as Colour by) (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Color (as Colour by) (Technicolor)](icons/rgb.png) |
The African Queen |
John Huston, W, W, ++, P, M |
|
6.5 |
1940 |
D![Black and White; Aspect: 1.37:1; 35 mm; Mitchell Camera; AUDIO: Mono (Western Electric Mirrophonic Recording) Black and White](icons/bw.png) |
The Grapes of Wrath |
John Ford, W, W, P, M |
|
6.5 |
1935 |
CCrMRT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (British Acoustic Film Full Range Recording System: at Shepherd's Bush London) Black and White](icons/bw.png) |
The 39 Steps |
Alfred Hitchcock, W, W, ++, P, M, M |
|
6.4 |
2010 |
AnAdCDFFan![Color; Aspect: 2.35:1; Digital; Digital 3-D; AUDIO: Dolby Digital, DTS, SDDS Color](icons/d-rgb.png) |
How to Train Your Dragon |
Dean DeBlois, Chris Sanders, W, W, ++, M |
|
6.4 |
2010 |
D![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (4K) (source format); Red One Camera, Zeiss and Angenieux Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
In a Better World |
Susanne Bier, W, W, ++, P, M «Hævnen» |
|
6.4 |
2009 |
DMT![Color; Aspect: 2.35:1; Digital; Digital Intermediate (master format) Redcode RAW (source format); Red One Camera; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
The Secret in Their Eyes |
Juan José Campanella, W, W, ++, P, M, M «El secreto de sus ojos» |
|
6.4 |
2007 |
CrDW![Color; Aspect: 1.85:1; 16 mm (Kodak Vision2 200T 7217, Vision2 500T 7218, Fuji Super F-125T 8632) 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Spherical (source format) (visual effects) Super 16 (source format); Arriflex 16 SR3, Zeiss Super Speed and Canon Lenses Moviecam SL, Zeiss Super Speed and Cooke Varopanchro Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Counterfeiters |
Stefan Ruzowitzky, W, W, P, M «Die Fälscher» |
|
6.4 |
1998 |
CMcR![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 250D 5246, Vision 500T 5279); AUDIO: Dolby SR Color](icons/rgb.png) |
Black Cat, White Cat |
Emir Kusturica, W, W, P, M, M, M «Crna macka, beli macor» |
|
6.4 |
1998 |
CrDMT![Black and White; Aspect: 1.37:1; 16 mm Black and White](icons/bw.png) |
Following |
Christopher Nolan, W, P, M |
|
6.4 |
1998 |
CDSf![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279, EXR 200T 5293); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Truman Show |
Peter Weir, W, P, M |
|
6.4 |
1996 |
D![Color (Metrocolor); Aspect: 1.85:1; 35 mm (Fuji); Panavision Cameras and Lenses; AUDIO: Dolby SR Color (Metrocolor)](icons/rgb.png) |
Secrets & Lies |
Mike Leigh, W, P, M |
|
6.4 |
1992 |
BD![Black and White, Color; Aspect: 1.85:1; 35 mm (Eastman Plus-X 5231, 125T 5247, EXR 500T 5296); Panavision Cameras and Lenses; AUDIO: Dolby SR Black and White, Color](icons/rgb-bw.png) |
Chaplin |
Richard Attenborough, W, W, ++, P, M |
|
6.4 |
1989 |
AdCSf![Color; Aspect: 1.85:1; 35 mm (also horizontal); Spherical VistaVision (special effects); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color](icons/rgb.png) |
Back to the Future Part II |
Robert Zemeckis, W, W, ++, P, M |
|
6.4 |
1989 |
CDR![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
When Harry Met Sally... |
Rob Reiner, W, P |
|
6.4 |
1988 |
AnSf![Color; Aspect: 1.85:1; 35 mm; AUDIO: 70 mm 6-Track (70 mm prints), DTS (re-release), Dolby (35 mm prints), Dolby Digital (2001 re-issue) Color](icons/rgb.png) |
Akira |
Katsuhiro Ôtomo, W, W, ++, P, M |
|
6.4 |
1988 |
CFan![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5295); Panaflex Camera and Lenses by Panavision; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
Beetlejuice |
Tim Burton, W, W, ++, P, M «Beetle Juice» |
|
6.4 |
1987 |
DW![Color; Aspect: 1.37:1; 35 mm (Eastman 400T 5294); Arriflex 35 BL, Zeiss Super Speed Lenses Fries Mitchell 35R3, Nikon Lenses; AUDIO: Mono Color](icons/rgb.png) |
Full Metal Jacket |
Stanley Kubrick, W, W, ++, P, M |
|
6.4 |
1986 |
CD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Hannah and Her Sisters |
Woody Allen, W, P |
|
6.4 |
1984 |
DSp![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5294); Panaflex Camera and Lenses by Panavision; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
The Natural |
Barry Levinson, W, W, ++, P, M |
|
6.4 |
1979 |
DC![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Being There |
Hal Ashby, W, ++, P, M |
|
6.4 |
1977 |
AAdFanSf![Color (Technicolor); Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 100T 5247); Panavision (anamorphic) VistaVision (special effects); Panavision PSR, Panavision C-Series Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Star Wars |
George Lucas, W, P, M |
|
6.4 |
1976 |
CrD![Color (Metrocolor); Aspect: 1.85:1; 35 mm (Eastman 100T 5254); Arriflex 35 BL, Zeiss Super Speed Lenses; AUDIO: Dolby SR (re-release), Stereo Color (Metrocolor)](icons/rgb.png) |
Taxi Driver |
Martin Scorsese, W, P, M |
|
6.4 |
1975 |
DMRT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 100T 5254); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Three Days of the Condor |
Sydney Pollack, W, W, ++, P, M |
|
6.4 |
1974 |
CWe![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Blazing Saddles |
Mel Brooks, W, W, ++, P, M |
|
6.4 |
1973 |
AnAdCFR![Color (Technicolor); Aspect: 1.78:1; 35 mm; AUDIO: Mono (RCA Photophone Sound Recording) Color (Technicolor)](icons/rgb.png) |
Robin Hood |
Wolfgang Reitherman, W, W, ++, M |
|
6.4 |
1973 |
BCrD![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 100T 5254); AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Serpico |
Sidney Lumet, W, W, ++, P, M |
|
6.4 |
1972 |
DMl![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: 4-Track Stereo, Dolby Digital (DVD version) Color (Technicolor)](icons/rgb.png) |
Cabaret |
Bob Fosse, W, W, ++, P, M, M |
|
6.4 |
1972 |
AdDT![Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Mono (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Deliverance |
John Boorman, W, ++, P |
|
6.4 |
1970 |
AAdCW![Color (Metrocolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Stereo (35 mm prints), 70 mm 6-Track (70 mm prints) Color (Metrocolor)](icons/rgb.png) |
Kelly's Heroes |
Brian G. Hutton, W, P, M |
|
6.4 |
1967 |
C![Color (Pathécolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono Color (Pathécolor)](icons/rgb.png) |
The Producers |
Mel Brooks, W, P, M |
|
6.3 |
2013 |
BDSp![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (5K) (source format); Red Epic, Zeiss Ultra Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
42 |
Brian Helgeland, W, P, M |
|
6.3 |
2010 |
BDSp![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 250T 8553, Eterna 250D 8563, Eterna 500T 8573) Video; Betacam SP (source format) Digital Intermediate (2K) (master format) Techniscope (source format); Aaton Penelope, Zeiss Master Prime and Angenieux Optimo Lenses Sony BVP-900 Sony BVP-950; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Fighter |
David O. Russell, W, W, ++, P, M |
|
6.3 |
2009 |
ADT![Color; Aspect: 1.78:1; Red One Camera (RedLab Spain); AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Cell 211 |
Daniel Monzón, W, W, ++, P, M «Celda 211» |
|
6.3 |
2005 |
AnAdCFHo![Color; Aspect: 1.85:1; 35 mm (Fuji Super F-125T 8532, Super F-500T 8572); Digital Intermediate (2K) (master format) Spherical (source format); Mitchell BNC, Canon K35, Cooke Cinetal and Varotal Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Curse of the Were-Rabbit |
Steve Box, Nick Park, W, W, ++, P, P, M |
|
6.3 |
2004 |
CrDR![Color; Aspect: 1.85:1; 35 mm; Arriflex 535B, Zeiss Variable Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
3-Iron |
Ki-duk Kim, W, P, M «Bin-jip» |
|
6.3 |
2004 |
DMRW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 200T 5274); Digital Intermediate (2K) (master format) Super 35 (source format); Aaton 35-III, Cooke S4 Lenses Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
A Very Long Engagement |
Jean-Pierre Jeunet, W, W, ++, P, M «Un long dimanche de fiançailles» |
|
6.3 |
2004 |
BDF![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Cooke S4 and Angenieux HR Lenses Arricam ST, Cooke S4 and Angenieux HR Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
Finding Neverland |
Marc Forster, W, W, P, M |
|
6.3 |
2004 |
BDMc![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218); Digital Intermediate (2K) (master format) Spherical (source format); Arricam LT, Cooke S4, Cinetal and Varotal Lenses Arricam ST, Cooke S4, Cinetal and Varotal Lenses Arriflex 35-IIC, Cooke S4, Cinetal and Varotal Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Ray |
Taylor Hackford, W, W, ++, P, M |
|
6.3 |
2004 |
DMc![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Eastman EXR 50D 5245); Digital Intermediate (master format) Hawk Scope (anamorphic) (source format); Hawk Anamorphic Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Chorus |
Christophe Barratier, W, W, ++, P, P, P, M «Les choristes» |
|
6.3 |
2004 |
BD![Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: SDDS, Dolby Digital EX, DTS-ES Color](icons/rgb.png) |
The Sea Inside |
Alejandro Amenábar, W, W, P, M «Mar adentro» |
|
6.3 |
2003 |
CDF![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 200T 5274, Vision 500T 5279); Digital Intermediate (2K) (master format) (some scenes) Super 35 (source format); Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Secondhand Lions |
Tim McCanlies, W, P, M |
|
6.3 |
2000 |
CrT![Color; Aspect: 1.85:1; 35 mm; Moviecam Compact Arriflex Cameras and Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
Snatch. |
Guy Ritchie, W, P, M |
|
6.3 |
2000 |
AAdSf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279, Ektachrome 100D 5285, SFX 200T); Panavision (anamorphic); Panavision Panaflex Millennium, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital EX, SDDS Color](icons/rgb.png) |
X-Men |
Bryan Singer, W, W, ++, P, M |
|
6.3 |
1999 |
D![Color (Eastmancolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color (Eastmancolor)](icons/rgb.png) |
All About My Mother |
Pedro Almodóvar, W, P, M «Todo sobre mi madre» |
|
6.3 |
1999 |
BDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Super 35; Panavision Panaflex Lightweight, Panavision Primo Lenses Panavision Panaflex Gold, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Insider |
Michael Mann, W, W, ++, P, M, M |
|
6.3 |
1997 |
CrT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 500T 5279); Moviecam Compact, Zeiss Super Speed and Clairmont Swing & Shift Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
Jackie Brown |
Quentin Tarantino, W, W, P |
|
6.3 |
1989 |
CDR![Color; Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Dolby Color](icons/rgb.png) |
Say Anything... |
Cameron Crowe, W, P, M, M |
|
6.3 |
1987 |
CFanHo![Color (Technicolor); Aspect: 1.85:1; 35 mm; Arriflex S Mitchell Cameras; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Evil Dead II |
Sam Raimi, W, W, P, M |
|
6.3 |
1975 |
AdDRW![Color (Eastmancolor); Aspect: 1.66:1; 35 mm (Eastman 100T 5254); Arriflex 35 BL Mitchell BNC Cameras Zeiss High Speed Lenses; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Barry Lyndon |
Stanley Kubrick, W, W, P |
|
6.3 |
1973 |
BCrD![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); Panavision Lenses; AUDIO: 4-Track Stereo (magnetic prints), Mono (optical prints) Color](icons/rgb.png) |
Papillon |
Franklin J. Schaffner, W, W, ++, P, M |
|
6.3 |
1962 |
ADHW![Black and White; Aspect: 2.20:1; 35 mm; CinemaScope; AUDIO: 4-Track Stereo (Westrex Recording System), 70 mm 6-Track (70 mm prints) Black and White](icons/bw.png) |
The Longest Day |
Ken Annakin, Andrew Marton, ++, W, ++, P, P, M |
|
6.3 |
1959 |
CrDM![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Anatomy of a Murder |
Otto Preminger, W, W, P, M |
|
6.3 |
1957 |
AdDW![Color (Technicolor); Aspect: 2.35:1; 35 mm; CinemaScope; AUDIO: 70 mm 6-Track (70 mm prints) (RCA Sound Recording), Mono (35 mm prints) (RCA Sound Recording), 4-Track Stereo (Linear PCM) Color (Technicolor)](icons/rgb.png) |
The Bridge on the River Kwai |
David Lean, W, ++, P, M |
|
6.2 |
2014 |
ASf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format) Super 35 (source format) (some shots); Arriflex 235, Panavision C-, E- and G-Series Lenses Arriflex 435, Panavision Primo, C-, E- and G-Series Lenses Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-, G-Series, ATZ and AWZ2 Lenses Panavision Panaflex Platinum, Panavision Primo, C-, E-, G-Series, ATZ and AWZ2 Lenses; AUDIO: SDDS, Datasat, Dolby Digital, Dolby Atmos Color](icons/rgb.png) |
Edge of Tomorrow |
Doug Liman, W, W, ++, P, M |
|
6.2 |
2014 |
ACrT![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (master format) Redcode RAW (4K) (5K) (source format); GoPro HD Hero 3 (additional footage for car chase) RED Epic, Zeiss Ultra Prime Lenses (high-speed shots) RED Scarlet-X Color](icons/d-rgb.png) |
The Raid 2 |
Gareth Evans, W, P, P, M, M, M «The Raid 2: Berandal» |
|
6.2 |
2014 |
BDR![Color; Aspect: 2.35:1; 16 mm (Kodak) Codex SxS Pro; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format) Hawk Scope (anamorphic) (source format) ProRes 4:4:4 (2K) (source format) Super 16 (source format) (flashback scenes); Arri Alexa Plus 4:3, Hawk V-Plus, V-Series and Leica Summilux-C Lenses Arriflex 16 SR3; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Theory of Everything |
James Marsh, W, W, P, M |
|
6.2 |
2012 |
AnAdCF![Color; Aspect: 2.35:1; Digital; Digital 3-D (source format) Digital Intermediate (2K) (master format); AUDIO: Datasat, Dolby Digital, SDDS Color](icons/d-rgb.png) |
Wreck-It Ralph |
Rich Moore, W, W, ++, M |
|
6.2 |
2009 |
CrD![Color; Aspect: 1.85:1; 35 mm (Fuji Super F-64D 8522, Eterna 500T 8573); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Aaton 35 III, Cooke S4 and Angenieux Optimo Lenses Arriflex 435, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
A Prophet |
Jacques Audiard, W, W, ++, P, M «Un prophète» |
|
6.2 |
2008 |
DH![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4, Varotal, Angenieux Optimo and Nikkor Lenses Arricam ST, Cooke S4, Varotal, Angenieux Optimo and Nikkor Lenses Clairmont Cameras and Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Frost/Nixon |
Ron Howard, W, P, M |
|
6.2 |
2008 |
CCrDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses Arricam ST, Zeiss Master Prime and Angenieux Optimo Lenses Arriflex 235, Zeiss Master Prime Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
In Bruges |
Martin McDonagh, W, P, M |
|
6.2 |
2007 |
BD![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL, Panavision Primo, C-Series and AWZ2 Lenses Panavision Panaflex Platinum, Panavision Primo, C-Series and AWZ2 Lenses; AUDIO: DTS, SDDS, Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Great Debaters |
Denzel Washington, W, ++, P, M, M |
|
6.2 |
2006 |
AnMSfT![Color; Aspect: 1.85:1; 35 mm; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
Paprika |
Satoshi Kon, W, W, ++, P, M «Papurika» |
|
6.2 |
2004 |
CHo![Color; Aspect: 2.35:1; 35 mm (Kodak); Super 35; Arriflex Cameras and Lenses; AUDIO: Dolby Digital EX Color](icons/rgb.png) |
Shaun of the Dead |
Edgar Wright, W, W, P, M, M |
|
6.2 |
2004 |
AnAAdF![Color; Aspect: 2.35:1; Digital; 3-D (3-D version: 2014 re-release) Digital Intermediate (master format) Digital (source format) PixarVision; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/d-rgb.png) |
The Incredibles |
Brad Bird, W, P, P, P, M |
|
6.2 |
2003 |
AdDFan![Color; Aspect: 1.37:1; 35 mm (Kodak Vision2 500T 5218); Digital Intermediate (2K) (master format) Spherical (source format); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS (8 channels) Color](icons/rgb.png) |
Big Fish |
Tim Burton, W, W, P, M |
|
6.2 |
2003 |
D![Color; Aspect: 1.85:1; 35 mm; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Evil |
Mikael Håfström, W, W, ++, P, M «Ondskan» |
|
6.2 |
2001 |
CR![Black and White, Color (Duboicolor); Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 320T 5277); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435 ES, Zeiss Ultra Prime Lenses Arriflex 535, Zeiss Ultra Prime Lenses; AUDIO: DTS, Dolby Digital Black and White, Color (Duboicolor)](icons/rgb-bw.png) |
Amélie |
Jean-Pierre Jeunet, W, W, ++, P, M «Le fabuleux destin d'Amélie Poulain» |
|
6.2 |
1998 |
AnAdFMl![Color (Technicolor); Aspect: 1.66:1; 35 mm; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Mulan |
Tony Bancroft, Barry Cook, W, W, ++, M |
|
6.2 |
1996 |
CrDT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Bound |
Andy Wachowski, Lana Wachowski, W, W, P, M |
|
6.2 |
1996 |
CrDMT![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Primal Fear |
Gregory Hoblit, W, W, ++, P, M |
|
6.2 |
1996 |
AAdSfT![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, EXR 500T 5298); Panavision (anamorphic); Panavision Panaflex Platinum, Panavision C-Series Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Star Trek: First Contact |
Jonathan Frakes, W, W, ++, P, M |
|
6.2 |
1994 |
C![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Bullets Over Broadway |
Woody Allen, W, W, P |
|
6.2 |
1993 |
CrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Lenses and Panaflex Camera by Panavision; AUDIO: Dolby SR Color (Technicolor)](icons/rgb.png) |
Falling Down |
Joel Schumacher, W, P, M |
|
6.2 |
1986 |
DMTCr![Color; Aspect: 1.85:1; 35 mm (Kodak); Arriflex Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
The Name of the Rose |
Jean-Jacques Annaud, W, W, ++, P, M «Der Name der Rose» |
|
6.2 |
1985 |
CD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
The Breakfast Club |
John Hughes, W, P, M |
|
6.2 |
1983 |
CFan![Black and White, Color; Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Mono Black and White, Color](icons/rgb-bw.png) |
Zelig |
Woody Allen, W, P, M |
|
6.2 |
1972 |
AdDH![Color (Eastmancolor); Aspect: 1.33:1; 35 mm; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Aguirre: The Wrath of God |
Werner Herzog, W, P, M «Aguirre, der Zorn Gottes» |
|
6.2 |
1967 |
D![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Guess Who's Coming to Dinner |
Stanley Kramer, W, P, M |
|
6.2 |
1957 |
DFan![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
The Seventh Seal |
Ingmar Bergman, W, P, M «Det sjunde inseglet» |
|
6.2 |
1946 |
CrNMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Big Sleep |
Howard Hawks, W, W, ++, P, M |
|
6.2 |
1939 |
AdWe![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Mirrophonic Recording) Black and White](icons/bw.png) |
Stagecoach |
John Ford, W, W, ++, P, M |
|
6.2 |
1925 |
DH![Black and White; Silent](icons/bw.png) |
Battleship Potemkin |
Sergei M. Eisenstein, W, ++, P, P, M, M, M++ «Bronenosets Potyomkin» |
|
6.1 |
2014 |
AnAAdCFFan![Color; Aspect: 2.35:1; Digital; Digital 3-D (source format) Digital Intermediate (2K) (master format); AUDIO: Auro 11.1, Dolby Atmos, Datasat, Dolby Digital, SDDS Color](icons/d-rgb.png) |
How to Train Your Dragon 2 |
Dean DeBlois, W, W, M |
|
6.1 |
2014 |
D![Color; Aspect: 1.85:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Still Alice |
Richard Glatzer, Wash Westmoreland, W, W, ++, P, M |
|
6.1 |
2014 |
C![Color; Color](icons/q-rgb.png) |
What We Do in the Shadows |
Jemaine Clement, Taika Waititi, W, W, P, P, M |
|
6.1 |
2012 |
AdDFan![Color; Aspect: 1.33:1; Codex; ARRIRAW (2.8K) (dual-strip 3-D) (source format) Digital Intermediate (2K) (master format); Arri Alexa, Zeiss Master Prime and Angenieux Optimo Lenses PACE Fusion 3-D; AUDIO: Dolby Digital, Datasat Color](icons/d-rgb.png) |
Life of Pi |
Ang Lee, W, W, P, M |
|
6.1 |
2008 |
BDH![Color, Black and White; Aspect: 1.85:1; 16 mm (Kodak Vision 500T 7279) 35 mm (Kodak Vision 500T 5279); Digital Intermediate (2K) (master format) Spherical (16 mm footage) (source format) Super 35 (3-perf) (source format); Arricam LT, Cooke S4 and Angenieux HR Lenses Arricam ST, Cooke S4 and Angenieux HR Lenses Canon Scoopic Clairmont Cameras and Lenses; AUDIO: DTS, Dolby Digital Color, Black and White](icons/rgb-bw.png) |
Milk |
Gus Van Sant, W, P, M |
|
6.1 |
2006 |
BDH![Color; Aspect: 2.35:1; 16 mm (Kodak) 35 mm (Kodak); Digital Intermediate (2K) (master format) Super 16 (source format) Super 35 (source format) (some scenes); Aaton A-Minima Arricam LT Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Last King of Scotland |
Kevin Macdonald, W, W, ++, P, M |
|
6.1 |
2004 |
ACCrFan![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435 Advanced, Cooke S4 Lenses Arriflex 535B, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Kung Fu Hustle |
Stephen Chow, W, W, ++, P, M, M, M++ «Kung fu» |
|
6.1 |
2000 |
DMc![Color (Technicolor); Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Almost Famous |
Cameron Crowe, W, P, M |
|
6.1 |
2000 |
DT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279, Vision 800T 5289); Moviecam SL, Zeiss Super Speed and Angenieux HR Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Amores Perros |
Alejandro González Iñárritu, W, P, M «Amores perros» |
|
6.1 |
2000 |
CDMc![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 200T 5274, Vision 500T 5279, Vision 800T 5289); Aaton 35-III, Zeiss Lenses Arriflex 35 BL4, Zeiss Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Billy Elliot |
Stephen Daldry, W, P, M |
|
6.1 |
1998 |
CrDT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
A Simple Plan |
Sam Raimi, W, P, M |
|
6.1 |
1998 |
DRMMc![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Red Violin |
François Girard, W, W, P, M «Le violon rouge» |
|
6.1 |
1995 |
ACrT![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Arriflex 35 III, Panavision Primo and C-Series Lenses Panavision Panaflex Platinum, Panavision Primo and C-Series Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Die Hard: With a Vengeance |
John McTiernan, W, W, P, M |
|
6.1 |
1994 |
HoR![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 500T 5296); Super 35; Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Interview with the Vampire: The Vampire Chronicles |
Neil Jordan, W, P, M |
|
6.1 |
1992 |
D![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 500T 5296, 250D 5297); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby SR Color](icons/rgb.png) |
Scent of a Woman |
Martin Brest, W, W, ++, P, M |
|
6.1 |
1990 |
ADT![Color (Eastmancolor); Aspect: 2.35:1; 35 mm; Technovision (anamorphic); AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
La Femme Nikita |
Luc Besson, W, P, M «Nikita» |
|
6.1 |
1985 |
D![Color; Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5294); Panaflex Camera and Lenses by Panavision; AUDIO: Dolby Color](icons/rgb.png) |
The Color Purple |
Steven Spielberg, W, W, P, M |
|
6.1 |
1972 |
MT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Color](icons/rgb.png) |
Sleuth |
Joseph L. Mankiewicz, W, P, M |
|
6.1 |
1972 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 100T 5254); Mitchell BNCR, Bausch & Lomb Super Baltar Lenses; AUDIO: DTS (re-release), Mono Color (Technicolor)](icons/rgb.png) |
The Godfather |
Francis Ford Coppola, W, W, ++, P, M |
|
6.1 |
1971 |
CD![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Harold and Maude |
Hal Ashby, W, P |
|
6.1 |
1968 |
AMT![Color (Technicolor); Aspect: 1.85:1; 35 mm; Arriflex Cameras and Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Bullitt |
Peter Yates, W, W, ++, P, M |
|
6.1 |
1964 |
CSfW![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb |
Stanley Kubrick, W, W, ++, P, M |
|
6.1 |
1958 |
MRT![Color (Technicolor); Aspect: 1.50:1; 35 mm (horizontal); Super VistaVision (1996 restoration) VistaVision: Motion Picture High-Fidelity; Mitchell VistaVision Cameras; AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
Vertigo |
Alfred Hitchcock, W, W, ++, P, M |
|
6.1 |
1954 |
CDR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Sabrina |
Billy Wilder, W, W, ++, P |
|
6.1 |
1945 |
NMRT![Color (Two frames tinted), Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Color (Two frames tinted), Black and White](icons/rgb-bw.png) |
Spellbound |
Alfred Hitchcock, W, W, ++, P, M |
|
6.0 |
2014 |
AAdSf![Color; Aspect: 2.35:1; Codex ARRIRAW (2.8K) Redcode RAW (5K); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Arri Alexa Plus 4:3, Panavision C-, E-, G-Series, ATZ and AWZ2 Lenses Red Epic, Panavision C-, E- and G-Series Lenses; AUDIO: Datasat, Dolby Digital, Dolby Atmos Color](icons/d-rgb.png) |
Captain America: The Winter Soldier |
Anthony Russo, Joe Russo, W, W, ++, P, M |
|
6.0 |
2013 |
AAdBCrDT![Color; Aspect: 2.35:1; 16 mm (Fuji Eterna 250D 8663, Eterna 500T 8673) 35 mm (Fuji Eterna 250D 8563, Eterna 500T 8573) Codex; ARRIRAW (2.8K) (source format) (some scenes) Digital Intermediate (4K) (master format) Super 16 (source format) (some scenes) Super 35 (3-perf) (source format); Aaton Penelope Aaton XTR Prod Arri Alexa Arricam LT Arriflex 235 Arriflex 435 Canon EOS C300; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
Captain Phillips |
Paul Greengrass, W, W, ++, P, M |
|
6.0 |
2013 |
AnBDHR![Color; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: Dolby Digital (Mono) Color](icons/d-rgb.png) |
The Wind Rises |
Hayao Miyazaki, W, M «Kaze tachinu» |
|
6.0 |
2011 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) 35 mm; Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Millennium XL2, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, SDDS, Datasat Color](icons/rgb.png) |
The Help |
Tate Taylor, W, W, P, M |
|
6.0 |
2009 |
DF![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format); Panavision Genesis HD Camera, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/d-rgb.png) |
Hachi: A Dog's Tale |
Lasse Hallström, W, W, P, M |
|
6.0 |
2008 |
D![Color; Aspect: 2.35:1; Video (HDTV); HDV; Panasonic Cameras; AUDIO: Dolby Digital, DTS, SDDS (US prints) Color](icons/h-rgb.png) |
The Class |
Laurent Cantet, W, W, ++, P «Entre les murs» |
|
6.0 |
2008 |
ACrDT![Color (Technicolor); Aspect: 1.44:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218) 65 mm (horizontal) (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (master format) (some scenes: IMAX prints) IMAX (source format) (some scenes) Panavision (anamorphic) (source format); IMAX MKIII, Hasselblad Lenses IMAX MSM 9802, Hasselblad Lenses Panavision Panaflex Millennium XL, Panavision C-, E-Series and Super High Speed Lenses Panavision Panaflex Platinum, Panavision C-, E-Series and Super High Speed Lenses; AUDIO: Dolby Digital, SDDS, DTS Color (Technicolor)](icons/rgb.png) |
The Dark Knight |
Christopher Nolan, W, W, ++, P, M, M |
|
6.0 |
2006 |
DHW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279) Video (HDV); Digital Intermediate (2K) (master format) HDV (source format) Panavision (anamorphic) (source format); Arriflex 235, Panavision C- and E-Series Lenses Panavision Panaflex Millennium XL, Panavision C- and E-Series Lenses Panavision Panaflex Platinum, Panavision C- and E-Series Lenses Sony HVR-Z1U; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
Letters from Iwo Jima |
Clint Eastwood, W, ++, P, M, M |
|
6.0 |
2005 |
AdCD![Color; Aspect: 1.85:1; 16 mm (Kodak); Super 16; AUDIO: Dolby Digital Color](icons/rgb.png) |
Transamerica |
Duncan Tucker, W, P, M |
|
6.0 |
2001 |
DHo![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Moviecam Compact, Zeiss Super Speed and Variable Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Devil's Backbone |
Guillermo del Toro, W, W, ++, P, M «El espinazo del diablo» |
|
6.0 |
1999 |
BD![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Boys Don't Cry |
Kimberly Peirce, W, W, P, M |
|
6.0 |
1998 |
CrT![Color; Aspect: 1.85:1; 16 mm; Super 16; Photosonics Camera; AUDIO: Dolby Digital Color](icons/rgb.png) |
Lock, Stock and Two Smoking Barrels |
Guy Ritchie, W, P, M, M |
|
6.0 |
1996 |
CrDRT![Color (Technicolor); Aspect: 2.20:1; 65 mm (Eastman EXR 200T 5293, EXR 500T 5298); Arri 765 (some scenes) Panavision Super 70; Arriflex 765, Zeiss Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby Digital (35 mm prints), SDDS (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Hamlet |
Kenneth Branagh, W, W, P, M |
|
6.0 |
1996 |
CrDT![Black and White, Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, EXR 200T 5293, EXR 500T 5298); Super 35; Arriflex 535 Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
Sleepers |
Barry Levinson, W, W, P, M |
|
6.0 |
1995 |
BCrD![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293); Super 35; Panavision Panaflex Gold, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS-Stereo, DTS Color (Technicolor)](icons/rgb.png) |
Casino |
Martin Scorsese, W, ++, P |
|
6.0 |
1995 |
CrMT![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, EXR 200T 5287, EXR 200T 5293); Super 35; Aaton 35-III, Panavision Primo Lenses Panavision Panaflex Gold, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Se7en |
David Fincher, W, P, M |
|
6.0 |
1994 |
CMc![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293, EXR 500T 5296); J-D-C Scope (anamorphic); Arriflex Cameras, Cooke Xtal Express Lenses; AUDIO: Dolby Color](icons/rgb.png) |
The Adventures of Priscilla, Queen of the Desert |
Stephan Elliott, W, P, M |
|
6.0 |
1993 |
CrD![Color (FotoKem); Aspect: 1.85:1; 35 mm; Clairmont Camera; AUDIO: Dolby Color (FotoKem)](icons/rgb.png) |
Menace II Society |
Albert Hughes, Allen Hughes, W, W, ++, P, M |
|
6.0 |
1992 |
CHo![Color; Aspect: 1.66:1; 35 mm; AUDIO: Dolby Stereo Color](icons/rgb.png) |
Dead Alive |
Peter Jackson, W, ++, P, M «Braindead» |
|
6.0 |
1990 |
AdCSfWe![Color; Aspect: 1.37:1; 35 mm (horizontal) (special effects) 35 mm; VistaVision (special effects) Spherical; Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color](icons/rgb.png) |
Back to the Future Part III |
Robert Zemeckis, W, W, ++, P, M |
|
6.0 |
1990 |
CF![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 500T 5296); Arriflex Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Home Alone |
Chris Columbus, W, P, M |
|
6.0 |
1988 |
CCr![Color (Technicolor); Aspect: 1.37:1; 35 mm (Agfa XT); Panaflex Camera and Lenses by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
A Fish Called Wanda |
Charles Crichton, ++, W, W, ++, P, M |
|
6.0 |
1988 |
DSp![Color (Eastmancolor); Aspect: 2.20:1; 35 mm (Eastman); CinemaScope (anamorphic); Moviecam Cameras; AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color (Eastmancolor)](icons/rgb.png) |
The Big Blue |
Luc Besson, W, ++, P, M, M «Le grand bleu» |
|
6.0 |
1987 |
BDH![Color (Technicolor); Aspect: 2.00:1; 35 mm; Technovision (anamorphic); Arriflex 35 BL, Technovision Anamorphic Lenses; AUDIO: Dolby (35 mm prints), 70 mm 6-Track (70 mm prints) Color (Technicolor)](icons/rgb.png) |
The Last Emperor |
Bernardo Bertolucci, W, W, ++, P, M, M, M |
|
6.0 |
1986 |
AdDH![Color; Aspect: 2.20:1; 35 mm (Agfa XT 320, Eastman 125T 5247); J-D-C Scope (anamorphic); Arriflex 35 BL, Cooke Xtal Express Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
The Mission |
Roland Joffé, W, P, M |
|
6.0 |
1981 |
Ho![Color; Aspect: 1.85:1; 16 mm; Arriflex 16 BL Arriflex 16 S; AUDIO: Mono, DTS (re-mastered version) Color](icons/rgb.png) |
The Evil Dead |
Sam Raimi, W, P, M |
|
6.0 |
1977 |
DHW![Black and White (archive footage), Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Stereo (35 mm prints), 70 mm 6-Track (70 mm prints) Black and White (archive footage), Color (Technicolor)](icons/rgb-bw.png) |
A Bridge Too Far |
Richard Attenborough, W, W, P, M |
|
6.0 |
1976 |
T![Color (Metrocolor); Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Mono, Stereo Color (Metrocolor)](icons/rgb.png) |
Marathon Man |
John Schlesinger, W, P, M |
|
6.0 |
1968 |
DHoM![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 50T 5251); AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Rosemary's Baby |
Roman Polanski, W, W, P, M |
|
6.0 |
1956 |
We![Color (Technicolor); Aspect: 1.75:1; 35 mm (horizontal); VistaVision (as VistaVision - Motion Picture High-Fidelity); AUDIO: Mono (RCA Sound Recording) Color (Technicolor)](icons/rgb.png) |
The Searchers |
John Ford, W, W, P, M |
|
6.0 |
1955 |
CrMRT![Color (Technicolor); Aspect: 1.85:1; 35 mm (horizontal); VistaVision; AUDIO: Mono (Western Electric Recording) Color (Technicolor)](icons/rgb.png) |
To Catch a Thief |
Alfred Hitchcock, W, W, ++, P, M |
|
5.9 |
2013 |
CDMcR![Color; Redcode RAW; Digital Intermediate (master format) Redcode RAW (5K) (source format); Red Epic Color](icons/d-rgb.png) |
Can a Song Save Your Life? |
John Carney, W, P |
|
5.9 |
2013 |
BCDHMc![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL2, Panavision E-, G-Series, ATZ and AWZ2 Lenses Panavision Panaflex Platinum, Panavision E-, G-Series, ATZ and AWZ2 Lenses; AUDIO: Datasat, Dolby Digital Color](icons/rgb.png) |
Saving Mr. Banks |
John Lee Hancock, W, W, P, M |
|
5.9 |
2011 |
D![Color; Aspect: 1.85:1; 35 mm (Fuji); Digital Intermediate (master format) Super 35 (source format); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Detachment |
Tony Kaye, W, P, M |
|
5.9 |
2011 |
CrT![Color; 35 mm; Digital Intermediate (2K) (master format) Super 35 (source format); Arricam ST, Zeiss Master Prime Lenses; AUDIO: Dolby Digital (5.1 surround) Color](icons/rgb.png) |
Headhunters |
Morten Tyldum, W, W, ++, P, M, M «Hodejegerne» |
|
5.9 |
2008 |
AnAAdCF![Color; Aspect: 1.44:1; Digital; Digital Intermediate (master format) Digital (source format); AUDIO: Sonics-DDP (IMAX version), SDDS, Dolby Digital, DTS Color](icons/d-rgb.png) |
Kung Fu Panda |
Mark Osborne, John Stevenson, W, W, ++, P, M, M |
|
5.9 |
2008 |
DT![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (master format) Super 35 (source format); Arriflex Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Wave |
Dennis Gansel, W, W, ++, P, M «Die Welle» |
|
5.9 |
2007 |
CrDMcR![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 50D 5201, Vision2 250D 5205, Vision2 500T 5218); Arricam LT, Zeiss Ultra Prime and Angenieux HR Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Visitor |
Thomas McCarthy, W, P, M |
|
5.9 |
2005 |
BDMcR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218, Vision 200T 5274, Fuji Reala 500D 8592); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Lightweight, Panavision Primo, SP and Angenieux Lenses Panavision Panaflex Millennium XL, Panavision Primo, SP and Angenieux Lenses Panavision Panaflex Platinum, Panavision Primo, SP and Angenieux Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Walk the Line |
James Mangold, W, W, ++, P, M |
|
5.9 |
2003 |
AnAdCF![Color; Aspect: 1.85:1; Digital; Digital; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/d-rgb.png) |
Finding Nemo |
Andrew Stanton, Lee Unkrich, W, ++, P, P, P, M |
|
5.9 |
2002 |
CrD![Color; Aspect: 1.85:1; 35 mm; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Lilya 4-Ever |
Lukas Moodysson, W, P, M «Lilja 4-ever» |
|
5.9 |
2001 |
DT![Color; Aspect: 1.85:1; 35 mm (Fuji); AUDIO: Dolby Digital Color](icons/rgb.png) |
The Experiment |
Oliver Hirschbiegel, W, ++, P, M «Das Experiment» |
|
5.9 |
2000 |
DR![Color; Aspect: 1.66:1; 35 mm (Kodak Vision 500T 5279, Vision 800T 5289); Arriflex 35 BL4, Zeiss Lenses Arriflex 535, Zeiss Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
In the Mood for Love |
Kar Wai Wong, W, P, P, P, M, M «Fa yeung nin wa» |
|
5.9 |
1998 |
CCr![Color (Technicolor); Aspect: 1.85:1; 35 mm (Kodak); Arriflex 2C (bowling ball POV) Arriflex 535B; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Big Lebowski |
Joel Coen, ++, W, W, P, M |
|
5.9 |
1995 |
MSfT![Color (Rankcolor); Aspect: 1.85:1; 35 mm (Eastman EXR 500T 5298); Super 35; Moviecam Compact, Cooke S3 Lenses; AUDIO: DTS-Stereo, DTS, Dolby SR Color (Rankcolor)](icons/rgb.png) |
Twelve Monkeys |
Terry Gilliam, W, W, ++, P, M |
|
5.9 |
1994 |
DMR![Color; Aspect: 1.66:1; 35 mm (Agfa); AUDIO: 4-Track Stereo, Dolby SR Color](icons/rgb.png) |
Chungking Express |
Kar Wai Wong, W, P, P, M, M, M «Chung Hing sam lam» |
|
5.9 |
1994 |
C![Black and White; Aspect: 1.37:1; 16 mm; Arriflex 16 SR2; AUDIO: Dolby, Mono (original Sundance cut) Black and White](icons/bw.png) |
Clerks. |
Kevin Smith, W, P |
|
5.9 |
1993 |
D![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293, EXR 500T 5296); AUDIO: SDDS, Dolby Color (Technicolor)](icons/rgb.png) |
Philadelphia |
Jonathan Demme, W, P, M |
|
5.9 |
1991 |
D![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Color](icons/rgb.png) |
Barton Fink |
Joel Coen, ++, W, W, P, M |
|
5.9 |
1986 |
CrMT![Color; Aspect: 2.35:1; 35 mm (Eastman 125T 5247); J-D-C Scope (anamorphic); Arriflex 35 BL3, J-D-C Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Blue Velvet |
David Lynch, W, P, M |
|
5.9 |
1977 |
CDR![Color; Aspect: 1.37:1; 35 mm (Eastman 100T 5247); Panavision Camera and Lenses; AUDIO: Mono Color](icons/rgb.png) |
Annie Hall |
Woody Allen, W, W, P |
|
5.9 |
1976 |
HoM![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); AUDIO: Mono Color](icons/rgb.png) |
The Omen |
Richard Donner, W, P, M |
|
5.9 |
1965 |
DRW![Color (Metrocolor); Aspect: 2.20:1; 35 mm (Eastman 50T 5251); Panavision (anamorphic); Panavision Lenses; AUDIO: 4-Track Stereo (35 mm magnetic prints), 70 mm 6-Track (Westrex Recording System) (70 mm prints), DTS (re-release) (35 mm prints), Mono (35 mm optical prints), 6-Track Stereo (Linear PCM) Color (Metrocolor)](icons/rgb.png) |
Doctor Zhivago |
David Lean, W, W, P, M |
|
5.9 |
1962 |
DR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound Recording) Black and White](icons/bw.png) |
Lolita |
Stanley Kubrick, W, ++, P, M |
|
5.9 |
1960 |
CD![Black and White; Aspect: 2.35:1; 35 mm; Totalscope; AUDIO: Mono (Western Electric) Black and White](icons/bw.png) |
La Dolce Vita |
Federico Fellini, W, W, ++, P, M «La dolce vita» |
|
5.9 |
1956 |
T![Color (Technicolor); Aspect: 1.50:1; 35 mm (horizontal); VistaVision: Motion Picture High-Fidelity; AUDIO: Mono (Western Electric Recording) Color (Technicolor)](icons/rgb.png) |
The Man Who Knew Too Much |
Alfred Hitchcock, W, W, ++, P, M |
|
5.9 |
1955 |
DR![Color (WarnerColor); Aspect: 2.55:1; 35 mm; CinemaScope; AUDIO: Mono (optical prints), 4-Track Stereo (RCA Sound Recording) (magnetic prints), Dolby Digital (DVD version) Color (WarnerColor)](icons/rgb.png) |
Rebel Without a Cause |
Nicholas Ray, W, W, ++, P, M |
|
5.9 |
1953 |
CDW![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Stalag 17 |
Billy Wilder, W, W, ++, P, M |
|
5.9 |
1951 |
AnAdFFanMl![Color (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Color (Technicolor)](icons/rgb.png) |
Alice in Wonderland |
Clyde Geronimi, Wilfred Jackson, ++, W, W, ++, M |
|
5.8 |
2014 |
AnAAdCFSf![Color; Aspect: 2.39:1; Digital; Digital 3-D (source format) Digital Intermediate (2K) (master format); AUDIO: Datasat, Dolby Digital, Dolby Atmos Color](icons/d-rgb.png) |
Big Hero 6 |
Don Hall, Chris Williams, W, W, ++, M |
|
5.8 |
2014 |
BDH![Color; Aspect: 2.35:1; Codex ARRIRAW (2.8K); Digital Intermediate (2K) (master format) Hawk Scope (anamorphic) (source format); Arri Alexa XT Plus, Hawk C-Series, V-Lite, V-Series and Angenieux HR Lenses; AUDIO: Dolby Digital, SDDS, Datasat Color](icons/d-rgb.png) |
Selma |
Ava DuVernay, W, P |
|
5.8 |
2014 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 50D 5203, Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Millennium XL2, Panavision Primo and PVintage Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
The Judge |
David Dobkin, W, W, ++, P, M |
|
5.8 |
2014 |
AAdSfT![Color; Aspect: 2.35:1; 16 mm (Kodak Vision3 250D 7207) 8 mm (Kodak Vision3 250D 5207) Codex; ARRIRAW (2.8K) (also dual-strip 3-D) (source format) Digital Intermediate (2K) (master format) Spherical (16 mm footage) (source format) (some shots) Super 8 (source format) (some shots); Aaton XTR Prod Arri Alexa M, Panavision Nova, Leica Summilux and Fujinon Premier Lenses Arri Alexa XT, Leica Summilux and Fujinon Premier Lenses Bolex Camera Phantom v642 Broadcast; AUDIO: Dolby, Dolby Atmos, Datasat Color](icons/rgb.png) |
X-Men: Days of Future Past |
Bryan Singer, W, W, ++, P, M |
|
5.8 |
2013 |
D![Black and White; Aspect: 2.35:1; ARRIRAW (2.8K); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Arri Alexa M, Panavision C-Series Lenses Black and White](icons/bw.png) |
Nebraska |
Alexander Payne, W, P, M |
|
5.8 |
2012 |
DR![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (5K) (source format); Red Epic, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Rust and Bone |
Jacques Audiard, W, W, ++, P, M «De rouille et d'os» |
|
5.8 |
2008 |
CrD![Color; Aspect: 1.85:1; 16 mm (Fuji Eterna 250D 8663, Eterna 500T 8673); Digital Intermediate (master format) Super 16 (source format); Aaton A-Minima, Zeiss Ultra 16 Lenses Arriflex 16 SR3, Zeiss Ultra 16 and Ultra Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Felon |
Ric Roman Waugh, W, P, M |
|
5.8 |
2008 |
AAdSf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 235, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo, Angenieux Optimo and Cooke CXX Lenses Panavision Panaflex Millennium, Panavision Primo, Angenieux Optimo and Cooke CXX Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Iron Man |
Jon Favreau, W, W, ++, P, M |
|
5.8 |
2006 |
DT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218); Arriflex Cameras and Lenses; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
Notes on a Scandal |
Richard Eyre, W, W, P, M |
|
5.8 |
2006 |
CrD![Color; Aspect: 1.85:1; 16 mm (Kodak); Digital Intermediate (master format) Super 16 (source format); AUDIO: Dolby Digital Color](icons/rgb.png) |
This Is England |
Shane Meadows, W, P, M |
|
5.8 |
2006 |
CCrDM![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Panavision (anamorphic); Panavision Panaflex Millennium, Panavision Primo Lenses; AUDIO: Dolby, Dolby Digital Color](icons/rgb.png) |
Volver |
Pedro Almodóvar, W, P, M |
|
5.8 |
2005 |
ACCrM![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (master format) Super 35; Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Kiss Kiss Bang Bang |
Shane Black, W, W, ++, P, M |
|
5.8 |
2005 |
CD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218) Video; Betacam SP (source format) Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL, Panavision Primo, C- and E-Series Lenses Panavision Panaflex Millennium, Panavision Primo, C- and E-Series Lenses Sony Betacam SP Camera Sony T-1 MPEG-4; AUDIO: Dolby Digital Color](icons/rgb.png) |
Thank You for Smoking |
Jason Reitman, W, W, P, M |
|
5.8 |
2004 |
CrDT![Black and White (flashback scenes), Color; Aspect: 1.85:1; 16 mm; Super 16; AUDIO: Dolby Digital Black and White (flashback scenes), Color](icons/rgb-bw.png) |
Dead Man's Shoes |
Shane Meadows, W, W, ++, P, M |
|
5.8 |
2003 |
AAdFan![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 500T 5279, EXR 200T 5293, SO214); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 35 IIC, Zeiss Ultra Prime and Angenieux Lenses Arriflex 35 III, Zeiss Ultra Prime and Angenieux Lenses Arriflex 435 Advanced, Zeiss Ultra Prime and Angenieux Lenses Arriflex 535B, Zeiss Ultra Prime and Angenieux Lenses Mitchell Cameras, Zeiss Ultra Prime and Angenieux Lenses Moviecam SL, Zeiss Ultra Prime and Angenieux Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/rgb.png) |
The Lord of the Rings: The Return of the King |
Peter Jackson, W, W, ++, P, M |
|
5.8 |
2002 |
CDR![Black and White, Color; Aspect: 2.35:1; 35 mm (Kodak); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Talk to Her |
Pedro Almodóvar, W, P, M «Hable con ella» |
|
5.8 |
1995 |
AnAMSfT![Color, Color (Eastmancolor); Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293) Digital (remastered version); Digital Intermediate (2K) (master format) (remastered version) Digital (source format) (remastered version) Spherical (source format); AUDIO: Dolby Color, Color (Eastmancolor)](icons/rgb.png) |
Ghost in the Shell |
Mamoru Oshii, W, W, P, M «Kôkaku kidôtai» |
|
5.8 |
1995 |
AdFanSf![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293); Technovision Cameras; AUDIO: DTS, Dolby SR Color](icons/rgb.png) |
The City of Lost Children |
Marc Caro, Jean-Pierre Jeunet, W, W, ++, P, M «La cité des enfants perdus» |
|
5.8 |
1995 |
CrMT![Color (Technicolor); Aspect: 2.35:1; 35 mm; Super 35; Panavision Cameras and Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Usual Suspects |
Bryan Singer, W, P, M |
|
5.8 |
1992 |
CCrDMRT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Ultra Stereo Color](icons/rgb.png) |
The Player |
Robert Altman, W, P, M |
|
5.8 |
1992 |
We![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby (as Dolby Stereo) Color (Technicolor)](icons/rgb.png) |
Unforgiven |
Clint Eastwood, W, P, M |
|
5.8 |
1989 |
D![Color (Metrocolor); Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Metrocolor)](icons/rgb.png) |
Dead Poets Society |
Peter Weir, W, P, M |
|
5.8 |
1989 |
DFFanSp![Color; Aspect: 1.85:1; 35 mm (Eastman 125T 5247); Panaflex Camera and Lenses by Panavision; AUDIO: Dolby SR Color](icons/rgb.png) |
Field of Dreams |
Phil Alden Robinson, W, W, P, M |
|
5.8 |
1986 |
CCrD![Black and White; Aspect: 1.85:1; 35 mm; Arriflex Cameras; AUDIO: Mono Black and White](icons/bw.png) |
Down by Law |
Jim Jarmusch, W, P, M |
|
5.8 |
1979 |
CDR![Black and White; Aspect: 2.35:1; 35 mm (Eastman Double-X 5222); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Mono Black and White](icons/bw.png) |
Manhattan |
Woody Allen, W, W, P |
|
5.8 |
1968 |
AAdW![Color (Metrocolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic) (as Panavision®); Panavision Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Mono (35 mm prints) Color (Metrocolor)](icons/rgb.png) |
Where Eagles Dare |
Brian G. Hutton, W, ++, P, M |
|
5.8 |
1967 |
D![Color (Eastmancolor); Aspect: 1.66:1; 35 mm; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Belle de Jour |
Luis Buñuel, W, W, ++, P «Belle de jour» |
|
5.8 |
1967 |
CrDMT![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Le Samouraï |
Jean-Pierre Melville, W, W, ++, P, M «Le samouraï» |
|
5.8 |
1966 |
D![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Who's Afraid of Virginia Woolf? |
Mike Nichols, W, ++, P, M |
|
5.8 |
1940 |
AnFFanMc![Color (Technicolor); Aspect: 1.37:1; 35 mm; Spherical SuperScope (1956 re-release); AUDIO: 3 Channel Stereo (RCA Sound System) Color (Technicolor)](icons/rgb.png) |
Fantasia |
[ James Algar, Samuel Armstrong, D++ ], W, W, ++, P |
|
5.8 |
1939 |
DRW![Color (Technicolor); Aspect: 1.37:1; 35 mm; Bausch & Lomb Lenses Mitchell Cameras; AUDIO: Mono (Western Electric Sound System) Color (Technicolor)](icons/rgb.png) |
Gone with the Wind |
Victor Fleming, ++, W, W, ++, P, P, M |
|
5.7 |
2014 |
D |
Whiplash |
Damien Chazelle, W, P, M |
|
5.7 |
2013 |
CDSf![Color; Aspect: 2.35:1; SxS Pro; Digital Intermediate (2K) (master format) Hawk Scope (anamorphic) (source format); Arri Alexa M, Hawk V-Lite 1.3x Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/d-rgb.png) |
About Time |
Richard Curtis, W, P, M |
|
5.7 |
2011 |
DHW![Color; Aspect: 2.35:1; 35 mm HDCAM; Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format) Super 35 (source format); Arriflex 435 Xtreme, Zeiss Master Prime, Master Zoom and Angenieux Optimo Lenses Sony CineAlta F35, Zeiss Master Prime, Master Zoom and Angenieux Optimo Lenses; AUDIO: Dolby Digital, Datasat Color](icons/rgb.png) |
The Flowers of War |
Yimou Zhang, W, W, P, M «Jin líng shí san chai» |
|
5.7 |
2010 |
AAdD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam Cameras, Zeiss and Angenieux Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
13 Assassins |
Takashi Miike, W, W, P, M «Jûsan-nin no shikaku» |
|
5.7 |
2010 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 235, Panavision Primo Lenses Arriflex 435 ES, Panavision Primo and PCZ Lenses Panavision Panaflex Millennium XL2, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
The Town |
Ben Affleck, W, W, ++, P, M, M |
|
5.7 |
2007 |
BCrD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 Expression 500T 5229); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses Arriflex 235, Cooke S4 and Angenieux Optimo Lenses; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
American Gangster |
Ridley Scott, W, W, P, M |
|
5.7 |
2007 |
BDMc![Black and White; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (master format) Super 35 (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital Black and White](icons/bw.png) |
Control |
Anton Corbijn, W, W, P |
|
5.7 |
2007 |
BDMc![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 500T 8573); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arriflex 435, Panavision Primo Lenses Panavision Panaflex Millennium XL2, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
La Vie en Rose |
Olivier Dahan, W, W, P, M «La môme» |
|
5.7 |
2007 |
DRTW![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217, Fuji Eterna 500T 8573); Digital Intermediate (2K) (master format) Spherical (source format); Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses Arricam ST, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Lust, Caution |
Ang Lee, W, W, ++, P, M «Se, jie» |
|
5.7 |
2007 |
AnCFFan![Color; Aspect: 2.35:1; Digital; 3-D (3-D version: 2014 re-release) Digital; AUDIO: SDDS, Dolby Digital EX, DTS-ES Color](icons/d-rgb.png) |
Ratatouille |
Brad Bird, Jan Pinkava, W, W, ++, M |
|
5.7 |
2005 |
CrDT![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (2K) (master format) Super 35 (source format); AUDIO: Dolby Digital Color](icons/rgb.png) |
Lady Vengeance |
Chan-wook Park, W, W, P, M «Chinjeolhan geumjassi» |
|
5.7 |
2004 |
AnAAdFFanR![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: Dolby Digital EX, DTS-ES, SDDS Color](icons/d-rgb.png) |
Howl's Moving Castle |
Hayao Miyazaki, W, W, P, M «Hauru no ugoku shiro» |
|
5.7 |
2004 |
BD![Black and White, Color; Aspect: 1.85:1; 16 mm (Kodak Vision 250D 7246, Vision 500T 7279) 35 mm (Eastman Plus-X 5231, Kodak Vision 250D 5246, Vision 500T 5279); Spherical Super 16; Aaton 35-III, Panavision Primo, Angenieux and Nikon Lenses Aaton XTR Prod, Panavision Primo and Canon Lenses; AUDIO: DTS, Dolby Digital Black and White, Color](icons/rgb-bw.png) |
The Motorcycle Diaries |
Walter Salles, W, W, ++, P, M «Diarios de motocicleta» |
|
5.7 |
2000 |
CDRW![Black and White, Color; Aspect: 2.35:1; 35 mm (Kodak Vision 200T 5274, Vision 500T 5279); Panavision (anamorphic); Panavision Panaflex Cameras, Panavision Primo, Canon and Nikon Lenses; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Malèna |
Giuseppe Tornatore, W, W, P, M |
|
5.7 |
1999 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Eastman EXR 100T 5248, Vision 500T 5279); Super 35; Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Fight Club |
David Fincher, W, W, P, M, M, M |
|
5.7 |
1999 |
BCD![Color; Aspect: 2.35:1; 35 mm (Kodak); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Man on the Moon |
Milos Forman, W, W, P, M |
|
5.7 |
1998 |
MSf![Color; Aspect: 2.35:1; 35 mm (Kodak); Super 35; Panavision Cameras and Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
Dark City |
Alex Proyas, W, ++, P, M |
|
5.7 |
1996 |
BDMcR![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293, EXR 500T 5298); Arriflex 35 BL4S, Zeiss Standard Speed Lenses Arriflex 535, Zeiss Standard Speed, Cooke Varotal and Canon Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Shine |
Scott Hicks, W, W, P, M |
|
5.7 |
1994 |
CDMR![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; AUDIO: Dolby SR Color (Eastmancolor)](icons/rgb.png) |
Three Colors: White |
Krzysztof Kieslowski, W, W, ++, P, M «Trois couleurs: Blanc» |
|
5.7 |
1984 |
AdDFFan![Color (Eastmancolor); Aspect: 2.35:1; 35 mm (also horizontal) (Eastman 125T 5247, 250T 5293); Technovision (anamorphic) VistaVision (visual effects); Arriflex 35 BL3, Technovision Lenses Arriflex 35-III, Technovision Lenses VistaVision Cameras, Nikkor Lenses; AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
The NeverEnding Story |
Wolfgang Petersen, W, W, ++, P, M «Die unendliche Geschichte» |
|
5.7 |
1983 |
CF![Color (Metrocolor); Aspect: 1.37:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono Color (Metrocolor)](icons/rgb.png) |
A Christmas Story |
Bob Clark, W, ++, P, M, M |
|
5.7 |
1983 |
AdDHSf![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Right Stuff |
Philip Kaufman, W, W, P, M |
|
5.7 |
1979 |
DW![Color; Aspect: 2.00:1; 16 mm (newsreel scenes) 35 mm (Eastman 100T 5247); Technovision (anamorphic); Arriflex 16 ST (newsreel scenes) Arriflex 35 BL, Technovision/Cooke Lenses Mitchell BNCR, Technovision/Cooke Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby Digital (Redux version), Dolby (35 mm prints), DTS (Redux version) Color](icons/rgb.png) |
Apocalypse Now |
Francis Ford Coppola, W, W, ++, P, M, M |
|
5.7 |
1971 |
D![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
The Last Picture Show |
Peter Bogdanovich, W, W, ++, P, M, M, M++ |
|
5.7 |
1969 |
AdWeD![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
True Grit |
Henry Hathaway, W, W, P, M |
|
5.7 |
1968 |
C![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono (Westrex Recording System) Color](icons/rgb.png) |
The Party |
Blake Edwards, W, W, ++, P, M |
|
5.7 |
1966 |
DMT![Black and White; Aspect: 1.37:1; AUDIO: AGA Sound System Black and White](icons/bw.png) |
Persona |
Ingmar Bergman, W, P, M |
|
5.7 |
1963 |
HoT![Color (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono (Westrex Recording System) (uncredited) Color (Technicolor)](icons/rgb.png) |
The Birds |
Alfred Hitchcock, W, W, P |
|
5.7 |
1960 |
AAdDTWe![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono (Westrex Recording System) Color](icons/rgb.png) |
The Magnificent Seven |
John Sturges, W, ++, P, M |
|
5.6 |
2012 |
DR![Color; Aspect: 1.85:1; 35 mm; Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Millennium XL2, Panavision Primo Lenses; AUDIO: Dolby Digital, Datasat Color](icons/rgb.png) |
The Perks of Being a Wallflower |
Stephen Chbosky, W, P, M |
|
5.6 |
2011 |
BDSp![Color; Aspect: 1.85:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (4K) (master format) Spherical (source format); Arriflex 435 ES, Panavision Primo Lenses Panavision Panaflex Millennium XL2, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Moneyball |
Bennett Miller, W, W, ++, P, M |
|
5.6 |
2011 |
AdCDFR![Color; Aspect: 2.35:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Zindagi Na Milegi Dobara |
Zoya Akhtar, W, W, ++, P, M, M, M |
|
5.6 |
2008 |
DM![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (4K) (master format) Super 35 (3-perf) (source format); Arriflex 535B, Zeiss Master Prime Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Doubt |
John Patrick Shanley, W, P, M |
|
5.6 |
2006 |
DR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Cameras and Lenses; AUDIO: SDDS, Dolby Digital Color](icons/rgb.png) |
The Painted Veil |
John Curran, W, W, P, M |
|
5.6 |
2002 |
AnAdCF![Color; Aspect: 1.85:1; Digital; AUDIO: Dolby Digital, DTS Color](icons/d-rgb.png) |
Ice Age |
Chris Wedge, Carlos Saldanha, W, W, ++, M |
|
5.6 |
2002 |
AAdFan![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 500T 5279, EXR 200T 5293, SO214); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435, Zeiss Ultra Prime Lenses Arriflex 535, Zeiss Ultra Prime Lenses Mitchell Cameras, Zeiss and Angenieux Lenses Moviecam Compact, Zeiss and Angenieux Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/rgb.png) |
The Lord of the Rings: The Two Towers |
Peter Jackson, W, W, ++, P, M |
|
5.6 |
2001 |
D![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279); Panavision Panaflex Millennium XL, Panavision Primo and Lightweight Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
I Am Sam |
Jessie Nelson, W, W, P, M |
|
5.6 |
2001 |
CrT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Super 35; Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS (8 channels) Color](icons/rgb.png) |
Ocean's Eleven |
Steven Soderbergh, W, W, ++, P, M |
|
5.6 |
2000 |
C![Color; Aspect: 1.85:1; Super 16 (Kodak); Aaton Super 16 Camera; AUDIO: DTS, Dolby Digital, SDDS Color](icons/q-rgb.png) |
Best in Show |
Christopher Guest, W, W, P, M |
|
5.6 |
2000 |
MT![Black and White, Color; Aspect: 2.35:1; 35 mm (Eastman Double-X 5222, Kodak Vision 250D 5246, Vision 500T 5279, EXR 200T 5293); Panavision (anamorphic); Panavision Panaflex Gold II, Panavision E-Series Lenses; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Memento |
Christopher Nolan, W, W, P, M |
|
5.6 |
1999 |
CrDFanM![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 320T 5277); Panavision Panaflex Platinum, Panavision Primo and Frazier Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Green Mile |
Frank Darabont, W, W, P, M |
|
5.6 |
1999 |
DMT![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Sixth Sense |
M. Night Shyamalan, W, P, M |
|
5.6 |
1998 |
CCrDR![Color; Aspect: 1.85:1; 35 mm (Eastman Ektachrome 160T 5239); Arriflex 435 ES, Zeiss Super Speed Lenses Moviecam Compact, Zeiss Super Speed Lenses Moviecam SL, Zeiss Super Speed Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Buffalo '66 |
Vincent Gallo, W, ++, P, M |
|
5.6 |
1993 |
CrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
A Perfect World |
Clint Eastwood, W, P, M |
|
5.6 |
1992 |
CrT![Color (Eastmancolor); Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245); Super 35; PanArri 35-III, Panavision Primo Lenses Panavision Panaflex X, Panavision Primo Lenses Panavision Panaflex Gold, Panavision Primo and Canon Lenses; AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
Reservoir Dogs |
Quentin Tarantino, W, W, ++, P |
|
5.6 |
1990 |
AdDWe![Color; Aspect: 2.20:1; 35 mm (Eastman EXR 50D 5245, EXR 500T 5296); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color](icons/rgb.png) |
Dances with Wolves |
Kevin Costner, W, P, M |
|
5.6 |
1990 |
AAdSf![Color (Technicolor); Aspect: 1.85:1; 35 mm (also horizontal) (Eastman 125T 5247, 400T 5295); Spherical VistaVision (visual effects); Arriflex Cameras, Zeiss Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Total Recall |
Paul Verhoeven, W, W, ++, P, M |
|
5.6 |
1987 |
DHW![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 125T 5247, 400T 5294, 250D 5297); Arriflex 35 III, Ultra Speed MKII and Cooke Lenses Panavision Panaflex Gold, Panavision Primo, Ultra Speed MKII and Cooke Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Empire of the Sun |
Steven Spielberg, W, W, ++, P, M |
|
5.6 |
1987 |
CrDHT![Color (Technicolor); Aspect: 2.20:1; 35 mm (Eastman 125T 5247, 400T 5294); Panavision (anamorphic); Panavision Panaflex Gold, Panavision C-Series Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Untouchables |
Brian De Palma, W, W, ++, P, M |
|
5.6 |
1983 |
CrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 250T 5293); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 4-Track Stereo Color (Technicolor)](icons/rgb.png) |
Scarface |
Brian De Palma, W, ++, P, M |
|
5.6 |
1982 |
Ho![Color (Metrocolor); Aspect: 2.20:1; 35 mm (Eastman 100T 5247); J-D-C Scope (anamorphic); Ultracam 35, Cooke Xtal Express Lenses; AUDIO: Dolby (35 mm prints) (as Dolby Stereo), 70 mm 6-Track (70 mm prints) Color (Metrocolor)](icons/rgb.png) |
Poltergeist |
Tobe Hooper, W, W, ++, P, M |
|
5.6 |
1978 |
DW![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Deer Hunter |
Michael Cimino, W, W, ++, P, M |
|
5.6 |
1972 |
CrT![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
Frenzy |
Alfred Hitchcock, W, W, P, P, M |
|
5.5 |
2010 |
AnCCrFFan![Color; Aspect: 1.85:1; Digital; Digital 3-D (source format) Digital Intermediate (2K) (master format); AUDIO: DTS, Dolby Digital, SDDS Color](icons/d-rgb.png) |
Despicable Me |
Pierre Coffin, Chris Renaud, W, W, ++, M, M |
|
5.5 |
2006 |
CrDMT![Color; Aspect: 2.35:1; 35 mm (Kodak); Super 35; Panavision Cameras and Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Tell No One |
Guillaume Canet, W, W, ++, P, M «Ne le dis à personne» |
|
5.5 |
2004 |
DM![Color (Eastmancolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color (Eastmancolor)](icons/rgb.png) |
Bad Education |
Pedro Almodóvar, W, P, M «La mala educación» |
|
5.5 |
2004 |
DT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 35 BL4, Zeiss and Canon Lenses Arriflex 435, Zeiss and Canon Lenses Arriflex 535, Zeiss and Canon Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
The Machinist |
Brad Anderson, W, P, M |
|
5.5 |
2004 |
DR![Color; Aspect: 2.35:1; 35 mm; J-D-C Scope (anamorphic); AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Notebook |
Nick Cassavetes, W, W, ++, P, M |
|
5.5 |
2002 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 200T 5274, Vision 500T 5279); Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
In America |
Jim Sheridan, W, W, ++, P, M, M |
|
5.5 |
2001 |
AnAdCFFan![Color (Technicolor); Aspect: 1.85:1; Digital; Digital; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/d-rgb.png) |
Shrek |
Andrew Adamson, Vicky Jenson, W, W, ++, M, M |
|
5.5 |
1999 |
AAdSf![Color; Aspect: 2.35:1; 35 mm (also horizontal) (Kodak Vision 200T 5274, Vision 500T 5279, Vision 800T 5289); Super 35 VistaVision (effects shots); Panavision Panaflex Platinum, Panavision Primo Lenses Panavision Panastar, Panavision Primo Lenses Photosonics Camera; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Matrix |
Andy Wachowski, Lana Wachowski, W, W, P, M |
|
5.5 |
1997 |
DMT![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Devil's Advocate |
Taylor Hackford, W, W, ++, P, M |
|
5.5 |
1996 |
AAdT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293, EXR 500T 5298); Super 35; Wescam (aerial shots) Panavision Panaflex Gold II, Panavision Primo Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Rock |
Michael Bay, W, W, ++, P, M, M |
|
5.5 |
1995 |
DR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Moviecam Camera and Lenses; AUDIO: Dolby SR Color (Technicolor)](icons/rgb.png) |
Before Sunrise |
Richard Linklater, W, W, P, M |
|
5.5 |
1995 |
CDMlR![Color; Aspect: 2.35:1; 35 mm; (anamorphic); AUDIO: Dolby SR Color](icons/rgb.png) |
Dilwale Dulhania Le Jayenge |
Aditya Chopra, W, W, P, M, M |
|
5.5 |
1992 |
CCrDHo![Black and White; Aspect: 1.66:1; AUDIO: Mono Black and White](icons/bw.png) |
Man Bites Dog |
Rémy Belvaux, André Bonzel, ++, W, ++, P, M, M, M «C'est arrivé près de chez vous» |
|
5.5 |
1989 |
AdDSfT![Color (DuArt); Aspect: 2.20:1; 65 mm (special effects) 35 mm; Super 35; Clairmont Cameras Panavision Cameras and Lenses (special effects); AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color (DuArt)](icons/rgb.png) |
The Abyss |
James Cameron, W, P, M |
|
5.5 |
1974 |
DMT![Color (Technicolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono, Dolby Digital (restored version) Color (Technicolor)](icons/rgb.png) |
The Conversation |
Francis Ford Coppola, W, P, P, M |
|
5.5 |
1931 |
Ho![Black and White (tinted); Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Sound System) Black and White (tinted)](icons/bw.png) |
Dracula |
Tod Browning, ++, W, W, ++, P, M |
|
5.4 |
2013 |
BD![Color; Aspect: 1.85:1; 16 mm (Kodak Vision3 500T 7219); Digital Intermediate (2K) (master format) Super 16 (source format); Arriflex 416, Zeiss Ultra 16 Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Fruitvale Station |
Ryan Coogler, W, P, M |
|
5.4 |
2013 |
DR![Color; Aspect: 2.35:1; Codex; ARRIRAW (2.8K) (source format) Redcode RAW (5K) (source format) (some shots); Arri Alexa Studio, Zeiss Master Prime Lenses Red Epic, Zeiss Master Prime Lenses (some shots); AUDIO: Dolby Digital Color](icons/d-rgb.png) |
The Best Offer |
Giuseppe Tornatore, W, P, M «La migliore offerta» |
|
5.4 |
2012 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Arriflex 235, Panavision G-Series Lenses Panavision Panaflex Millennium XL2, Panavision G-Series and ATZ Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Mud |
Jeff Nichols, W, P, M |
|
5.4 |
2011 |
MSfT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219, Fuji Eterna 500T 8573) Redcode RAW Video (HDTV); Digital Intermediate (2K) (master format) HDTV (1080p/24) (source format) (some shots) Redcode RAW (4K) (source format) (some shots) Super 35 (source format); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses Arriflex 235, Cooke S4 Lenses Arriflex 435, Cooke S4 Lenses Canon EOS 1D Mark IV Canon EOS 5D Mark II Red One Camera; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Limitless |
Neil Burger, W, W, P, M |
|
5.4 |
2011 |
CDR![Black and White; Aspect: 1.37:1; 35 mm (Kodak Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); PanArri 435 ES, Panavision Super Speed MKII and Lightweight Lenses; AUDIO: Dolby Digital, Datasat, SDDS Black and White](icons/bw.png) |
The Artist |
Michel Hazanavicius, W, P, M |
|
5.4 |
2011 |
DSp![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219, Vision2 Expression 500T 5229, Vision2 500T 5260, Fuji Reala 500D 8592); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arriflex 235, Panavision Primo, Super Speed Z-Series MKII and Ultra Speed Z-Series MKII Lenses Panavision Panaflex Millennium XL2, Panavision Primo, Super Speed Z-Series MKII and Ultra Speed Z-Series MKII Lenses Panavision Panaflex Platinum, Panavision Primo, Super Speed Z-Series MKII and Ultra Speed Z-Series MKII Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Warrior |
Gavin O'Connor, W, W, ++, P, M |
|
5.4 |
2010 |
ABH![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435 Advanced, Zeiss Ultra Prime, Cooke Varotal and Angenieux Optimo Lenses Moviecam Compact, Zeiss Ultra Prime, Cooke Varotal and Angenieux Optimo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Ip Man 2: Legend of the Grandmaster |
Wilson Yip, W, W, ++, P, M «Yip Man 2» |
|
5.4 |
2008 |
DR![Color; Aspect: 2.35:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Keith |
Todd Kessler, W, W, ++, P, M |
|
5.4 |
2008 |
DRSp![Color; Aspect: 2.35:1; 16 mm (Kodak Vision2 200T 7217, Vision3 500T 7219); Digital Intermediate (2K) (master format) Super 16 (source format); Arriflex 416, Zeiss Ultra 16 and Angenieux Optimo Lenses; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
The Wrestler |
Darren Aronofsky, W, P, M |
|
5.4 |
2006 |
DMT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Panavision (anamorphic); Panavision Panaflex Millennium XL2, Panavision C- and E-Series Lenses Spacecam Aerial Cameras; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
The Prestige |
Christopher Nolan, W, W, ++, P, M |
|
5.4 |
2004 |
SfT![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 320T 5277, Vision 500T 5279, Vision Expression 500T 5284); Digital Intermediate (2K) (master format) Spherical (source format); AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Butterfly Effect |
Eric Bress, J. Mackye Gruber, W, W, P, M |
|
5.4 |
2002 |
CrD![Color; Aspect: 2.35:1; 35 mm; Super 35; Arriflex 535; AUDIO: Dolby Digital Color](icons/rgb.png) |
Sympathy for Mr. Vengeance |
Chan-wook Park, W, W, ++, P «Boksuneun naui geot» |
|
5.4 |
2001 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Panavision (anamorphic); Panavision Panaflex Gold II, Panavision Primo and C-Series Lenses Panavision Panaflex Millennium, Panavision Primo and C-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Life as a House |
Irwin Winkler, W, P, M |
|
5.4 |
1999 |
AdM![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 200T 5274); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Sleepy Hollow |
Tim Burton, W, W, ++, P, M |
|
5.4 |
1991 |
DHT![Black and White, Color; Aspect: 1.33:1; 16 mm (partly) 35 mm (partly) 8 mm (partly) Video (partly); Panavision (anamorphic) Spherical Super 8; AUDIO: Dolby SR Black and White, Color](icons/rgb-bw.png) |
JFK |
Oliver Stone, W, W, ++, P, M |
|
5.4 |
1965 |
HoT![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Repulsion |
Roman Polanski, W, W, ++, P, M |
|
5.4 |
1963 |
DFan![Black and White; Aspect: 1.85:1; 35 mm; Arriflex II C; AUDIO: Mono Black and White](icons/bw.png) |
8½ |
Federico Fellini, W, W, ++, P, M |
|
5.4 |
1961 |
CrDMlR![Color (Technicolor); Aspect: 2.20:1; 65 mm; Super Panavision 70; AUDIO: 4-Track Stereo (35 mm magnetic prints), 70 mm 6-Track (Westrex Recording System) (70 mm prints), Mono (35 mm optical prints) Color (Technicolor)](icons/rgb.png) |
West Side Story |
Jerome Robbins, Robert Wise, W, W, ++, P, M, M |
|
5.4 |
1956 |
AdDH![Color (Technicolor); Aspect: 1.85:1; 35 mm (horizontal); Super VistaVision (1989 re-release) VistaVision; Mitchell VistaVision Cameras; AUDIO: Dolby Digital (1998 re-release), Dolby (1989 re-release), Mono (35 mm prints), 70 mm 6-Track (Western Electric Recording) Color (Technicolor)](icons/rgb.png) |
The Ten Commandments |
Cecil B. DeMille, W, W, ++, P, M |
|
5.3 |
2013 |
AnCCrF![Color; Aspect: 1.85:1; Digital; Digital 3-D (source format) Digital Intermediate (2K) (master format); AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
Despicable Me 2 |
Pierre Coffin, Chris Renaud, W, W, M, M |
|
5.3 |
2009 |
CDR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
3 Idiots |
Rajkumar Hirani, W, W, ++, P, M, M, M |
|
5.3 |
2006 |
DMRT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4, Angenieux Optimo and Canon Lenses Arricam ST, Cooke S4, Angenieux Optimo and Canon Lenses; AUDIO: SDDS, Dolby Digital Color](icons/rgb.png) |
The Illusionist |
Neil Burger, W, W, P, M |
|
5.3 |
2005 |
AAdCrD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 250D 5246); Panavision (anamorphic); Arriflex 435, Panavision C- and E-Series Lenses Bell & Howell Eyemo, Panavision C- and E-Series Lenses Panavision Panaflex Millennium XL, Panavision C- and E-Series Lenses Panavision Panaflex Platinum, Panavision C- and E-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS, Sonics-DDP (IMAX version) Color](icons/rgb.png) |
Batman Begins |
Christopher Nolan, W, W, ++, P, M, M |
|
5.3 |
2003 |
ACCrDMc![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218, Eastman EXR 50D 5245); Arriflex 435 Advanced, Zeiss Super Speed, Cooke Varotal and Angenieux HR Lenses Arriflex 535B, Zeiss Super Speed, Cooke Varotal and Angenieux HR Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Blind Swordsman: Zatoichi |
Takeshi Kitano, W, W, P, M «Zatôichi» |
|
5.3 |
2000 |
BDSp![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Remember the Titans |
Boaz Yakin, W, P, M |
|
5.3 |
1997 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Good Will Hunting |
Gus Van Sant, W, W, P, M |
|
5.3 |
1995 |
DFanWe![Black and White; Aspect: 1.85:1; 35 mm; Moviecam and Arriflex Cameras; AUDIO: Dolby, Dolby SR Black and White](icons/bw.png) |
Dead Man |
Jim Jarmusch, W, P, M |
|
5.3 |
1995 |
DR![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293, EXR 500T 5298); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Bridges of Madison County |
Clint Eastwood, W, W, P, M |
|
5.3 |
1993 |
CD![Color; Aspect: 1.85:1; 35 mm (Eastman); AUDIO: Dolby SR Color](icons/rgb.png) |
Dazed and Confused |
Richard Linklater, W, P |
|
5.3 |
1983 |
CMl![Color (Technicolor); Aspect: 1.85:1; 35 mm; J-D-C Cameras and Lenses; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
The Meaning of Life |
Terry Jones, Terry Gilliam, W, W, ++, P, P, M |
|
5.3 |
1960 |
CrD![Black and White; Aspect: 1.37:1; 35 mm; Arriflex Cameras; AUDIO: Mono Black and White](icons/bw.png) |
Breathless |
Jean-Luc Godard, W, ++, P, M «À bout de souffle» |
|
5.3 |
1933 |
CMl![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Noiseless Recording) Black and White](icons/bw.png) |
Duck Soup |
Leo McCarey, W, W, ++, P, M |
|
5.2 |
2014 |
AnAdCFFan![Color; Aspect: 2.35:1; Codex ARRIRAW (2.8K) (live action scenes) Digital; Digital (dual-strip 3-D) (source format) Digital Intermediate (2K) (master format); Arri Alexa; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
The Lego Movie |
Phil Lord, Christopher Miller, W, W, ++, P, P, M |
|
5.2 |
2011 |
AdFFanM![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Harry Potter and the Deathly Hallows: Part 2 |
David Yates, W, W, P, M |
|
5.2 |
2009 |
BDSp![Color; Aspect: 1.85:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses Arricam ST, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Blind Side |
John Lee Hancock, W, W, P, M |
|
5.2 |
2009 |
DM![Black and White; Aspect: 1.85:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Moviecam Compact, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital Black and White](icons/bw.png) |
The White Ribbon |
Michael Haneke, W, P «Das weiße Band - Eine deutsche Kindergeschichte» |
|
5.2 |
2009 |
AnAdCDFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format) Disney Digital 3-D (3-D version) PixarVision; AUDIO: SDDS, Dolby Digital EX, DTS Color](icons/d-rgb.png) |
Up |
Pete Docter, Bob Peterson, W, W, ++, M |
|
5.2 |
2008 |
DR![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime Lenses Arricam ST, Zeiss Master Prime Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Reader |
Stephen Daldry, W, W, P, P, M |
|
5.2 |
2007 |
AdCD![Color; Aspect: 1.85:1; 35 mm (Kodak); Digital Intermediate (master format) Spherical (source format); Panavision Cameras and Lenses; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
The Bucket List |
Rob Reiner, W, P, M |
|
5.2 |
2006 |
CDFanR![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 250D 5205, Vision2 Expression 500T 5229); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses Arriflex 435, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
Stranger Than Fiction |
Marc Forster, W, P, M, M |
|
5.2 |
2001 |
ACrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246); Hawk Scope (anamorphic); Moviecam Compact, Hawk C-Series Lenses Moviecam SL, Hawk C-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Training Day |
Antoine Fuqua, W, P, M |
|
5.2 |
1989 |
D![Color; Aspect: 1.85:1; 35 mm; Arriflex Cameras and Lenses; AUDIO: Dolby SR Color](icons/rgb.png) |
Do the Right Thing |
Spike Lee, W, P, M |
|
5.2 |
1985 |
DFanSf![Color (Technicolor); Aspect: 1.85:1; 35 mm (Kodak); J-D-C Cameras; AUDIO: Dolby Color (Technicolor)](icons/rgb.png) |
Brazil |
Terry Gilliam, W, W, ++, P, M |
|
5.2 |
1984 |
D![Color; Aspect: 1.66:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Paris, Texas |
Wim Wenders, W, W, P, M |
|
5.2 |
1980 |
BDSp![Black and White, Color; Aspect: 1.85:1; 35 mm (Eastman Double-X 5222, Plus-X 5231); Arriflex 35 BL, Zeiss Super Speed Lenses; AUDIO: Dolby Black and White, Color](icons/rgb-bw.png) |
Raging Bull |
Martin Scorsese, W, W, ++, P |
|
5.2 |
1977 |
AdDSf![Color (Metrocolor); Aspect: 2.20:1; 35 mm (Eastman 100T 5247) 65 mm (Eastman 100T 5254); Panavision (anamorphic) Super Panavision 70 (special effects); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Metrocolor)](icons/rgb.png) |
Close Encounters of the Third Kind |
Steven Spielberg, W, ++, P, M |
|
5.2 |
1967 |
ADW![Color (Metrocolor); Aspect: 1.75:1; 35 mm; AUDIO: Stereo, 70 mm 6-Track (70 mm prints) Color (Metrocolor)](icons/rgb.png) |
The Dirty Dozen |
Robert Aldrich, W, W, ++, P, M |
|
5.2 |
1955 |
DR![Color (WarnerColor); Aspect: 2.55:1; 35 mm; CinemaScope; AUDIO: Mono (Perspecta Sound encoding) (35 mm optical prints), 4-Track Stereo (35 mm magnetic prints) (RCA Sound Recording) Color (WarnerColor)](icons/rgb.png) |
East of Eden |
Elia Kazan, W, W, P, M |
|
5.1 |
2012 |
AdFan![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (5K) (dual-strip 3-D) (source format); Red Epic, Zeiss Ultra Prime and Angenieux Optimo Lenses; AUDIO: Dolby Atmos, Datasat, SDDS Color](icons/d-rgb.png) |
The Hobbit: An Unexpected Journey |
Peter Jackson, W, W, ++, P, M |
|
5.1 |
2009 |
AnFanT![Black and White, Color; Aspect: 1.85:1; Digital Video (HDTV); Digital 3-D (dual-strip 3-D) Digital Intermediate (2K) (master format) Digital Stills (source format) Redcode RAW (source format) (effects plates); Nikon D80, Tamron, Sigma and Nikkor Lenses Princeton Instruments MegaPlus EC11000, Tamron, Sigma and Nikkor Lenses Red One Camera; AUDIO: DTS, Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Coraline |
Henry Selick, W, W, P, M |
|
5.1 |
2009 |
C![Color; Aspect: 1.85:1; Video (HDTV); Digital Intermediate (master format) HDCAM (source format); Sony CineAlta HDW-F900, Zeiss DigiPrime Lenses; AUDIO: Dolby Digital Color](icons/h-rgb.png) |
In the Loop |
Armando Iannucci, W, W, ++, P, M |
|
5.1 |
2009 |
CrMT![Color; Aspect: 2.35:1; 16 mm (Eastman Double-X 7222) 35 mm (Kodak Vision2 50D 5201, Vision2 250D 5205, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 16 (source format) (one scene) Super 35 (3-perf) (source format); Arricam LT, Zeiss Ultra Prime and Angenieux Optimo Lenses Arriflex 16 SR3, Canon and Angenieux HR Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Girl with the Dragon Tattoo |
Niels Arden Oplev, W, W, ++, P, M «Män som hatar kvinnor» |
|
5.1 |
2008 |
DHMT![Color, Black and White (opening and end sequence); Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL2, Panavision C-Series Lenses Panavision Panaflex Platinum, Panavision C-Series Lenses; AUDIO: SDDS, Dolby Digital, DTS Color, Black and White (opening and end sequence)](icons/rgb-bw.png) |
Changeling |
Clint Eastwood, W, P, M |
|
5.1 |
2008 |
DHo![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 250T 8553, Eterna 250D 8563, Eterna 500T 8573); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 535B, Zeiss Super Speed Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Let the Right One In |
Tomas Alfredson, W, P, M «Låt den rätte komma in» |
|
5.1 |
2007 |
AdFFanR![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Cameras and Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Stardust |
Matthew Vaughn, W, W, ++, P, M |
|
5.1 |
2005 |
BCrD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218, Vision2 Expression 500T 5229); Super 35; Moviecam Compact, Cooke S4 Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Capote |
Bennett Miller, W, W, P, M |
|
5.1 |
2003 |
ADHW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Eastman EXR 100T 5248, EXR 200T 5293, EXR 500T 5298); Digital Intermediate (2K) (master format) (some scenes) Panavision (anamorphic) (source format); Arriflex 435 ES, Panavision Primo, C- and E-Series Lenses Panavision Panaflex Millennium XL, Panavision Primo, C- and E-Series Lenses Panavision Panastar, Panavision Primo, C- and E-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Last Samurai |
Edward Zwick, W, ++, P, M |
|
5.1 |
2002 |
CrD![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 200T 5274, Vision 500T 5279, Ektachrome 100D 5285, Vision 800T 5289); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss Ultra Prime Lenses Arricam ST, Zeiss Ultra Prime Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
25th Hour |
Spike Lee, W, P, M |
|
5.1 |
2001 |
DSf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 800T 5289); Panavision (anamorphic); Panavision Panaflex Millennium, Panavision Primo, C- and E-Series Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Donnie Darko |
Richard Kelly, W, P, M |
|
5.1 |
2001 |
DHoMT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Others |
Alejandro Amenábar, W, P, M |
|
5.1 |
1995 |
CD![Color (DuArt), Black and White; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby, Dolby Digital Color (DuArt), Black and White](icons/rgb-bw.png) |
Smoke |
Wayne Wang, ++, W, P, M |
|
5.1 |
1994 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Pulp Fiction |
Quentin Tarantino, W, W, ++, P |
|
5.1 |
1973 |
HoT![Color (Metrocolor); Aspect: 1.37:1; 35 mm; AUDIO: 70 mm 6-Track (1979 re-release), DTS-ES (director's cut), Dolby Digital EX (director's cut), Mono (original release), SDDS (director's cut) Color (Metrocolor)](icons/rgb.png) |
The Exorcist |
William Friedkin, W, P, M |
|
5.1 |
1971 |
CrDSf![Black and White, Color (Warnercolor) (uncredited); Aspect: 1.66:1; 35 mm; Newman Sinclair Arriflex 35 IIC; AUDIO: Dolby Digital (re-issue), Mono Black and White, Color (Warnercolor) (uncredited)](icons/rgb-bw.png) |
A Clockwork Orange |
Stanley Kubrick, W, W, P |
|
5.1 |
1963 |
AAdCCr![Color (Technicolor); Aspect: 2.76:1; 65 mm; Ultra Panavision 70 (anamorphic); AUDIO: 4-Track Stereo (Westrex Recording System) (35mm prints), 70 mm 6-Track (Westrex Recording System) (70 mm prints) Color (Technicolor)](icons/rgb.png) |
It's a Mad Mad Mad Mad World |
Stanley Kramer, W, W, P, M |
|
5.1 |
1958 |
CrNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Touch of Evil |
Orson Welles, W, W, ++, P, M |
|
5.0 |
2015 |
ACrT![Color; Aspect: 2.35:1; 35 mm (Kodak) Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format) Super 35 (source format) (some scenes); Arri Alexa XT, Zeiss Master Prime and Angenieux Optimo Lenses Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses Red Epic; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Furious Seven |
James Wan, W, W, P, P, M |
|
5.0 |
2014 |
CD![Color, Black and White; Aspect: 1.37:1; 35 mm (Kodak Vision3 200T 5213); Digital Intermediate (2K) (source format) Spherical (source format) Technovision (anamorphic) (source format) (some scenes); Arricam ST, Technovision/Cooke, Cooke S4, Varotal and Angenieux Optimo Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color, Black and White](icons/rgb-bw.png) |
The Grand Budapest Hotel |
Wes Anderson, W, W, ++, P, M |
|
5.0 |
2013 |
DR![Color; Aspect: 2.35:1; Canon C300 Color](icons/d-rgb.png) |
Blue Is the Warmest Color |
Abdellatif Kechiche, W, W, ++, P «La vie d'Adèle» |
|
5.0 |
2011 |
AAdSf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format) Super 35 (source format) (some shots); Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-, G-Series, ATZ and AWZ2 Lenses; AUDIO: Dolby, Dolby Digital, Datasat Color](icons/rgb.png) |
X-Men: First Class |
Matthew Vaughn, W, W, ++, P, M |
|
5.0 |
2010 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 50D 5201, Vision3 500T 5219, Vision2 500T 5260); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format) Spherical (source format); Panavision Panaflex Millennium XL2, Panavision C-, G-Series and Ultra Speed Z-Series MKII Lenses; AUDIO: Dolby, Dolby Digital Color](icons/rgb.png) |
Biutiful |
Alejandro González Iñárritu, W, W, ++, P, M |
|
5.0 |
2010 |
DMW![Color; Aspect: 1.85:1; 35 mm; Digital Intermediate (master format) Super 35 (source format); Arricam ST Arriflex 535; AUDIO: Dolby Digital Color](icons/rgb.png) |
Incendies |
Denis Villeneuve, W, W, ++, P, M |
|
5.0 |
2009 |
CDR![Color, Black and White (some sequences); Aspect: 1.20:1; 16 mm (Eastman Double-X 7222) 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218, Vision3 500T 5219); Digital Intermediate (2K) (master format) Spherical (16 mm segments) (source format) Super 35 (3-perf) (source format); Panavision Panaflex Millennium XL, Panavision Primo and Zeiss Master Prime Lenses Panavision Panaflex Platinum, Panavision Primo and Zeiss Master Prime Lenses; AUDIO: DTS, Dolby Digital, SDDS Color, Black and White (some sequences)](icons/rgb-bw.png) |
(500) Days of Summer |
Marc Webb, W, W, P, M, M |
|
5.0 |
2007 |
AC![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT Arricam ST Arriflex 235 Arriflex 435; AUDIO: Dolby Digital EX Color](icons/rgb.png) |
Hot Fuzz |
Edgar Wright, W, W, P, M |
|
5.0 |
2004 |
DMlR![Color; Aspect: 2.35:1; 35 mm (Kodak); (anamorphic); AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Veer-Zaara |
Yash Chopra, W, ++, P, M, M |
|
5.0 |
2003 |
CDR![Color; Aspect: 1.85:1; 35 mm; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Love Me If You Dare |
Yann Samuell, W, P, M «Jeux d'enfants» |
|
5.0 |
2002 |
AMT![Color; Aspect: 2.35:1; 35 mm (Kodak); Super 35; Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Bourne Identity |
Doug Liman, W, W, ++, P, M |
|
5.0 |
2001 |
BD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 500T 5279, Eastman EXR 200T 5293, Fuji Super F-400T 8582); Arriflex 435 ES, Cooke S4, Zeiss Standard Speed and Super Speed Lenses Arriflex 535B, Cooke S4, Zeiss Standard Speed and Super Speed Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
A Beautiful Mind |
Ron Howard, W, W, P, M |
|
5.0 |
2001 |
BCrD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279, Ektachrome 100D 5285, Eastman EXR 200T 5293, Fuji F-250T 8550, Super F-250T 8552); Panavision (anamorphic); Panavision Panaflex Millennium, Panavision Primo, C- and E-Series Lenses Panavision Panaflex Platinum, Panavision Primo, C- and E-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Blow |
Ted Demme, W, W, ++, P, M |
|
5.0 |
2000 |
ASfT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Digital Intermediate (2K) (3-D re-release version) Spherical; Arriflex 535B, Zeiss and Angenieux Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Battle Royale |
Kinji Fukasaku, W, W, P, M «Batoru rowaiaru» |
|
5.0 |
1997 |
D![Color; Aspect: 2.35:1; 16 mm (70s porno) 35 mm Video (NTSC) (80s porno); Panavision (anamorphic); Panavision Panaflex Gold, Panavision C-Series Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
Boogie Nights |
Paul Thomas Anderson, W, P, M |
|
5.0 |
1997 |
CDFanR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Dolby SR (Mono) Color (Technicolor)](icons/rgb.png) |
Deconstructing Harry |
Woody Allen, W, P |
|
5.0 |
1987 |
FanDR![Color (Eastmancolor), Black and White (partly); Aspect: 1.37:1; 35 mm (Eastman Kodak); Arriflex 35 BL4; AUDIO: Dolby Color (Eastmancolor), Black and White (partly)](icons/rgb-bw.png) |
Wings of Desire |
Wim Wenders, W, W, ++, P, M «Der Himmel über Berlin» |
|
5.0 |
1982 |
AdFFanSf![Color; Aspect: 1.85:1; 35 mm (Eastman 100T 5247); Panavision Cameras and Lenses; AUDIO: Dolby (35 mm prints) Color](icons/rgb.png) |
E.T. the Extra-Terrestrial |
Steven Spielberg, W, P, M |
|
5.0 |
1978 |
CR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Camera by Panavision; AUDIO: Mono (Todd-AO) Color (Technicolor)](icons/rgb.png) |
Animal House |
John Landis, W, W, ++, P, M |
|
5.0 |
1973 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Mean Streets |
Martin Scorsese, W, W, ++, P |
|
5.0 |
1971 |
ACrT![Color; Aspect: 1.85:1; 35 mm (Eastman 100T 5254); Arriflex Cameras and Lenses; AUDIO: Mono (Westrex Recording System), 4-Track Stereo (Westrex Recording System) Color](icons/rgb.png) |
The French Connection |
William Friedkin, W, W, ++, P, M |
|
5.0 |
1961 |
CDR![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 50T 5250); AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Breakfast at Tiffany's |
Blake Edwards, W, W, P, P, M |
|
4.9 |
2014 |
CDMRSf![Color; Color](icons/q-rgb.png) |
PK |
Rajkumar Hirani, W, W, P, M, M |
|
4.9 |
2013 |
DW![Color; Aspect: 2.35:1; ARRIRAW Codex ARRIRAW; Codex; Arri Alexa XT Plus Arri Alexa; AUDIO: Dolby, SDDS Color](icons/d-rgb.png) |
The Book Thief |
Brian Percival, W, W, P, M |
|
4.9 |
2012 |
A![Color; Aspect: 1.78:1; 35 mm (Kodak Vision3 500T 5219) ARRIRAW; ARRIRAW (source format) Digital Intermediate (2K) (master format) Super 35 (source format) (high-speed shots); Arri Alexa, Panavision Primo, PCZ and Frazier Lenses Arriflex 435, Panavision Primo Lenses Canon EOS 5D Mark II, Canon Lenses Canon EOS 7D, Canon Lenses; AUDIO: Datasat, Dolby Digital (Dolby Surround 7.1) Color](icons/rgb.png) |
The Avengers |
Joss Whedon, W, W, ++, P, M |
|
4.9 |
2011 |
MSfT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217) Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (4K) (source format) (some scenes) Super 35 (3-perf) (source format); Iconix Camera Panavision Panaflex Millennium XL2, Panavision Primo Lenses Phantom HD Camera Red One MX, Panavision Primo Lenses; AUDIO: Dolby Digital, DTS Color](icons/d-rgb.png) |
Source Code |
Duncan Jones, W, P, M |
|
4.9 |
2010 |
BD![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (4.5K) (source format); Red One MX, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/d-rgb.png) |
The Social Network |
David Fincher, W, W, P, M, M |
|
4.9 |
2008 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL2, Panavision C-Series Lenses Panavision Panaflex Platinum, Panavision C-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Gran Torino |
Clint Eastwood, W, W, ++, P, M, M |
|
4.9 |
2007 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 535B, Zeiss Ultra Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
4 Months, 3 Weeks and 2 Days |
Cristian Mungiu, W, W, P «4 luni, 3 saptamâni si 2 zile» |
|
4.9 |
2007 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime, Lightweight, Angenieux Optimo and Hawk Lenses Arricam ST, Zeiss Master Prime, Lightweight, Angenieux Optimo and Hawk Lenses Arriflex 235, Zeiss Master Prime Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
The Kite Runner |
Marc Forster, W, W, P, M |
|
4.9 |
2006 |
BD![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (master format) Super 35 (source format); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Pursuit of Happyness |
Gabriele Muccino, W, P, M |
|
4.9 |
2003 |
DMT![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (master format) Super 35 (source format); Arriflex Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Oldboy |
Chan-wook Park, W, W, ++, P, M «Oldeuboi» |
|
4.9 |
2003 |
ARWe![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 200T 5274, Vision 500T 5279); Digital Intermediate (2K) (master format) Super 35 (source format); Cine SL 35, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Open Range |
Kevin Costner, W, W, P, M |
|
4.9 |
2003 |
AnC![Color; Aspect: 1.66:1; Video; AUDIO: Dolby Digital Color](icons/v-rgb.png) |
The Triplets of Belleville |
Sylvain Chomet, W, M «Les triplettes de Belleville» |
|
4.9 |
2000 |
CDMcR![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
High Fidelity |
Stephen Frears, W, W, ++, P, M |
|
4.9 |
1999 |
BDSp![Black and White, Color; Aspect: 1.85:1; 35 mm; Arriflex 535B, Cooke S4 Lenses Moviecam SL, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
The Hurricane |
Norman Jewison, W, W, ++, P, M |
|
4.9 |
1997 |
CDR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: SDDS, Dolby Color (Technicolor)](icons/rgb.png) |
As Good as It Gets |
James L. Brooks, W, ++, P, M |
|
4.9 |
1981 |
AdDFan![Color (Technicolor); Aspect: 1.85:1; 35 mm; Arriflex Cameras; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Excalibur |
John Boorman, W, W, ++, P, M |
|
4.9 |
1974 |
Ho![Color; Aspect: 1.78:1; 16 mm (Eastman Ektachrome 25T 7252); Bolex Camera Eclair NPR; AUDIO: Mono Color](icons/rgb.png) |
The Texas Chain Saw Massacre |
Tobe Hooper, W, W, P, M, M |
|
4.9 |
1971 |
DT![Color (Eastmancolor) (uncredited), Black and White (opening credits); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Eastmancolor) (uncredited), Black and White (opening credits)](icons/rgb-bw.png) |
Straw Dogs |
Sam Peckinpah, W, W, ++, P, M |
|
4.8 |
2014 |
DR![Color; Aspect: 1.85:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format); Arri Alexa XT, Zeiss Master Prime Lenses; AUDIO: Dolby, Dolby Digital, SDDS, Datasat Color](icons/d-rgb.png) |
The Fault in Our Stars |
Josh Boone, W, W, ++, P, M, M |
|
4.8 |
2013 |
CrDT![Color (DeLuxe), Color; Aspect: 1.85:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (4K) (master format); Arri Alexa Plus, Zeiss Master Prime Lenses Arri Alexa Studio, Zeiss Master Prime Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color (DeLuxe), Color](icons/d-rgb.png) |
Prisoners |
Denis Villeneuve, W, P, M |
|
4.8 |
2011 |
DHoT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision3 500T 5219, Fuji Eterna Vivid 160T 8543) Video (HD); Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format) (some scenes) Super 35 (3-perf) (source format); Arricam ST, Zeiss Master Prime Lenses Panasonic AG-HVX200; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Skin I Live In |
Pedro Almodóvar, W, W, ++, P, M «La piel que habito» |
|
4.8 |
2009 |
D![Color, Black and White; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279); Digital Intermediate (2K) (master format) Super 35 (also 3-perf) (source format); Arriflex 435, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Millennium XL2, Panavision Primo Lenses; AUDIO: Dolby Digital Color, Black and White](icons/rgb-bw.png) |
A Single Man |
Tom Ford, W, W, ++, P, M |
|
4.8 |
2007 |
D![Color; Aspect: 2.35:1; Video (HD); Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format); Panavision Genesis HD Camera, Panavision Primo Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/h-rgb.png) |
Reign Over Me |
Mike Binder, W, P, M |
|
4.8 |
2007 |
DMT![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (master format) Super 35 (source format); AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
The Orphanage |
J.A. Bayona, W, P, M «El orfanato» |
|
4.8 |
2006 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision2 Expression 500T 5229, Ektachrome 100D 5285); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses Arriflex 235, Cooke S4 Lenses Arriflex 435, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Inside Man |
Spike Lee, W, P, M |
|
4.8 |
2005 |
AdCrDMWe![Color; Aspect: 2.35:1; 35 mm (Fuji Super F-250T 8552, Super F-500T 8572); Super 35; Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Three Burials of Melquiades Estrada |
Tommy Lee Jones, W, P, M |
|
4.8 |
2004 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 500T 5279) Digital; Digital Intermediate (2K) (master format) HDCAM (1080p/24) (source format) Super 35 (source format); PanArri 435, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Millennium, Panavision Primo Lenses Sony CineAlta HDW-F900, Zeiss DigiPrime Lenses Thomson VIPER FilmStream Camera, Zeiss DigiPrime Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Collateral |
Michael Mann, W, P, P, M |
|
4.8 |
2004 |
ACrDT![Color; Aspect: 2.35:1; 16 mm (Kodak) 35 mm (Eastman EXR 100T 5248, Kodak Vision 200T 5274, Vision Expression 500T 5284, Ektachrome 100D 5285); Digital Intermediate (2K) (master format) Spherical (16 mm footage) (source format) Super 35 (source format); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Man on Fire |
Tony Scott, W, W, P, M |
|
4.8 |
2003 |
BCD![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 500T 5298) Video (HDTV); Digital Intermediate (2K) (master format) (some scenes) HDCAM (1080p/24) (source format) (interview segments) Spherical (source format); Panavision Panaflex Millennium, Panavision Primo Lenses Sony CineAlta HDW-F900; AUDIO: Dolby Digital Color](icons/rgb.png) |
American Splendor |
Shari Springer Berman, Robert Pulcini, W, W, ++, P, M |
|
4.8 |
2002 |
CrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279); Super 35; Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses Panavision Panastar, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Road to Perdition |
Sam Mendes, W, W, ++, P, M |
|
4.8 |
1997 |
CDRW![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Life Is Beautiful |
Roberto Benigni, W, W, P, M «La vita è bella» |
|
4.8 |
1997 |
DMT![Color (Technicolor); Aspect: 2.35:1; 16 mm (Kodak Ektachrome VNF 125T 7240) 35 mm (Kodak Vision 320T 5277, Vision 500T 5279); Spherical (16 mm footage) Super 35; Bolex Cameras Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Game |
David Fincher, W, W, P, M |
|
4.8 |
1984 |
AAd![Color; Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 100T 5247, 250T 5293, 400T 5294); Panavision (anamorphic) VistaVision (special effects); Panavision Panaflex Gold, Panavision C-Series Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Indiana Jones and the Temple of Doom |
Steven Spielberg, W, W, ++, P, M |
|
4.8 |
1980 |
HoM![Color; Aspect: 1.37:1; 35 mm (Eastman 100T 5247); Arriflex 35 BL, Zeiss Super Speed Lenses; AUDIO: Mono Color](icons/rgb.png) |
The Shining |
Stanley Kubrick, W, W, ++, P, M, M |
|
4.8 |
1938 |
CR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Victor System) Black and White](icons/bw.png) |
Bringing Up Baby |
Howard Hawks, W, W, ++, P, M |
|
4.7 |
2014 |
ADSfT![Color; Aspect: 1.85:1; Codex; ARRIRAW (2.8K) (dual-strip 3-D) (source format) Digital Intermediate (2K) (master format); Arri Alexa M, Leica Summilux and Fujinon Premier Lenses; AUDIO: Dolby, Dolby Atmos, Datasat Color](icons/d-rgb.png) |
Dawn of the Planet of the Apes |
Matt Reeves, W, W, ++, P, M |
|
4.7 |
2012 |
AdWe![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219, Ektachrome 100D 5285); Digital Intermediate (4K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL2, Panavision Primo, E-Series, ATZ and AWZ2 Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
Django Unchained |
Quentin Tarantino, W, P |
|
4.7 |
2012 |
CD![Black and White; Aspect: 1.85:1; Video (HD); Canon H264 (1080p/24) (source format) Digital Intermediate (2K) (master format); Canon EOS 5D Mark II, Canon L-Series Lenses; AUDIO: Dolby Digital Black and White](icons/bw.png) |
Frances Ha |
Noah Baumbach, W, W, P |
|
4.7 |
2011 |
CDR![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 250D 8563, Eterna 500T 8573); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Crazy, Stupid, Love. |
Glenn Ficarra, John Requa, W, P, M, M |
|
4.7 |
2011 |
CFanR![Color; Aspect: 1.85:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Cooke S4, 5/i, Panchro and Angenieux Optimo Lenses Arricam ST, Cooke S4, 5/i, Panchro and Angenieux Optimo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Midnight in Paris |
Woody Allen, W, P |
|
4.7 |
2011 |
ACrT![Color; Aspect: 1.85:1; XDCAM; Digital Intermediate (2K) (master format) XDCAM (source format); Panasonic AG-AF100, Zeiss Ultra Prime Lenses (with Pro35mm Adaptor); AUDIO: Dolby Digital, Datasat Color](icons/d-rgb.png) |
The Raid: Redemption |
Gareth Evans, W, P, P, M, M «Serbuan maut» |
|
4.7 |
2010 |
CDR![Color; Aspect: 1.85:1; 35 mm; Digital Intermediate (2K) (master format) Spherical (source format); Panavision Panaflex Millennium, Panavision Primo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Flipped |
Rob Reiner, W, W, ++, P, M |
|
4.7 |
2009 |
CrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak) (Fuji Eterna 500T 8573, Eterna 400T 8583); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses Arriflex 435, Cooke S4 Lenses; AUDIO: Dolby Digital, DTS, SDDS Color (Technicolor)](icons/rgb.png) |
Law Abiding Citizen |
F. Gary Gray, W, P, M |
|
4.7 |
2007 |
CrMT![Color; Aspect: 1.85:1; 35 mm (Kodak); Digital Intermediate (2K) (master format) Spherical (source format); Arricam LT, Zeiss Master Prime Lenses Arricam ST, Zeiss Master Prime Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Eastern Promises |
David Cronenberg, W, P, M |
|
4.7 |
2007 |
BCrD![Color; Aspect: 1.85:1; 35 mm; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
Freedom Writers |
Richard LaGravenese, W, W, ++, P, M, M |
|
4.7 |
2007 |
CrDMT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 Expression 500T 5229) Uncompressed Digital (4:4:4); Digital Intermediate (2K) (master format) FilmStream 4:4:4 (source format) Super 35 (source format) (high-speed shots); Thomson VIPER FilmStream Camera, Zeiss DigiPrime Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Zodiac |
David Fincher, W, W, P, M |
|
4.7 |
2006 |
AdDFan![Black and White, Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 50D 5201, Vision2 250D 5205, Vision2 100T 5212, Vision2 500T 5218); Digital Intermediate (4K) (master format) Super 35 (source format); Arriflex 35-III, Zeiss Ultra Prime Lenses Arriflex 435 ES, Zeiss Ultra Prime Lenses Arriflex 535B, Zeiss Ultra Prime Lenses Moviecam Compact, Zeiss Ultra Prime Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
The Fall |
Tarsem Singh, W, W, ++, P, M |
|
4.7 |
2003 |
AAdDW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279, Eastman EXR 200T 5293); Digital Intermediate (2K) (master format) (some scenes) Super 35 (source format); Arriflex 35-III, Panavision Primo Lenses Arriflex 435, Panavision Primo Lenses Panavision Panaflex Gold II, Panavision Primo and Cooke Lenses Panavision Panaflex Lightweight, Panavision Primo and Cooke Lenses Panavision Panaflex Platinum, Panavision Primo and Cooke Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Master and Commander: The Far Side of the World |
Peter Weir, W, W, ++, P, M, M, M |
|
4.7 |
2000 |
AdD![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 50D 5245, EXR 100T 5248, Kodak Vision 250D 5246, Vision 500T 5279, SFX 200T); Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
Cast Away |
Robert Zemeckis, W, P, M |
|
4.7 |
2000 |
AAdD![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 200T 5274); Super 35; Aaton 35-III, Panavision Primo Lenses Arriflex 35-III, Panavision Primo Lenses Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
Gladiator |
Ridley Scott, W, ++, P, M, M |
|
4.7 |
2000 |
CAdCrMc![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279, EXR 200T 5293); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 535B, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
O Brother, Where Art Thou? |
Joel Coen, ++, W, W, ++, P, M |
|
4.7 |
1972 |
Sf![Black and White, Color (Sovcolor); Aspect: 2.35:1; 35 mm; Sovscope (anamorphic); AUDIO: Mono Black and White, Color (Sovcolor)](icons/rgb-bw.png) |
Solaris |
Andrei Tarkovsky, W, W, ++, P, M «Solyaris» |
|
4.6 |
2012 |
CDR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format) (some shots) Techniscope (source format); Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses Arricam ST, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: Datasat, Dolby Digital Color](icons/rgb.png) |
Silver Linings Playbook |
David O. Russell, W, W, P, M |
|
4.6 |
2012 |
DHT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219) Video (HD); Digital Intermediate (2K) (master format) HDTV (1080p/24) (source format) (high-speed shots) Super 35 (source format); Arricam LT, Zeiss Master Prime Lenses Arriflex 435, Zeiss Master Prime Lenses Phantom HD Camera, Zeiss Master Prime Lenses (high-speed shots); AUDIO: Dolby Digital, Datasat Color](icons/rgb.png) |
The Impossible |
J.A. Bayona, W, W, P, M «Lo imposible» |
|
4.6 |
2011 |
ADSfT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses Arriflex 435, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
Rise of the Planet of the Apes |
Rupert Wyatt, W, W, ++, P, M |
|
4.6 |
2010 |
AdFFanM![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
Harry Potter and the Deathly Hallows: Part 1 |
David Yates, W, W, P, M |
|
4.6 |
2009 |
DR![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 250D 5205, Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo and PCZ Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Up in the Air |
Jason Reitman, W, W, ++, P, M |
|
4.6 |
2009 |
CHo![Color; Aspect: 2.35:1; Video (HDTV); Digital Intermediate (2K) (master format) HDCAM SR (1080p24) (source format); Panavision Genesis HD Camera, Panavision Primo Lenses Phantom HD Camera, Panavision Primo and Ultra Speed MKII Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/h-rgb.png) |
Zombieland |
Ruben Fleischer, W, W, P, M |
|
4.6 |
2008 |
BDH![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna Vivid 160T 8543, Eterna 250T 8553, Eterna 250D 8563, Eterna 500T 8573, Eterna 400T 8583); Digital Intermediate (2K) (master format) Techniscope (source format); Arricam LT, Cooke S4 and Arri Macro Lenses Arricam ST, Cooke S4 and Arri Macro Lenses Arriflex 235, Cooke S4 and Arri Macro Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Hunger |
Steve McQueen, W, W, P, M, M |
|
4.6 |
2008 |
DRT![Color; Aspect: 2.35:1; 35 mm (Fuji Super F-64D 8522, Eterna Vivid 160T 8543, Eterna 250D 8563, Eterna 500T 8573, Reala 500D 8592) Digital Video (HDTV); CineForm RAW (2K) (source format) Digital Intermediate (2K) (master format) Digital Stills (source format) Super 35 (3-perf) (source format); Arricam LT, Zeiss and Angenieux Lenses Arricam ST, Zeiss and Angenieux Lenses Arriflex 235, Zeiss and Angenieux Lenses Arriflex 35 BL4, Zeiss and Angenieux Lenses Canon EOS-1D Mark III Silicon Imaging SI-2K MINI, Zeiss, Angenieux, Century, Canon, Cooke and Linos Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Slumdog Millionaire |
Danny Boyle, Loveleen Tandan, W, W, P, M |
|
4.6 |
2008 |
AnAdFRSf![Color; Aspect: 2.35:1; Digital; 3-D (3-D version: 2014 re-release) Digital Intermediate (master format) Digital (source format) PixarVision; AUDIO: DTS-ES, SDDS, Dolby Digital EX Color](icons/d-rgb.png) |
WALL·E |
Andrew Stanton, W, W, ++, M |
|
4.6 |
2006 |
CrDMT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218, Fuji Super F-250T 8552, Super F-250D 8562); Super 35 (3-perf) (source format) Digital Intermediate (2K) (master format); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Millennium, Panavision Primo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Lucky Number Slevin |
Paul McGuigan, W, P, M |
|
4.6 |
2004 |
DRSf![Color; Aspect: 1.85:1; 35 mm (Fuji Reala 500D 8592); Digital Intermediate (2K) (master format) Spherical (source format); Arricam LT, Zeiss Super Speed and Arri Macro Lenses; AUDIO: DTS (as dts), Dolby Color](icons/rgb.png) |
Eternal Sunshine of the Spotless Mind |
Michel Gondry, W, W, ++, P, M |
|
4.6 |
2004 |
ACrT![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex Cameras; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Bourne Supremacy |
Paul Greengrass, W, W, P, M |
|
4.6 |
2001 |
CrD![Black and White; Aspect: 1.85:1; 35 mm (Kodak Vision 320T 5277); Super 35; Arriflex 535B, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White](icons/bw.png) |
The Man Who Wasn't There |
Joel Coen, ++, W, W, P, M |
|
4.6 |
2000 |
D![Color; Aspect: 1.37:1; 35 mm (Eastman EXR 100T 5248, Fuji Super F-500T 8572); Panavision Panaflex Gold II, Panavision Ultra Speed MKII Lenses Bell & Howell Eyemo Panavised Arri-3 Panavision Panastar Sony Betacam Cameras (video segments); AUDIO: Dolby Digital Color](icons/rgb.png) |
Requiem for a Dream |
Darren Aronofsky, W, ++, P, M |
|
4.6 |
1998 |
BDH![Color; Aspect: 1.37:1; 35 mm (Kodak Vision 500T 5279); Arriflex 435ES, Cooke and Zeiss Lenses Arriflex 535, Cooke and Zeiss Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Elizabeth |
Shekhar Kapur, W, P, M |
|
4.6 |
1983 |
CD![Color (Metrocolor); Aspect: 1.85:1; 35 mm; Lenses and Panaflex Cameras by Panavision; AUDIO: Mono Color (Metrocolor)](icons/rgb.png) |
Terms of Endearment |
James L. Brooks, W, W, P, M |
|
4.6 |
1982 |
DSfT![Color (Technicolor); Aspect: 2.20:1; 65 mm (special effects) (Eastman 100T 5247) 35 mm (Eastman 100T 5247); Panavision (anamorphic); Panavision Panaflex Gold, Panavision C-Series and Super High Speed Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby Stereo (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Blade Runner |
Ridley Scott, W, W, ++, P, M |
|
4.6 |
1970 |
CWD![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono (Westrex Recording System) Color](icons/rgb.png) |
MASH |
Robert Altman, W, W, P, M |
|
4.5 |
2012 |
CDR![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435 Arriflex 535B Color](icons/rgb.png) |
Barfi! |
Anurag Basu, W, W, P, M |
|
4.5 |
2012 |
ACrT![Color; Aspect: 1.44:1; 35 mm (also horizontal) (Kodak Vision3 250D 5207, Vision3 500T 5219) 65 mm (also horizontal) (Kodak Vision3 250D 5207, Vision3 500T 5219); IMAX (some scenes) Panavision Super 70 (some scenes) Panavision (anamorphic) VistaVision (some scenes); Arriflex 235, Panavision C-, E-Series and Super High Speed Lenses Beaumont VistaVision Camera, Panavision Primo Lenses IMAX MSM 9802, Hasselblad and Mamiya Lenses Panavision Panaflex Millennium XL2, Panavision C-, E-Series and Super High Speed Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
The Dark Knight Rises |
Christopher Nolan, W, W, ++, P, M |
|
4.5 |
2010 |
AdBDT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 50D 5201, Vision3 250D 5207, Vision3 500T 5219) Uncompressed Digital Video (HDTV); Digital Intermediate (2K) (master format) Digital Stills (source format) Digital (source format) Super 35 (3-perf) (source format); Canon 5D MKII Canon EOS 1D Mark IV Canon EOS 5D Mark II Canon EOS 7D Clairmont Cameras and Lenses Moviecam Compact MK2, Zeiss Ultra Prime and Cooke Panchro Lenses Moviecam SL MK2, Zeiss Ultra Prime and Cooke Panchro Lenses REDLAKE Y5, Zeiss Ultra Prime and Cooke Panchro Lenses Silicon Imaging SI-2K MINI, Zeiss Ultra Prime, Cooke Panchro, Schneider and Fujinon Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
127 Hours |
Danny Boyle, W, W, ++, P, P, M |
|
4.5 |
2010 |
MT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision3 500T 5219) 65 mm (Kodak Vision3 500T 5219) Digital; Arri 765 (source format) (some scenes) Digital Intermediate (2K) (master format) Digital (source format) (some scenes) Panavision Super 70 (source format) (some scenes) Super 35 (3-perf) (source format); Arriflex 765 Arriflex D-21 Panavision Panaflex Millennium, Panavision Primo Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Shutter Island |
Martin Scorsese, W, W, P |
|
4.5 |
2010 |
AdDWe![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision3 500T 5219); Digital Intermediate (4K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime Lenses Arriflex 235, Zeiss Master Prime Lenses Arriflex 535B, Zeiss Master Prime Lenses; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
True Grit |
Ethan Coen, Joel Coen, W, W, ++, P, M |
|
4.5 |
2008 |
ACrT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218) Video (HDTV); Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format) Super 35 (3-perf) (source format); Panavision Genesis HD Camera, Panavision Primo Lenses Panavision Panaflex Millennium XL2, Panavision Primo Lenses Panavision Panaflex Millennium, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Taken |
Pierre Morel, W, W, P, M |
|
4.5 |
2008 |
T![Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Chaser |
Hong-jin Na, W, W, ++, P, M «Chugyeogja» |
|
4.5 |
2005 |
DR![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218, Eastman EXR 50D 5245, Vision 250D 5246, Vision 500T 5279); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Brokeback Mountain |
Ang Lee, W, W, ++, P, M |
|
4.5 |
2005 |
DH![Black and White; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White](icons/bw.png) |
Good Night, and Good Luck. |
George Clooney, W, W, P, M |
|
4.5 |
2005 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (master format) Super 35 (source format); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Lord of War |
Andrew Niccol, W, P, M |
|
4.5 |
2004 |
AdCSf![Color; Aspect: 1.85:1; Video (some scenes) 35 mm; Super 35; Arriflex Cameras and Lenses; AUDIO: Dolby Digital Color](icons/v-rgb.png) |
G.O.R.A. |
Ömer Faruk Sorak, W, P, M |
|
4.5 |
2004 |
AdFFanM![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 200T 5274); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 Lenses Arriflex 435 Advanced, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Harry Potter and the Prisoner of Azkaban |
Alfonso Cuarón, W, W, P, M |
|
4.5 |
2004 |
ACrT![Black and White, Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 320T 5277, EXR 200T 5293); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
Kill Bill: Vol. 2 |
Quentin Tarantino, W, ++, P, M |
|
4.5 |
2003 |
CrDMT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Panavision (anamorphic); Panavision Panaflex Millennium XL, Panavision C-Series Lenses Panavision Panaflex Platinum, Panavision E-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Mystic River |
Clint Eastwood, W, W, P, M |
|
4.5 |
2002 |
AMSfT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572); Super 35; Panaflex Camera and Lenses by Panavision; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Minority Report |
Steven Spielberg, W, W, ++, P, M |
|
4.5 |
2001 |
AAdFan![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 200T 5274, Vision 500T 5279, Eastman EXR 200T 5293, SFX 200T); Digital Intermediate (2K) (master format) (some scenes) Super 35 (source format); Arricam ST, Zeiss Ultra Prime Lenses Arriflex 435, Zeiss Ultra Prime Lenses Arriflex 535, Zeiss Ultra Prime Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/rgb.png) |
The Lord of the Rings: The Fellowship of the Ring |
Peter Jackson, W, W, ++, P, M |
|
4.5 |
1996 |
DR![Color (Eastmancolor); Aspect: 2.35:1; 35 mm (Eastman EXR 200T 5293, EXR 500T 5298); D1 (master format) Super 35 (source format); Moviecam Compact, Zeiss Lenses; AUDIO: Dolby Digital Color (Eastmancolor)](icons/rgb.png) |
Breaking the Waves |
Lars von Trier, W, W, ++, P |
|
4.4 |
2013 |
BDH![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Techniscope (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Color](icons/rgb.png) |
12 Years a Slave |
Steve McQueen, W, W, P, M |
|
4.4 |
2013 |
CD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219); Arricam LT, Zeiss Ultra Prime, Lightweight and Angenieux Optimo Lenses Arriflex 435, Zeiss Ultra Prime, Lightweight and Angenieux Optimo Lenses Arriflex 535, Zeiss Ultra Prime, Lightweight and Angenieux Optimo Lenses Arriflex 535B, Zeiss Ultra Prime, Lightweight and Angenieux Optimo Lenses Color](icons/rgb.png) |
The Great Beauty |
Paolo Sorrentino, W, ++, P, M «La grande bellezza» |
|
4.4 |
2013 |
CD![Color; AUDIO: Dolby Color](icons/q-rgb.png) |
The Way, Way Back |
Nat Faxon, Jim Rash, W, W, P, M |
|
4.4 |
2011 |
AAdCrMT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219) Video (HD); Digital Intermediate (2K) (master format) HDTV (1080p/24) (source format) (high-speed shots) Super 35 (source format); Arriflex 235, Panavision Primo Lenses Panavision Panaflex Millennium XL2, Panavision Primo Lenses Phantom HD Camera, Panavision Primo Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
Sherlock Holmes: A Game of Shadows |
Guy Ritchie, W, W, ++, P, M |
|
4.4 |
2010 |
DR![Color; Aspect: 1.66:1; 16 mm (Kodak Vision3 250D 7207, Vision2 100T 7212, Vision3 500T 7219) Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (4K) (source format) Super 16 (source format); Arriflex 416 Plus, Zeiss and Angenieux Lenses Red One Camera, Zeiss and Angenieux Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Blue Valentine |
Derek Cianfrance, W, W, ++, P, M |
|
4.4 |
2010 |
CrDT![Color; Aspect: 1.85:1; 35 mm; Digital Intermediate (2K) (master format) Spherical (source format); Arricam ST, Zeiss Ultra Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
I Saw the Devil |
Kim Jee-Woon, W, P, M «Akmareul boatda» |
|
4.4 |
2006 |
ACrT![Black and White, Color; Aspect: 2.35:1; 35 mm (Eastman Double-X 5222, Kodak Vision 200T 5274, Vision 500T 5279); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses Arriflex 235, Cooke S4 and Angenieux Optimo Lenses Arriflex 435, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Digital, SDDS, DTS Black and White, Color](icons/rgb-bw.png) |
Casino Royale |
Martin Campbell, W, W, ++, P, M |
|
4.4 |
2006 |
DFanW![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218, Vision 250D 5246); Digital Intermediate (2K) (master format) Spherical (source format); Arriflex 435 ES, Zeiss Ultra Prime and Variable Prime Lenses Moviecam Compact, Zeiss Ultra Prime and Variable Prime Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Pan's Labyrinth |
Guillermo del Toro, W, P, M «El laberinto del fauno» |
|
4.4 |
2005 |
CD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 320T 5277); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT Arricam ST Arriflex 435; AUDIO: DTS, Dolby, SDDS Color](icons/rgb.png) |
Everything Is Illuminated |
Liev Schreiber, W, W, P, M |
|
4.4 |
2001 |
DHW![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 250D 5246, EXR 100T 5248, Vision 320T 5277, Vision 500T 5279); Super 35; Arriflex 35-IIC, Zeiss Ultra Prime Lenses Arriflex 435 ES, Zeiss Ultra Prime and Angenieux HR Lenses Moviecam Compact, Zeiss Ultra Prime and Angenieux HR Lenses Moviecam SL, Zeiss Ultra Prime and Angenieux HR Lenses; AUDIO: DTS, Dolby Digital, SDDS (8 channels) Color (Technicolor)](icons/rgb.png) |
Black Hawk Down |
Ridley Scott, W, W, P, M |
|
4.4 |
2001 |
DHTW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279); Super 35; Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Enemy at the Gates |
Jean-Jacques Annaud, W, W, P, M |
|
4.4 |
2001 |
CD![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Ghost World |
Terry Zwigoff, W, ++, P, M |
|
4.4 |
2001 |
AdFFan![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279); Super 35; Panavision Cameras and Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS (8 channels) Color (Technicolor)](icons/rgb.png) |
Harry Potter and the Sorcerer's Stone |
Chris Columbus, W, W, P, M |
|
4.3 |
2013 |
ABDTW![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (5K) (source format); Red Epic, Fujinon Premier Cabrio and Angenieux Optimo Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
Lone Survivor |
Peter Berg, W, W, ++, P, M, M |
|
4.3 |
2012 |
DHT![Color; Aspect: 2.35:1; 16 mm (Kodak Vision3 250D 7207, Vision3 500T 7219) 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219, Vision2 500T 5260) 8 mm (Kodak Vision3 500T 5219, Ektachrome 100D 5285) Digital; ARRIRAW (2.8K) (source format) (some scenes) Digital Intermediate (4K) (master format) Hawk Scope (anamorphic) (source format) Super 16 (source format) (some shots) Super 35 (source format) (some scenes) Super 8 (source format) (some shots) Techniscope (source format) (some scenes); Arri Alexa Plus, Hawk V-Lite, V-Plus, V-Series, Zeiss Super Speed, Ultra Prime and Angenieux Optimo Lenses Arricam LT, Hawk V-Lite, V-Plus, V-Series, Zeiss Super Speed, Ultra Prime, Angenieux Optimo and Canon Lenses Arricam ST, Hawk V-Lite, V-Plus, V-Series, Zeiss Super Speed, Ultra Prime, Angenieux Optimo and Canon Lenses Bolex H16 REX-5, Kern-Paillard Switar and Angenieux Lenses Canon 1014 AZ; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
Argo |
Ben Affleck, W, W, ++, P, M |
|
4.3 |
2011 |
DT![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna Vivid 500T 8547); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Canon EOS 5D Mark II, Canon L-Series Lenses Panavision Panaflex Millennium XL2, Panavision C-, E-Series and ATZ Lenses Panavision Panaflex Platinum, Panavision C-, E-Series and ATZ Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
We Need to Talk About Kevin |
Lynne Ramsay, W, W, ++, P, M |
|
4.3 |
2008 |
DHW![Color; Aspect: 1.85:1; 35 mm (Kodak); Digital Intermediate (master format) Spherical (source format); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Boy in the Striped Pajamas |
Mark Herman, W, W, P, M «The Boy in the Striped Pyjamas» |
|
4.3 |
2006 |
DTW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses Arriflex 235, Cooke S4 and Angenieux Optimo Lenses Arriflex 35-III, Cooke S4 Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Black Book |
Paul Verhoeven, W, W, P, M «Zwartboek» |
|
4.3 |
2006 |
D![Color (DuArt); Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 200T 5217, Vision2 500T 5218, Vision2 Expression 500T 5229, Vision 200T 5274); Digital Intermediate (4K) (master format) Super 35 (source format); Arricam LT, Zeiss Master Prime, Ultra Prime and Angenieux Optimo Lenses Arricam ST, Zeiss Master Prime, Ultra Prime and Angenieux Optimo Lenses; AUDIO: DTS, SDDS, Dolby Digital Color (DuArt)](icons/rgb.png) |
Little Children |
Todd Field, W, W, ++, P, M |
|
4.3 |
2006 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218, Vision2 Expression 500T 5229); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam ST, Zeiss Master Prime, Ultra Prime, Variable Prime and Angenieux Optimo Lenses Arriflex 235, Zeiss Master Prime, Ultra Prime, Variable Prime and Angenieux Optimo Lenses Arriflex 435, Zeiss Master Prime, Ultra Prime, Variable Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
The Departed |
Martin Scorsese, W, W, ++, P, M |
|
4.3 |
2004 |
AAdDFanR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Eastman EXR 50D 5245); Digital Intermediate (master format) Super 35 (source format); Arricam ST, Cooke and Zeiss Lenses Arriflex 435ES, Cooke and Zeiss Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
House of Flying Daggers |
Yimou Zhang, W, W, ++, P, M «Shi mian mai fu» |
|
4.3 |
1998 |
ADW![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293); Moviecam SL, Panavision Ultra Speed MKII Lenses Panavision Panaflex Platinum, Panavision Ultra Speed MKII Lenses Panavision Panastar, Panavision Ultra Speed MKII Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Saving Private Ryan |
Steven Spielberg, W, P, M |
|
4.3 |
1990 |
CrDMT![Color (Technicolor); Aspect: 1.85:1; 35 mm; Super 35; Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby SR (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Godfather: Part III |
Francis Ford Coppola, W, W, P, M |
|
4.3 |
1984 |
CrD![Color; Aspect: 1.85:1; 35 mm (Eastman); AUDIO: Mono Color](icons/rgb.png) |
Once Upon a Time in America |
Sergio Leone, W, W, ++, P, M |
|
4.2 |
2013 |
AdFan![Color; Aspect: 2.00:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (5K) (dual-strip 3-D) (source format); Red Epic Dragon Red Epic, Zeiss Ultra Prime and Angenieux Optimo Lenses; AUDIO: Dolby Atmos, Datasat, Dolby Digital Color](icons/d-rgb.png) |
The Hobbit: The Desolation of Smaug |
Peter Jackson, W, W, ++, P, M |
|
4.2 |
2007 |
ACrT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4, Zeiss Lightweight and Nikon Lightweight Lenses Arriflex 235, Cooke S4, Zeiss Lightweight and Nikon Lightweight Lenses Arriflex 435, Cooke S4, Zeiss Lightweight and Nikon Lightweight Lenses Bell & Howell Eyemo; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Bourne Ultimatum |
Paul Greengrass, W, W, ++, P, M |
|
4.2 |
2006 |
CrDH![Color; Aspect: 2.35:1; 16 mm (Fuji Super F-250D 8662, Super F-500T 8672) 35 mm (Fuji Super F-250D 8562, Super F-500T 8572); Digital Intermediate (2K) (master format) Super 16 (source format) (some scenes) Super 35 (source format); Aaton A-Minima, Angenieux Optimo Lenses Arricam LT, Cooke S4, Zeiss Variable Prime and Angenieux Optimo Lenses Arriflex 235, Cooke S4, Zeiss Variable Prime and Angenieux Optimo Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
United 93 |
Paul Greengrass, W, P, M |
|
4.2 |
2005 |
AdFFanM![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 250D 5246, Vision 200T 5274, SFX 200T); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4, Zeiss Variable Prime, Angenieux Optimo and Canon Lenses Arricam ST, Cooke S4, Zeiss Variable Prime, Angenieux Optimo and Canon Lenses Arriflex 435, Cooke S4, Zeiss Variable Prime, Angenieux Optimo and Canon Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Harry Potter and the Goblet of Fire |
Mike Newell, W, W, P, M |
|
4.2 |
2005 |
AAdSfT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Serenity |
Joss Whedon, W, P, M |
|
4.2 |
1998 |
CMlR![Color; Aspect: 2.35:1; 35 mm; (anamorphic); AUDIO: Dolby Digital Color](icons/rgb.png) |
Kuch Kuch Hota Hai |
Karan Johar, W, ++, P, M, M |
|
4.2 |
1997 |
AAdSf![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, EXR 100T 5248, EXR 200T 5293); Super 35; Arriflex 35 IIC, Zeiss Standard Speed and Super Speed Lenses Arriflex 35 IIIC, Zeiss Standard Speed and Super Speed Lenses Arriflex 435, Zeiss Standard Speed and Super Speed Lenses Arriflex 535B, Zeiss Standard Speed and Super Speed Lenses Bell & Howell Eyemo; AUDIO: SDDS, Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Fifth Element |
Luc Besson, W, ++, P, M |
|
4.2 |
1994 |
DR![Black and White, Color; Aspect: 2.35:1; 35 mm (also horizontal) (Eastman EXR 100T 5248, EXR 500T 5296, 250D 5297); Panavision (anamorphic) VistaVision (visual effects); Panavision Panaflex Platinum, Panavision C- and E-Series Lenses; AUDIO: DTS, Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Forrest Gump |
Robert Zemeckis, W, W, P, M |
|
4.2 |
1941 |
DM![Black and White; Aspect: 1.37:1; 35 mm; Mitchell BNC; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Citizen Kane |
Orson Welles, W, W, ++, P, M |
|
4.1 |
2014 |
ADW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (4K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL2, Panavision C-, G-Series, ATZ and AWZ2 Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
Fury |
David Ayer, W, P, M |
|
4.1 |
2014 |
SfT![Color; Aspect: 2.35:1; Digital; Panavision; Arri Alexa Color](icons/d-rgb.png) |
Predestination |
Michael Spierig, Peter Spierig, W, W, P |
|
4.1 |
2013 |
AnAdCFFanMl![Color; Aspect: 2.35:1; Digital; Digital 3-D (source format) Digital Intermediate (2K) (master format); AUDIO: Dolby Digital, Datasat, Dolby Atmos Color](icons/d-rgb.png) |
Frozen |
Chris Buck, Jennifer Lee, W, W, ++, M |
|
4.1 |
2013 |
HoT![Color; Aspect: 2.35:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format); Arri Alexa, Leica Summilux Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
The Conjuring |
James Wan, W, W, P, M |
|
4.1 |
2010 |
AAdMSfT![Color; Aspect: 2.35:1; 35 mm (also horizontal) (Kodak Vision3 250D 5207, Vision3 500T 5219) 65 mm (Kodak Vision3 250D 5207, Vision3 500T 5219) Digital; Panavision Super 70 (some scenes) Panavision (anamorphic) VistaVision (aerial shots); Arriflex 235, Panavision Primo and G-Series Lenses Arriflex 435 ES, Panavision Primo and G-Series Lenses Beaumont VistaVision Camera, Panavision Primo Lenses Panavision 65 HR Camera, Panavision System 65 Lenses Panavision Panaflex Millennium XL, Panavision C-, E-, G-Series and Super High Speed Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses Phantom HD Camera, Panavision Primo Lenses Photo-Sonics 4C, Panavision Primo Lenses Photo-Sonics 4ER, Panavision Primo Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Inception |
Christopher Nolan, W, P, M |
|
4.1 |
2010 |
AnDFan![Color; Aspect: 1.85:1; 35 mm; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Illusionist |
Sylvain Chomet, W, W, M «L'illusionniste» |
|
4.1 |
2007 |
CrDMT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 500T 5279); Digital Intermediate (2K) (master format) Spherical (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
Gone Baby Gone |
Ben Affleck, W, W, ++, P, M |
|
4.1 |
2004 |
DFanRSf![Black and White, Color; Aspect: 2.35:1; 35 mm (Fuji Super F-250T 8552); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Gold II, Panavision C-, E-Series and Cooke Lenses; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
2046 |
Kar Wai Wong, W, P, P, M |
|
4.1 |
2004 |
BD![Black and White, Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Eastman EXR 100T 5248, Vision 200T 5274, Vision 320T 5277, Vision 500T 5279, EXR 200T 5293); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Platinum, Panavision Primo Lenses Panavision Panastar, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
The Aviator |
Martin Scorsese, W, P, M |
|
4.1 |
2002 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 500T 5279, Eastman EXR 200T 5293); Moviecam Compact, Cooke S3 and S4 Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Far from Heaven |
Todd Haynes, W, P, M |
|
4.1 |
1995 |
DR![Color; Aspect: 1.66:1; 16 mm (Eastman EXR 200T 7293, EXR 500T 7298); Super 16; Panavision Cameras and Lenses; AUDIO: Dolby, Dolby SR Color](icons/rgb.png) |
Leaving Las Vegas |
Mike Figgis, W, W, P, M |
|
4.1 |
1955 |
DNT![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
The Night of the Hunter |
Charles Laughton, ++, W, W, ++, P, M |
|
4.0 |
2013 |
CDRSf![Color; Aspect: 1.85:1; ARRIRAW; Arri Alexa M Arri Alexa Studio Canon C300; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/d-rgb.png) |
Her |
Spike Jonze, W, P |
|
4.0 |
2011 |
CrDMT![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (4K) (master format) Redcode RAW (4.5K) (5K) (source format); Red Epic, Zeiss Master Prime Lenses Red One MX, Zeiss Master Prime Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
The Girl with the Dragon Tattoo |
David Fincher, W, W, P, M, M |
|
4.0 |
2009 |
ASfT![Color; Aspect: 1.85:1; Redcode RAW Video (HD); Digital Intermediate (2K) (master format) Redcode RAW (4K) (source format) XDCAM (1080p/24) (source format) (some shots); Phantom HD Camera Red One Camera, Cooke S4 and Angenieux Optimo Lenses Sony PMW-EX1; AUDIO: DTS, Dolby Digital, SDDS Color](icons/d-rgb.png) |
District 9 |
Neill Blomkamp, W, W, P, M |
|
4.0 |
2009 |
AnAdCF![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital Stills (source format); Nikon D3, Nikon and Cooke Varotal Lenses; AUDIO: DTS, SDDS, Dolby Digital Color](icons/d-rgb.png) |
Fantastic Mr. Fox |
Wes Anderson, W, W, ++, P, M |
|
4.0 |
2007 |
ACrDWe![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 250T 8553, Eterna 250D 8563, Eterna 500T 8573); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
3:10 to Yuma |
James Mangold, W, W, ++, P, M |
|
4.0 |
2005 |
CrDWe![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Millennium, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Proposition |
John Hillcoat, W, P, M, M |
|
3.9 |
2014 |
AdFan![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (4.5K) (5K) (dual-strip 3-D) (source format); Red Epic, Zeiss Ultra Prime Lenses Red One MX, Zeiss Ultra Prime Lenses Sony DVW-790, Zeiss Ultra Prime Lenses; AUDIO: Datasat, Dolby SR, Dolby Digital, Dolby Atmos Color](icons/d-rgb.png) |
The Hobbit: The Battle of the Five Armies |
Peter Jackson, W, W, ++, P, M |
|
3.9 |
2012 |
CrDT![Color, Black and White; Aspect: 1.85:1; CineForm RAW Video (HD); AVCHD (1080p/24) (source format) CineForm RAW (2K) (source format) Digital Intermediate (2K) (master format); Canon EOS 5D Mark II, Canon Lenses Canon EOS 7D, Canon Lenses Canon XA-10 GoPro HD Hero Silicon Imaging SI-2K 'Nano', Zeiss Ultra Prime Lenses Silicon Imaging SI-2K Mini, Zeiss Ultra Prime Lenses; AUDIO: Datasat, Dolby Digital Color, Black and White](icons/rgb-bw.png) |
End of Watch |
David Ayer, W, P, M |
|
3.9 |
2009 |
AAdCrMT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 250D 5205, Vision3 500T 5219) Digital; CineForm RAW (2K) (source format) Digital Intermediate (master format) Super 35 (source format); Arriflex 435, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo Lenses Phantom HD Camera, Panavision Primo Lenses Silicon Imaging SI-2K; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
Sherlock Holmes |
Guy Ritchie, W, W, ++, P, M |
|
3.9 |
2008 |
DFanR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 50D 5201, Vision3 500T 5219) Uncompressed Digital (4:4:4) Video (HDTV); Digital Intermediate (2K) (master format) FilmStream 4:4:4 (source format) Super 35 (also 3-perf) (source format); Arriflex 435, Zeiss Lenses Sony CineAlta F23, Zeiss DigiPrime Lenses Thomson VIPER FilmStream Camera, Zeiss DigiPrime Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Curious Case of Benjamin Button |
David Fincher, W, ++, P, M |
|
3.9 |
2005 |
DHT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279, Eastman EXR 200T 5293, Fuji Super F-125T 8532, Super F-250T 8552, Super F-250D 8562); Super 35; Arricam LT, Cooke Lenses Arricam ST, Cooke Lenses Arriflex 235, Cooke Lenses Arriflex 435, Cooke Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/rgb.png) |
Munich |
Steven Spielberg, W, W, ++, P, M |
|
3.9 |
2004 |
DSp![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Panavision (anamorphic); Panavision Panaflex Platinum, Panavision C-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Million Dollar Baby |
Clint Eastwood, W, W, P, M |
|
3.9 |
2002 |
CCrD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 320T 5277, Vision Expression 500T 5284); Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Adaptation. |
Spike Jonze, W, W, ++, P, M |
|
3.8 |
2013 |
DMc![Color; 35 mm (Kodak Vision3 500T 5219); Arricam LT; AUDIO: Dolby Digital Color](icons/rgb.png) |
Inside Llewyn Davis |
Ethan Coen, Joel Coen, W, W, P |
|
3.8 |
2012 |
DMlR![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 50D 5201, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime, Ultra Prime and Angenieux Optimo Lenses Arricam ST, Zeiss Master Prime, Ultra Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Les Misérables |
Tom Hooper, W, W, ++, P |
|
3.8 |
2004 |
DR![Color; Aspect: 1.85:1; 35 mm (Kodak) (Fuji); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Before Sunset |
Richard Linklater, W, W, ++, P |
|
3.8 |
2003 |
CrDT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279, Vision 800T 5289); Digital Intermediate (2K) (master format) (some scenes) Spherical (source format); Moviecam SL, Zeiss Ultra Prime Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
21 Grams |
Alejandro González Iñárritu, W, P, M |
|
3.8 |
2000 |
CrD![Color; Aspect: 2.35:1; 35 mm (Kodak); Super 35; Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
American Psycho |
Mary Harron, W, W, ++, P, M |
|
3.8 |
1998 |
CDFan![Black and White, Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, EXR 500T 5298); Digital Intermediate (2K) (master format) (some scenes) Spherical (source format); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
Pleasantville |
Gary Ross, W, P, M |
|
3.8 |
1993 |
CD![Color; Aspect: 2.20:1; 35 mm (Agfa XT 100, XTS 400); Super 35; Camera and Lenses by Panavision; AUDIO: Dolby (as Dolby Stereo), 70 mm 6-Track (70 mm prints) Color](icons/rgb.png) |
Short Cuts |
Robert Altman, W, W, ++, P, M |
|
3.8 |
1966 |
DMT![Color (Metrocolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Metrocolor)](icons/rgb.png) |
Blow-Up |
Michelangelo Antonioni, W, W, ++, P, M «Blowup» |
|
3.7 |
2013 |
CD![Color; Color](icons/q-rgb.png) |
Calvary |
John Michael McDonagh, W, P, M |
|
3.7 |
2013 |
AAdSf![Color; Aspect: 1.66:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) 65 mm (horizontal) (Kodak Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) IMAX (source format) (some scenes) Iwerks 8/70 (source format) (some scenes) Panavision (anamorphic) (source format); Arriflex 435 ES, Panavision Primo, C-, E-Series, ATZ and AWZ2 Lenses IMAX MSM 9802, Hasselblad Lenses Iwerks MSM 8870, Hasselblad Lenses Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-Series, ATZ and AWZ2 Lenses Red Epic (some shots); AUDIO: Dolby Digital, Datasat, SDDS, Dolby Atmos Color](icons/rgb.png) |
Star Trek Into Darkness |
J.J. Abrams, W, W, ++, P, M |
|
3.7 |
2007 |
DMRW![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (master format) Super 35 (source format); Arriflex 435, Panavision Primo, Lightweight Zoom Lenses Panavision Hylén System Panavision Panaflex Millennium XL, Panavision Primo, Lightweight Zoom Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Atonement |
Joe Wright, W, W, P, M |
|
3.7 |
2007 |
AdFFanM![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (master format) IMAX Digital 3-D (dual-strip 3-D) (IMAX version) (partly) Super 35 (source format); Arricam Cameras Arriflex Cameras; AUDIO: Sonics-DDP (IMAX version), Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Harry Potter and the Order of the Phoenix |
David Yates, W, W, P, M |
|
3.7 |
2007 |
AnAdC![Color; Aspect: 2.35:1; Digital; 3-D (3-D version: 2014 re-release) Digital Intermediate (master format) Digital (source format); AUDIO: DTS, Dolby Digital Color](icons/d-rgb.png) |
The Simpsons Movie |
David Silverman, W, W, ++, M |
|
3.7 |
2002 |
AAdDHRT![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Count of Monte Cristo |
Kevin Reynolds, W, W, P, M |
|
3.7 |
1999 |
ACrDT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Ghost Dog: The Way of the Samurai |
Jim Jarmusch, W, P, M |
|
3.7 |
1998 |
CD![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Rushmore |
Wes Anderson, W, W, P, M |
|
3.6 |
2014 |
AdSf![Color; Aspect: 1.44:1; 35 mm (also horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219) 65 mm (horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219); IMAX (8K Scan) Panavision (anamorphic) (6K Scan) VistaVision (some scenes) (6K Scan); Beaumont VistaVision Camera, Panavision Primo Lenses IMAX MSM 9802, Hasselblad and Mamiya Lenses Panavision Panaflex Millennium XL2, Panavision C-, D-, E-Series and Ultra Speed Golden Lenses; AUDIO: Datasat, Dolby Digital, IMAX 6-Track Color](icons/rgb.png) |
Interstellar |
Christopher Nolan, W, W, P, M |
|
3.6 |
2012 |
ACrSfT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Gold II, Panavision C-, E-, G-Series, ATZ and AWZ2 Lenses Panavision Panaflex Millennium XL2, Panavision C-, E-, G-Series, ATZ and AWZ2 Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Looper |
Rian Johnson, W, P, M |
|
3.6 |
2011 |
DT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision2 100T 5212, Vision2 500T 5260); Digital Intermediate (master format) Super 35 (3-perf) (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
Take Shelter |
Jeff Nichols, W, P, M |
|
3.6 |
2008 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Millennium XL2, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
Seven Pounds |
Gabriele Muccino, W, P, M |
|
3.6 |
2001 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak); AUDIO: Dolby Digital Color](icons/rgb.png) |
Y Tu Mamá También |
Alfonso Cuarón, W, W, P «Y tu mamá también» |
|
3.6 |
2000 |
AAdDFanR![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 250D 5246, Vision 320T 5277); Super 35; Arriflex 435 ES, Zeiss Lenses Moviecam Compact, Zeiss Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
Crouching Tiger, Hidden Dragon |
Ang Lee, W, W, ++, P, M «Wo hu cang long» |
|
3.6 |
1997 |
D![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279, EXR 200T 5293); Arriflex 535, Zeiss Standard Speed Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Ice Storm |
Ang Lee, W, W, P, M |
|
3.6 |
1996 |
CrDT![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293); Arriflex 35 BL4, Zeiss Standard Speed Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Fargo |
Joel Coen, ++, W, W, P, M |
|
3.6 |
1995 |
ABDHW![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293, EXR 500T 5298); Panavision (anamorphic); Panavision Panaflex Platinum, Panavision C- and E-Series Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Braveheart |
Mel Gibson, W, P, M |
|
3.6 |
1988 |
D![Color (Technicolor); Aspect: 1.85:1; 35 mm; Arriflex Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Last Temptation of Christ |
Martin Scorsese, W, W, P, M |
|
3.5 |
2013 |
D![Color; Aspect: 1.85:1; Digital; HDCAM; Arri Alexa; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
Before Midnight |
Richard Linklater, W, W, ++, P, M |
|
3.5 |
2012 |
DR![Color; Aspect: 1.85:1; Codex; ArriRaw (2.8K) (source format) Digital Intermediate (4K) (master format); Arri Alexa, Cooke S4 and 5/i Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Amour |
Michael Haneke, W, P |
|
3.5 |
2009 |
AAdFanSf![Color; Aspect: 1.78:1; Digital HDCAM; Digital Intermediate (2K) (master format) Fusion Camera (dual-strip 3-D) (source format) HDCAM SR (1080p/24) (source format); PACE Fusion 3-D Sony CineAlta F23, Canon and Fujinon Lenses Sony CineAlta HDC-1500, Canon and Fujinon Lenses Sony CineAlta HDC-F950, Canon and Fujinon Lenses; AUDIO: Dolby Digital, DTS, SDDS, Sonics-DDP (IMAX version) Color](icons/d-rgb.png) |
Avatar |
James Cameron, W, P, M |
|
3.5 |
2004 |
D![Color; Aspect: 1.85:1; 35 mm (Fuji Super F-500T 8572); Panavision Panaflex Gold II Panavision Panaflex Platinum; AUDIO: Dolby Digital Color](icons/rgb.png) |
Mysterious Skin |
Gregg Araki, W, W, P, M, M |
|
3.5 |
2003 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 200T 5274, Vision 500T 5279); Arriflex 535B, Cooke S4 Lenses Moviecam SL, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
House of Sand and Fog |
Vadim Perelman, W, W, ++, P, M |
|
3.4 |
2013 |
AAdSfT![Color; Aspect: 1.44:1; 35 mm (Kodak Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219) 65 mm (horizontal) (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (4K) (master format) IMAX (source format) (some scenes) Panavision (anamorphic) (source format) Super 35 (source format) (some scenes); Arriflex 435, Panavision Primo, C- and E-Series Lenses IMAX MSM 9802, Hasselblad Lenses Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-Series, ATZ and AWZ2 Lenses; AUDIO: Dolby Digital, Datasat, Dolby Atmos Color](icons/rgb.png) |
The Hunger Games: Catching Fire |
Francis Lawrence, W, W, ++, P, M |
|
3.4 |
2009 |
AAdSf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 500T 5218); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Arriflex 435 ES, Panavision Primo Lenses Panavision Panaflex Millennium XL2, Panavision Primo, C-Series, ATZ and AWZ2 Lenses Panavision Panaflex Platinum, Panavision Primo, C-Series, ATZ and AWZ2 Lenses; AUDIO: DTS, SDDS, Dolby Digital, Sonics-DDP (IMAX version) Color](icons/rgb.png) |
Star Trek |
J.J. Abrams, W, W, ++, P, M |
|
3.4 |
2007 |
AHoT![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 500T 8573) (segment "Death Proof") Video (HDTV) (segment "Planet Terror"); Digital Intermediate (2K) (master format) HDCAM SR (source format) (segment "Planet Terror") Super 35 (3-perf) (source format) (segment "Death Proof"); Arriflex Cameras (Cook S4 Lens) Cooke and Angenieux lenses (segment "Werewolf Women of the SS") Panavision Cameras and Lenses (segment "Death Proof") Panavision Genesis HD Camera; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
Grindhouse |
Robert Rodriguez, Eli Roth, ++, W, ++, P, P, P++, M, M, M++ |
|
3.4 |
2007 |
DHoMlT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Spherical (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Sweeney Todd: The Demon Barber of Fleet Street |
Tim Burton, W, W, ++, P |
|
3.4 |
2006 |
DMcR![Color; Aspect: 1.85:1; 35 mm Video; HDV Spherical; Sony HVR-Z1; AUDIO: Dolby SR Color](icons/rgb.png) |
Once |
John Carney, W, P, M, M |
|
3.4 |
2005 |
AAdFanSf![Color; Aspect: 2.35:1; HDCAM; Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format); Sony CineAlta HDC-F950, Fujinon Cine Super C and E Series Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/h-rgb.png) |
Star Wars: Episode III - Revenge of the Sith |
George Lucas, W, P, M |
|
3.4 |
2005 |
DMT![Color; Aspect: 1.85:1; 16 mm (Kodak Vision2 500T 7218, Eastman EXR 50D 7245, Vision 250D 7246) 35 mm (Kodak Vision2 500T 5218, Eastman EXR 50D 5245, Vision 250D 5246); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format) Super 16 (source format); Aaton A-Minima, Canon and Fujinon Lenses Aaton XTR Prod, Zeiss Standard Speed, Angenieux HR and Canon Lenses Arricam LT, Zeiss Standard Speed and Angenieux HR Lenses Arriflex 435, Zeiss Standard Speed and Angenieux HR Lenses; AUDIO: DTS (as dts), Dolby Digital Color](icons/rgb.png) |
The Constant Gardener |
Fernando Meirelles, W, W, P, M |
|
3.4 |
2002 |
ADH![Black and White, Color; Aspect: 2.35:1; 35 mm (Kodak Vision 320T 5277, Fuji Super F-250T 8552); Digital Intermediate (master format) (some scenes) Super 35 (source format); Arriflex 435ES, Cooke and Angenieux Lenses Arriflex 535, Cooke and Angenieux Lenses; AUDIO: DTS, Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Hero |
Yimou Zhang, W, W, ++, P, M «Ying xiong» |
|
3.4 |
1977 |
Ho![Color (Eastmancolor) (prints), Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 100T 5254); Technovision (anamorphic); Arriflex 35-IIC, Technovision Lenses Mitchell BNC, Technovision Lenses; AUDIO: Mono (35 mm optical prints), 4-Track Stereo (35 mm magnetic prints) Color (Eastmancolor) (prints), Color (Technicolor)](icons/rgb.png) |
Suspiria |
Dario Argento, W, W, ++, P, M, M, M++ |
|
3.4 |
1973 |
HoMT![Color (Eastmancolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
The Wicker Man |
Robin Hardy, W, P, M |
|
3.3 |
2012 |
AAdT![Color; Aspect: 1.90:1; Codex Redcode RAW; ARRIRAW (2.8K) (source format) Digital Intermediate (4K) (master format) Redcode RAW (5K) (source format) (aerial shots); Arri Alexa M, Zeiss Master Prime Lenses Arri Alexa Plus, Zeiss Master Prime and Angenieux Optimo Lenses Arri Alexa Studio, Zeiss Master Prime and Angenieux Optimo Lenses Red Epic, Zeiss Master Prime Lenses (additional 2nd unit action shots); AUDIO: Dolby Digital, Datasat, SDDS, Sonics-DDP Color](icons/d-rgb.png) |
Skyfall |
Sam Mendes, W, W, ++, P, M |
|
3.3 |
2007 |
HoM![Color; Aspect: 1.85:1; DVCPRO HD (1080p/24); DVCPRO HD (source format) Digital Intermediate (2K) (master format); Panasonic AG-HVX200; AUDIO: DTS, Dolby Digital Color](icons/d-rgb.png) |
[Rec] |
Jaume Balagueró, Paco Plaza, W, W, ++, P |
|
3.3 |
2006 |
DHW![Color; Aspect: 1.85:1; 35 mm (Fuji Eterna 250D 8563, Eterna 500T 8573); Moviecam Compact, Zeiss Ultra Prime Lenses Moviecam SL, Zeiss Ultra Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Wind That Shakes the Barley |
Ken Loach, W, P, M |
|
3.3 |
2003 |
DCrT![Color; Aspect: 2.35:1; 35 mm (Kodak); J-D-C Scope (anamorphic); J-D-C Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Life of David Gale |
Alan Parker, W, P, M, M |
|
3.3 |
2002 |
ADSfT![Color; Aspect: 2.35:1; 35 mm (Kodak); Super 35; Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Equilibrium |
Kurt Wimmer, W, P, M |
|
3.3 |
2000 |
CrDT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 320T 5277, Vision 800T 5289); Digital Intermediate (master format) (some scenes) Spherical (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Traffic |
Steven Soderbergh, W, W, P, M |
|
3.3 |
1994 |
DRWWe![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 125T 5247, EXR 200T 5293, EXR 500T 5296); Panavision Panaflex Gold II, Panavision Primo and Canon Lenses; AUDIO: SDDS (8 channels), Dolby Color (Technicolor)](icons/rgb.png) |
Legends of the Fall |
Edward Zwick, W, W, ++, P, M |
|
3.2 |
2012 |
CDR![Color; Aspect: 1.85:1; 16 mm (Kodak Vision3 200T 7213); Digital Intermediate (2K) (master format) Super 16 (source format); Aaton A-Minima, Zeiss Super Speed and Canon Lenses Aaton Xterà, Zeiss Super Speed and Canon Lenses; AUDIO: Datasat, Dolby Digital Color](icons/rgb.png) |
Moonrise Kingdom |
Wes Anderson, W, W, P, M |
|
3.2 |
2007 |
C![Color; Aspect: 1.85:1; 35 mm (Kodak); Digital Intermediate (master format) Spherical (source format); Arriflex Cameras and Lenses; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
Death at a Funeral |
Frank Oz, W, P, M |
|
3.2 |
2007 |
AdBD![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 250D 8563, Eterna 500T 8573, Eterna 400T 8583); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Aaton 35-III, Zeiss Ultra Prime, Angenieux Optimo and Canon Lenses Arricam LT, Zeiss Ultra Prime, Angenieux Optimo and Canon Lenses Arriflex 435, Zeiss Ultra Prime, Angenieux Optimo and Canon Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Into the Wild |
Sean Penn, W, W, P, M, M, M |
|
3.2 |
2007 |
CDR![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217, Vision2 Expression 500T 5229); Digital Intermediate (2K) (master format) Spherical (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses Panavision Panastar, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Juno |
Jason Reitman, W, P, M |
|
3.2 |
2005 |
ACrFanMSfT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218, Vision 800T 5289); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses Arriflex 235, Cooke S4 Lenses Arriflex 435 Xtreme, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS, Sonics-DDP (IMAX version) Color](icons/rgb.png) |
V for Vendetta |
James McTeigue, W, W, ++, P, M |
|
3.2 |
2002 |
HoSfT![Color (Technicolor); Aspect: 1.85:1; 35 mm (final scene) Video (PAL) 8 mm (flashback scene); D1 (master format) DV (source format) Spherical (source format) (final scene) Super 8 (source format) (flashback scene); Arriflex Cameras (Final scene) Canon XL-1S, Canon EC and EJ Prime Lenses with Optex adapter; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
28 Days Later... |
Danny Boyle, W, P, M |
|
3.2 |
1999 |
D![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 200T 5274, Vision 500T 5279); Super 35; Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
American Beauty |
Sam Mendes, W, P, M |
|
3.2 |
1999 |
CFan![Color (Technicolor); Aspect: 1.85:1; 35 mm (Kodak Vision 320T 5277, Vision 500T 5279); Moviecam Compact, Cooke S4 Lenses Moviecam SL, Cooke S4 Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
Being John Malkovich |
Spike Jonze, W, P, M |
|
3.2 |
1998 |
AdC![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279, Eastman EXR 200T 5293); Super 35; Arriflex 35 BL4S, Zeiss Standard Speed Lenses Arriflex 35 III, Zeiss Standard Speed Lenses Arriflex 535, Zeiss Standard Speed Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Fear and Loathing in Las Vegas |
Terry Gilliam, W, W, ++, P, M |
|
3.1 |
2012 |
BDHW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (4K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Millennium XL2, Panavision Primo and Super Speed Z-Series MKII Lenses Panavision Panaflex Platinum, Panavision Primo and Super Speed Z-Series MKII Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Lincoln |
Steven Spielberg, W, W, P, M |
|
3.1 |
2010 |
DMT![Color; Aspect: 2.35:1; 16 mm (Fuji Eterna Vivid 160T 8643, Eterna Vivid 500T 8647) Digital; Digital Intermediate (2K) (master format) HDTV (1080p/24) (source format) (some scenes) Super 16 (source format); Arriflex 16 SR3, Zeiss Ultra 16 Lenses Arriflex 416, Zeiss Ultra 16 Lenses Canon EOS 5D Mark II, Canon L-Series Lenses Canon EOS 7D, Canon L-Series Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Black Swan |
Darren Aronofsky, W, W, ++, P, M |
|
3.1 |
2009 |
AdFFanM![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) IMAX Digital 3-D (some scenes) (IMAX version) Super 35 (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Harry Potter and the Half-Blood Prince |
David Yates, W, W, P, M |
|
3.1 |
2004 |
CDR![Color; Aspect: 2.35:1; 35 mm; Super 35; Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Garden State |
Zach Braff, W, P, M |
|
3.0 |
2014 |
D![Color; 35 mm; Digital Intermediate; Panavision Cameras and Lenses Color](icons/rgb.png) |
Boyhood |
Richard Linklater, W, P, P |
|
3.0 |
2011 |
AdDFM![Color; Aspect: 1.85:1; HDCAM-SR; Digital Intermediate (2K) (master format) Fusion Camera (dual-strip 3-D) (source format); Arri Alexa, Cooke S4, 5/i and Panchro Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/h-rgb.png) |
Hugo |
Martin Scorsese, W, W, P, M |
|
3.0 |
2006 |
AAdDT![Color; Aspect: 1.85:1; 16 mm (Kodak Vision2 500T 7218) 35 mm (Kodak Vision2 50D 5201, Vision2 500T 5218) Video (HDTV); Digital Intermediate (2K) (master format) HDCAM SR (source format) Spherical (source format) Super 16 (source format); Aaton A-Minima Arriflex 2C Arriflex 435 Ikonoskop A-Cam Panavision Genesis HD Camera; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
Apocalypto |
Mel Gibson, W, W, P, M |
|
3.0 |
2006 |
AdCD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 200T 5274); Super 35; Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
Little Miss Sunshine |
Jonathan Dayton, Valerie Faris, W, P, M, M |
|
3.0 |
2002 |
CrDH![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 320T 5277, Vision 500T 5279); Super 35; Arriflex 435, Cooke, Angenieux and Zeiss Lenses Arriflex 535, Cooke, Angenieux and Zeiss Lenses Arriflex 535B, Cooke, Angenieux and Zeiss Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Gangs of New York |
Martin Scorsese, W, ++, P, M |
|
3.0 |
1998 |
CrDHR![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak); Hawk Scope (anamorphic) Panavision (anamorphic); Arriflex 535, Hawk C-Series Lenses Panavision Cameras and Lenses; AUDIO: Dolby, SDDS, Dolby Digital Color (Technicolor)](icons/rgb.png) |
Les Misérables |
Bille August, W, W, P, M |
|
2.9 |
2004 |
CrHoM![Color; Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS, DTS (5.1 surround) Color](icons/rgb.png) |
Saw |
James Wan, W, W, ++, P, M |
|
2.9 |
1992 |
DHoR![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 50D 5245, EXR 500T 5296); Arriflex 535; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
Dracula |
Francis Ford Coppola, W, W, P, M |
|
2.8 |
2013 |
BCCrD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219) Codex Gemini 4:4:4; ARRIRAW (2.8K) (source format) Canon Cinema RAW (4K) (source format) (aerial shots) Digital Intermediate (4K) (master format) Hawk Scope (anamorphic) (source format) Super 35 (source format); Arri Alexa Plus, Hawk V-Lite, V-Plus, V-Series, Zeiss Master Prime and Angenieux Optimo Lenses Arri Alexa Studio, Hawk V-Lite, V-Plus, V-Series, Zeiss Master Prime and Angenieux Optimo Lenses Arricam LT, Hawk V-Lite, V-Plus, V-Series, Zeiss Master Prime and Angenieux Optimo Lenses Canon EOS C500 Phantom Camera HD; AUDIO: Datasat, Dolby Digital Color](icons/rgb.png) |
The Wolf of Wall Street |
Martin Scorsese, W, W, P |
|
2.8 |
2009 |
C![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Millennium XL, Panavision Primo Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
The Hangover |
Todd Phillips, W, W, P, M |
|
2.8 |
2007 |
DMc![Color; Aspect: 2.35:1; 35 mm (Kodak and Fuji); Digital Intermediate (master format) Super 35 (source format); Panavision Cameras and Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
August Rush |
Kirsten Sheridan, W, W, ++, P, M |
|
2.8 |
2005 |
CrDT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218); Arricam LT, Zeiss Ultra Prime and Angenieux Optimo Lenses Arricam ST, Zeiss Ultra Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital (Mono) Color](icons/rgb.png) |
Match Point |
Woody Allen, W, P |
|
2.8 |
2004 |
ACCrDR![Color; Aspect: 1.85:1; Video; Digital Video; AUDIO: Dolby Digital Color](icons/v-rgb.png) |
The Edukators |
Hans Weingartner, W, W, P, P, M «Die fetten Jahre sind vorbei» |
|
2.8 |
1979 |
DSf![Color (Sovcolor), Black and White, Color (Eastmancolor); Aspect: 1.37:1; 35 mm (Eastman); Arriflex Cameras and Lenses; AUDIO: Mono Color (Sovcolor), Black and White, Color (Eastmancolor)](icons/rgb-bw.png) |
Stalker |
Andrei Tarkovsky, W, W, ++, P, P, P, M |
|
2.7 |
2007 |
BCrDHWe![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (4K) (master format) Super 35 (source format); Arricam LT, Cooke S4, Arri Macro, Kinoptik Tégéa and Kardan Shift & Tilt Lenses Arriflex 535B, Cooke S4, Arri Macro, Kinoptik Tégéa and Kardan Shift & Tilt Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
The Assassination of Jesse James by the Coward Robert Ford |
Andrew Dominik, W, W, P, M, M |
|
2.7 |
2006 |
C![Black and White (some sequences), Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218, Vision 200T 5274); Digital Intermediate (2K) (master format) Spherical (source format); Arricam LT, Cooke S4 Lenses Arriflex 235, Cooke S4 Lenses Moviecam Compact, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Digital Black and White (some sequences), Color](icons/rgb-bw.png) |
Clerks II |
Kevin Smith, W, P, M |
|
2.7 |
2006 |
ACrDT![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses Arriflex 35-IIC, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
Running Scared |
Wayne Kramer, W, P, M |
|
2.7 |
2005 |
CrT![Black and White, Color; Aspect: 1.85:1; Video (HDTV); Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format); Sony CineAlta HDC-F950, Fujinon E-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
Sin City |
Frank Miller, Robert Rodriguez, ++, W, P, M, M, M |
|
2.6 |
2010 |
DRT![Color; Aspect: 2.35:1; 35 mm; Digital Intermediate (master format) Super 35 (source format); Arricam LT, Zeiss and Angenieux Lenses Arriflex 435 Advanced, Zeiss and Angenieux Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
My Name Is Khan |
Karan Johar, W, ++, P, M, M, M |
|
2.6 |
2009 |
DFanRSf![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 500T 8573, Eterna 400T 8583); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss Master Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Mr. Nobody |
Jaco Van Dormael, W, P, M |
|
2.6 |
2009 |
CDMc![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (master format) Super 35 (source format); Arricam LT, Zeiss Ultra Prime and Angenieux Optimo Lenses Arriflex 435, Zeiss Ultra Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital, SDDS, DTS (as dts) Color](icons/rgb.png) |
Pirate Radio |
Richard Curtis, W, P, M «The Boat That Rocked» |
|
2.6 |
2006 |
DH![Color; Aspect: 2.35:1; 35 mm; (anamorphic); AUDIO: DTS, Dolby Digital EX Color](icons/rgb.png) |
Rang De Basanti |
Rakeysh Omprakash Mehra, W, W, ++, P, M |
|
2.6 |
2003 |
CrD![Color; Aspect: 2.35:1; Video (PAL) (some scenes) Video (HDTV); DVCAM (some scenes) HDTV (1080p/24); Sony DSR-PD150P (some scenes) Sony HDW-F900, Canon Zoom Lens; AUDIO: Dolby Digital Color](icons/v-rgb.png) |
Dogville |
Lars von Trier, W, P |
|
2.5 |
2013 |
DSfT![Color; Aspect: 2.35:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format); Arri Alexa, Zeiss Master Prime Lenses; AUDIO: Datasat, Dolby Digital, Dolby Atmos Color](icons/d-rgb.png) |
Gravity |
Alfonso Cuarón, W, W, ++, P, M |
|
2.5 |
2012 |
DHT![Color; Aspect: 1.85:1; ARRIRAW; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format); Arri Alexa M, Cooke S4, Optica Elite and Angenieux HP Lenses Arri Alexa Plus, Cooke S4, Optica Elite, Angenieux HP and Optimo Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
Zero Dark Thirty |
Kathryn Bigelow, W, P, M |
|
2.5 |
2009 |
ADMSf![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); PanArri 435, Panavision Primo Lenses Panavision Panaflex Millennium XL, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: SDDS, DTS, Dolby Digital Color (Technicolor)](icons/rgb.png) |
Watchmen |
Zack Snyder, W, W, ++, P, M |
|
2.5 |
2007 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 50D 5201, Vision2 200T 5217); Panavision (anamorphic); Panavision Panaflex Millennium XL, Panavision C-, E-Series, Super High Speed, SP and Pathé Lenses Panavision Panaflex Platinum, Panavision C-, E-Series, Super High Speed and SP Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
There Will Be Blood |
Paul Thomas Anderson, W, W, P, M |
|
2.5 |
2000 |
CrDMl![Color; Aspect: 2.35:1; Video (PAL); DVCAM (anamorphic); Sony DSR-1P (with custom anamorphic lenses) Sony DSR-PD100P (with custom anamorphic lenses) Sony DSR-PD150 (with custom anamorphic lenses) Sony DXC-D30WSP (with custom anamorphic lenses); AUDIO: Dolby Digital, DTS Color](icons/v-rgb.png) |
Dancer in the Dark |
Lars von Trier, W, P, M |
|
2.5 |
1997 |
DMT![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 200T 5293, EXR 500T 5298); Panavision (anamorphic); Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses Mitchell Camera; AUDIO: Dolby Digital Color](icons/rgb.png) |
Lost Highway |
David Lynch, W, W, P, M |
|
2.4 |
2010 |
ACCr![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218, Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format) Super 35 (source format) (some scenes); Panavision Panaflex Millennium XL, Panavision G-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Kick-Ass |
Matthew Vaughn, W, W, ++, P, M, M, M++ |
|
2.4 |
2009 |
AdDW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Arriflex 435, Panavision Primo, G-Series, ATZ, AWZ2 and Cooke Lenses Panavision Panaflex Millennium, Panavision Primo, G-Series, ATZ, AWZ2 and Cooke Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Inglourious Basterds |
Quentin Tarantino, ++, W, P |
|
2.4 |
2008 |
DTW![Color; Aspect: 1.85:1; 16 mm (Fuji Eterna 250D 8663, Eterna 500T 8673) Video (HDTV); Digital Intermediate (2K) (master format) HDCAM SR (source format) (high-speed shots) Super 16 (source format); Aaton A-Minima, Canon Lenses Aaton XTR Prod, Canon Lenses REDLAKE Hi-Speed; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Hurt Locker |
Kathryn Bigelow, W, P, M, M |
|
2.4 |
2006 |
AdDSfT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 Expression 500T 5229); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss Master Prime Lenses Arriflex 235, Zeiss Master Prime Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Children of Men |
Alfonso Cuarón, W, W, ++, P, M |
|
2.4 |
2005 |
DM![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 500T 5279, Vision 800T 5289); Arriflex 35-III, Panavision Ultra Speed MKII Lenses Panavision Panaflex Gold II, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Brick |
Rian Johnson, W, P, M |
|
2.4 |
2005 |
DR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218); Super 35; Arricam LT Arricam ST Arriflex 435 Xtreme; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Pride & Prejudice |
Joe Wright, W, W, ++, P, M |
|
2.4 |
1993 |
DR![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; Arriflex Cameras and Lenses; AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
The Piano |
Jane Campion, W, P, M |
|
2.3 |
2007 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (4K) (master format) Super 35 (source format); Arricam LT, Cooke S4, Zeiss Master Prime and Arri Macro Lenses Arriflex 535B, Cooke S4, Zeiss Master Prime and Arri Macro Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
No Country for Old Men |
Ethan Coen, Joel Coen, W, W, ++, P, M |
|
2.3 |
2005 |
CrDSp![Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: Dolby Digital Color](icons/rgb.png) |
Green Street Hooligans |
Lexi Alexander, W, W, ++, P, M «Hooligans» |
|
2.3 |
2002 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 200T 5274, Vision 320T 5277, Vision 500T 5279); Panavision Panaflex Millennium, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Hours |
Stephen Daldry, W, W, P, M |
|
2.3 |
1968 |
AdMSf![Color (Technicolor); Aspect: 2.20:1; 65 mm (Eastman 50T 5251); Cinerama Super Panavision 70; Panavision Cameras and Lenses; AUDIO: 4-Track Stereo (35 mm magnetic prints), 70 mm 6-Track (70 mm prints), DTS 70 mm (2001 re-release) Color (Technicolor)](icons/rgb.png) |
2001: A Space Odyssey |
Stanley Kubrick, W, W, ++, P |
|
2.2 |
2004 |
CDR![Color; Aspect: 1.85:1; 35 mm (Fuji Reala 500D 8592); AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Sideways |
Alexander Payne, W, W, ++, P, M |
|
2.2 |
2003 |
ACrT![Black and White, Color; Aspect: 2.35:1; 35 mm (Eastman Double-X 5222, EXR 100T 5248, Kodak Vision 320T 5277, Vision 500T 5279, Vision 800T 5289, EXR 200T 5293); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
Kill Bill: Vol. 1 |
Quentin Tarantino, W, ++, P, M |
|
2.1 |
2006 |
D![Color; Aspect: 1.85:1; 16 mm (Kodak Vision2 250D 7205, Vision2 500T 7218, Eastman EXR 50D 7245, EXR 100T 7248) 35 mm (Kodak Vision2 500T 5218, Vision2 Expression 500T 5229, Vision 500T 5279, Vision 800T 5289); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format) Spherical (source format) Super 16 (source format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime and Ultra Prime Lenses Arriflex 16 SR3, Zeiss Super Speed and Angenieux HR Lenses Panavision Panaflex Millennium XL2, Panavision C-Series Lenses Panavision Panaflex Platinum, Panavision Ultra Speed MKII Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Babel |
Alejandro González Iñárritu, W, ++, P, M |
|
2.1 |
2006 |
DFan![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime, Master Zoom, Angenieux Optimo and Kenworthy Lenses Arricam ST, Zeiss Master Prime, Master Zoom, Angenieux Optimo and Kenworthy Lenses Arriflex 435, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Perfume: The Story of a Murderer |
Tom Tykwer, W, W, ++, P, M, M, M |
|
2.1 |
2003 |
CDR![Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: DTS (as dts), Dolby Digital, SDDS Color](icons/rgb.png) |
Love Actually |
Richard Curtis, W, P, M |
|
2.1 |
2001 |
CrD![Color (CFI); Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279, Vision 800T 5289); Super 35; Moviecam Compact, Zeiss and Angenieux Lenses Moviecam SL, Zeiss and Angenieux Lenses; AUDIO: Dolby Digital Color (CFI)](icons/rgb.png) |
In the Bedroom |
Todd Field, W, W, ++, P, M |
|
2.1 |
1998 |
CD![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
Happiness |
Todd Solondz, W, P, M |
|
2.1 |
1998 |
DSfT![Black and White; Aspect: 1.66:1; 16 mm (Eastman Plus-X 7276, Tri-X 7278); Super 16; Aaton XTR Prod, Canon and Angenieux Lenses Bolex H16; AUDIO: Dolby Black and White](icons/bw.png) |
Pi |
Darren Aronofsky, W, ++, P, M |
|
2.0 |
2011 |
CrD![Color; Aspect: 2.35:1; SXS Pro; Digital Intermediate (2K) (master format) ProRes 4:4:4 (1080p/24) (source format); Arri Alexa, Cooke S4, Zeiss Master Prime and Angenieux Optimo Lenses Canon EOS 5D Mark II (some shots) Clairmont Cameras and Lenses Iconix HD-RH1 (some shots) Weisscam HS-2 (high-speed shots); AUDIO: DTS, Dolby Digital, SDDS Color](icons/d-rgb.png) |
Drive |
Nicolas Winding Refn, W, W, P, M |
|
2.0 |
2007 |
C![Color; Aspect: 1.85:1; 35 mm (slow motion shots) Video (HDTV); Panavision Genesis HD Camera; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Superbad |
Greg Mottola, W, W, P, M |
|
2.0 |
2004 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 Expression 500T 5229); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Millennium XL, Panavision Super Speed MKII Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Crash |
Paul Haggis, W, ++, P, M |
|
2.0 |
1999 |
D![Color; Aspect: 2.35:1; 35 mm (Eastman Double-X 5222, Plus-X 5231, EXR 100T 5248, Kodak Vision 500T 5279); Spherical (partly) Panavision (anamorphic); Pathe Hand Crank Model 1909 (partly) Panavision Cameras and Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
Magnolia |
Paul Thomas Anderson, W, P, M |
|
1.9 |
2012 |
AdDSf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 50D 5203, Vision3 200T 5213, Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (also 3-perf) (source format); Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses Arricam ST, Zeiss Master Prime and Angenieux Optimo Lenses Phantom HD Camera, Zeiss Master Prime Lenses (high-speed shots); AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Cloud Atlas |
Tom Tykwer, Andy Wachowski, ++, W, W, ++, P, P, M, M, M |
|
1.9 |
2010 |
ACFanR![Color; Aspect: 1.85:1; 35 mm (also horizontal) (Kodak Vision2 200T 5217, Vision3 500T 5219) Video (HDTV); Digital Intermediate (2K) (master format) HDTV (source format) (high-speed shots) Panavision (anamorphic) (source format) Super 35 (source format) VistaVision (source format) (visual effects); Arriflex 435 ES, Panavision Primo, E-, G-Series, ATZ and AWZ2 Lenses Beaumont VistaVision Camera, Leica Lenses Panavision Panaflex Millennium XL2, Panavision Primo, E-, G-Series, ATZ and AWZ2 Lenses Phantom HD Camera; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Scott Pilgrim vs. the World |
Edgar Wright, W, W, ++, P, M |
|
1.9 |
2007 |
DSf![Color; Aspect: 1.85:1; Video; DV; Panasonic AG-DVX100A; AUDIO: Dolby Digital Color](icons/v-rgb.png) |
The Man from Earth |
Richard Schenkman, W, P, M |
|
1.9 |
2005 |
CrDT![Color; Aspect: 1.85:1; 35 mm; Digital Intermediate (2K) (master format) Spherical (source format); Panavision Camera and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
A History of Violence |
David Cronenberg, W, W, ++, P, M |
|
1.9 |
1977 |
FanHo![Black and White; Aspect: 1.37:1; 35 mm; Eclair Cameras; AUDIO: Dolby (re-release), Mono (original release) Black and White](icons/bw.png) |
Eraserhead |
David Lynch, W, P, P, M |
|
1.8 |
2008 |
ADFT![Color (super 35mm); AUDIO: Dolby Digital Color (super 35mm)](icons/q-rgb.png) |
A Wednesday |
Neeraj Pandey, W, P, M |
|
1.8 |
1997 |
CrDT![Color; Aspect: 1.85:1; 35 mm; Moviecam Cameras; AUDIO: Dolby Digital Color](icons/rgb.png) |
Funny Games |
Michael Haneke, W, P |
|
1.7 |
2001 |
AnD![Color; Aspect: 1.85:1; Video; DV (source format) Digital Intermediate (master format); Sony DCR-TRV900; AUDIO: Dolby Digital Color](icons/v-rgb.png) |
Waking Life |
Richard Linklater, W, P, P, M |
|
1.6 |
2003 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 500T 5263, Vision 320T 5277); Aaton 35-III, Zeiss Super Speed and Angenieux Optimo Lenses Moviecam Compact, Zeiss Super Speed and Angenieux Optimo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Lost in Translation |
Sofia Coppola, W, P, M |
|
1.6 |
1999 |
ACrT![Black and White, Color; Aspect: 2.35:1; 35 mm; Super 35; AUDIO: Dolby Black and White, Color](icons/rgb-bw.png) |
The Boondock Saints |
Troy Duffy, W, P, M |
|
1.5 |
2014 |
CD![Color; Aspect: 1.85:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format); Arri Alexa M, Leica Summilux-C and Zeiss Master Prime Lenses Arri Alexa XT, Leica Summilux-C and Zeiss Master Prime Lenses; AUDIO: Dolby Digital, Datasat Color](icons/d-rgb.png) |
Birdman: Or (The Unexpected Virtue of Ignorance) |
Alejandro González Iñárritu, W, W, ++, P, M |
|
1.5 |
2006 |
AFanHW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 Expression 500T 5229); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 235, Panavision Primo Lenses Arriflex 435 ES, Panavision Primo Lenses Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses Photo-Sonics 4ER, Panavision Primo Lenses; AUDIO: Sonics-DDP (IMAX version), DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
300 |
Zack Snyder, W, W, ++, P, M |
|
1.5 |
2001 |
DMlR![Black and White, Color; Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279, SFX 200T); Panavision (anamorphic) Super 35 (visual effects); Panavision Panaflex Millennium, Panavision Primo and C-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
Moulin Rouge! |
Baz Luhrmann, W, W, P, M |
|
1.4 |
2001 |
DMT![Color; Aspect: 1.85:1; 35 mm (Kodak); AUDIO: Dolby Digital Color](icons/rgb.png) |
Mulholland Dr. |
David Lynch, W, P, M |
|
1.4 |
2001 |
CD![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Panavision (anamorphic); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Royal Tenenbaums |
Wes Anderson, W, W, P, M |
|
1.4 |
1998 |
DW![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279); Panavision (anamorphic); Arriflex 35 III, Panavision Primo Lenses Panavision Panaflex Gold, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo and C-Series Lenses Panavision Panastar, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Thin Red Line |
Terrence Malick, W, W, P, M |
|
1.4 |
1997 |
DR![Color; Aspect: 1.78:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 500T 5279); Super 35 Techniscope (underwater scenes); Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS 70 mm (70 mm prints), DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Titanic |
James Cameron, W, P, M |
|
1.3 |
1978 |
BCrD![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Midnight Express |
Alan Parker, W, W, ++, P, M |