|
|
7.8 |
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, C, M |
|
6.2 |
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, ++, C, M |
|
7.7 |
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, ++, C, M |
|
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, ++, C, M, M |
|
7.7 |
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, C, M |
|
6.6 |
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, C, M |
|
5.2 |
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, ++, C |
|
5.9 |
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, ++, C, M |
|
7.9 |
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, ++, C, M «Il buono, il brutto, il cattivo» |
|
4.3 |
2015 |
AAdFanSf![Color; Aspect: 1.43:1; 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219) 65 mm (horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (4K) (master format) (excluding IMAX scenes in 70mm version) IMAX (source format) (some scenes) Panavision (anamorphic) (source format); IMAX MSM 9802, Hasselblad Lenses Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-, G-Series, ATZ and AWZ2 Lenses; AUDIO: 12-Track Digital Sound (IMAX 12 track), Dolby Atmos, Dolby Digital Color](icons/rgb.png) |
Star Wars: The Force Awakens |
J.J. Abrams, W, W, ++, C, 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, C, M, M, 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, ++, C, 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, C, M |
|
8.1 |
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, ++, C, M |
|
4.5 |
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, C, 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, ++, C, M |
|
7.1 |
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, ++, C, M |
|
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, ++, C, M «Shichinin no samurai» |
|
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, C, 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, ++, C |
|
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, C, M |
|
5.0 |
2015 |
Baahubali: The Beginning |
S.S. Rajamouli, W, W, ++, C, M |
|
7.5 |
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, C, M, M «Cidade de Deus» |
|
3.3 |
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, C, M |
|
5.7 |
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, C, 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, ++, C, C, C, M |
|
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, C, M |
|
4.9 |
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, C, M «La vita è bella» |
|
6.8 |
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, C, 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, C, M «Léon» |
|
7.2 |
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, ++, C, M «C'era una volta il West» |
|
8.0 |
1931 |
CDR![Black and White; Silent](icons/bw.png) |
City Lights |
Charles Chaplin, W, ++, C, C, 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, C, M «Sen to Chihiro no kamikakushi» |
|
7.2 |
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, C, M «Intouchables» |
|
7.1 |
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, ++, C, M |
|
4.4 |
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, C, M |
|
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, C, M |
|
7.7 |
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, C, C, M |
|
7.7 |
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, C, M |
|
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, ++, C, 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, C, 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, C, M |
|
5.2 |
2014 |
D |
Whiplash |
Damien Chazelle, W, C, M |
|
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, C, 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, C, M |
|
4.8 |
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, ++, C, M, 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, ++, C, 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, ++, C, M |
|
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, C, 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, C, M |
|
6.2 |
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, ++, C, 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, ++, C, M, M |
|
7.5 |
1988 |
D![Color; Aspect: 1.66:1; 35 mm (Kodak); AUDIO: Dolby Color](icons/rgb.png) |
Cinema Paradiso |
Giuseppe Tornatore, W, ++, C, M «Nuovo Cinema Paradiso» |
|
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, ++, C, 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, ++, C, 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, C, C, M, 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 |
|
7.3 |
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, C, M, M «Das Leben der Anderen» |
|
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, ++, C, 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, ++, C, 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, C, M «Hotaru no haka» |
|
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, C |
|
5.5 |
2009 |
3 Idiots |
Rajkumar Hirani, W, W, ++, C, M, M, M |
|
4.7 |
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, ++, C, M, 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, ++, C, 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 |
|
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, C, M «Mononoke-hime» |
|
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, C, M |
|
7.0 |
1931 |
CrNT![Black and White; Aspect: 1.20:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
M |
Fritz Lang, W, W, ++, C |
|
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, C, M |
|
6.7 |
2014 |
Queen |
Vikas Bahl, W, W, ++, C, C, M |
|
4.2 |
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, ++, C, 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, ++, C, M «Oldeuboi» |
|
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, ++, C, 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, ++, C, M |
|
7.2 |
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, C, M |
|
7.2 |
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, C, M «Jodaeiye Nader az Simin» |
|
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, ++, C, M «Le fabuleux destin d'Amélie Poulain» |
|
6.0 |
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, ++, C, 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, ++, C, C, M |
|
7.4 |
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, ++, C, M |
|
6.7 |
1927 |
DR![Black and White; Silent](icons/bw.png) |
Sunrise |
F.W. Murnau, W, W, ++, C, C, M, M, M++ «Sunrise: A Song of Two Humans» |
|
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, C, 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, ++, C, M |
|
6.6 |
2007 |
Chakde! India |
Shimit Amin, W, C, M, M |
|
6.4 |
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, C, 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, ++, C, 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, C |
|
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 |
|
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, ++, C |
|
7.6 |
1921 |
CDF![Black and White; Silent](icons/bw.png) |
The Kid |
Charles Chaplin, W, C, M |
|
7.2 |
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, ++, C, M «Ladri di biciclette» |
|
4.6 |
2015 |
AnAdCDFFan![Color, Color (HD); Aspect: 1.85:1; Digital; Digital 3-D (source format) Digital Intermediate (2K) (master format); AUDIO: Dolby Digital, Datasat, Dolby Atmos Color, Color (HD)](icons/d-rgb.png) |
Inside Out |
Pete Docter, Ronaldo Del Carmen, W, W, ++, 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, ++, C, M |
|
6.3 |
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, C, M |
|
7.4 |
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, ++, C, M |
|
6.5 |
2013 |
Bhaag Milkha Bhaag |
Rakeysh Omprakash Mehra, W, W, C, M, M, M |
|
7.2 |
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, ++, C, M |
|
6.5 |
2012 |
Gangs of Wasseypur |
Anurag Kashyap, W, W, ++, C, 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, C |
|
7.4 |
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, C |
|
7.5 |
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, ++, C, M «Yôjinbô» |
|
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, ++, C, M «Rashômon» |
|
6.7 |
2014 |
Haider |
Vishal Bhardwaj, W, W, ++, C, M |
|
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, ++, C, 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, C, M |
|
6.9 |
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, ++, C |
|
7.5 |
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, C, M |
|
2.4 |
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, ++, C |
|
7.4 |
1952 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Ikiru |
Akira Kurosawa, W, W, ++, C, 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, C, M |
|
6.6 |
1927 |
DSf![Black and White; Silent](icons/bw.png) |
Metropolis |
Fritz Lang, W, ++, C, C, C, M, M, M++ |
|
7.2 |
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, ++, C, M «Per qualche dollaro in più» |
|
6.7 |
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, ++, C, M |
|
5.7 |
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, ++, C, 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, C |
|
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, ++, C, M |
|
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, ++, C, M |
|
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 |
|
4.4 |
2014 |
PK |
Rajkumar Hirani, W, W, C, M, 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, ++, C, M, M |
|
6.9 |
2004 |
Swades |
Ashutosh Gowariker, W, W, ++, C, M «Swades: We, the People» |
|
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, C, M «Jagten» |
|
5.5 |
1995 |
Dilwale Dulhania Le Jayenge |
Aditya Chopra, W, W, C, M, 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, ++, C, M |
|
5.9 |
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, C, 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, ++, C, M |
|
7.4 |
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, ++, C, M «Der Untergang» |
|
5.3 |
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 |
|
6.7 |
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, ++, C, 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, ++, C, M |
|
7.3 |
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, ++, C, C, C, M |
|
5.3 |
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, ++, C |
|
6.9 |
1926 |
AAdCRW![Black and White (Sepiatone); Silent](icons/bw.png) |
The General |
Clyde Bruckman, Buster Keaton, W, W, ++, C, C, M, M, M++ |
|
5.2 |
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, C, M |
|
7.0 |
1925 |
AdCFRWe![Black and White; Silent](icons/bw.png) |
The Gold Rush |
Charles Chaplin, W, C, M, M, M |
|
6.9 |
1957 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Wild Strawberries |
Ingmar Bergman, W, C, M, M «Smultronstället» |
|
7.2 |
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, C, M «Tonari no Totoro» |
|
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, ++, C, C, 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, ++, C, M |
|
6.4 |
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, C, 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, C, M «Det sjunde inseglet» |
|
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, ++, C, M |
|
4.2 |
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, C, M «El laberinto del fauno» |
|
7.0 |
2012 |
Kahaani |
Sujoy Ghosh, W, ++, C, M, M |
|
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, ++, C, M, M «El secreto de sus ojos» |
|
6.2 |
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, ++, C, M |
|
5.6 |
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, C, M «Hauru no ugoku shiro» |
|
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, ++, C, M |
|
5.3 |
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, ++, C, M |
|
7.1 |
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, ++, C, M «Le salaire de la peur» |
|
5.2 |
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, ++, C, 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, ++, C, 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, C, M, 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, C |
|
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, ++, C, 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, ++, C, M |
|
4.5 |
2012 |
Barfi! |
Anurag Basu, W, W, C, 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, C, M |
|
5.9 |
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, ++, C |
|
5.7 |
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, ++, C, C, M |
|
2.9 |
2015 |
AAdSfT![Color; Aspect: 2.35:1; CF Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format) ProRes 4:2:2 (1080p/24) (source format); Arri Alexa M, Panavision Primo Lenses Arri Alexa Plus, Panavision Primo Lenses Blackmagic Cinema Camera (some shots) Canon EOS 5D Mark II (some shots) Olympus P5 (some shots); AUDIO: Dolby Digital, Datasat, SDDS, Dolby Atmos Color](icons/d-rgb.png) |
Mad Max: Fury Road |
George Miller, W, W, ++, C, M |
|
6.5 |
2015 |
Bajrangi Bhaijaan |
Kabir Khan, W, ++, C, M |
|
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, ++, C, M |
|
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, C, 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, C, M |
|
5.5 |
2015 |
AAdSf![Color; Redcode RAW; Digital Intermediate (2K) (master format) Redcode RAW (5K) (also dual-strip 3-D) (source format); GoPro HERO4 Red Epic Dragon, Angenieux Optimo Lenses Red Scarlet Dragon, Angenieux Optimo Lenses; AUDIO: Dolby Digital, Dolby Atmos Color](icons/d-rgb.png) |
The Martian |
Ridley Scott, W, W, C, 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 |
|
6.7 |
2001 |
Lagaan: Once Upon a Time in India |
Ashutosh Gowariker, W, ++, C, 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, ++, C, M, M |
|
6.9 |
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, C, 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, C, M |
|
5.5 |
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, ++, C, M |
|
3.3 |
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, C, M, 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, C, M «Yeopgijeogin geunyeo» |
|
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, C, M |
|
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, C |
|
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, C, 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, C, M |
|
6.9 |
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, C, 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, C, M |
|
6.9 |
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, ++, C, M «Les quatre cents coups» |
|
7.5 |
2014 |
CT![Color; Aspect: 2.35:1 Color](icons/q-rgb.png) |
Wild Tales |
Damián Szifron, W, C, M «Relatos salvajes» |
|
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, ++, C, C, C, 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, C, M |
|
3.1 |
2014 |
DMT![Color; Aspect: 2.35:1; Redcode RAW; Digital Intermediate (4K) (master format) Redcode RAW (6K) (source format); Red Epic Dragon, Leica Summilux-C Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Gone Girl |
David Fincher, W, C, M, M |
|
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, ++, C, M «Taegukgi hwinalrimyeo» |
|
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, C, 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, C, 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, C, M, M «La battaglia di Algeri» |
|
7.7 |
1957 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording), Mono (Perspecta Sound encoding) Black and White](icons/bw.png) |
Throne of Blood |
Akira Kurosawa, W, W, ++, C, M «Kumonosu-jô» |
|
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, ++, C, M «Les diaboliques» |
|
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, ++, C, C, C, 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, ++, C, M |
|
7.0 |
1976 |
D![Color (Metrocolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Metrocolor)](icons/rgb.png) |
Network |
Sidney Lumet, W, C, 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, C, M, M, M |
|
7.0 |
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, C, 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, ++, C, M |
|
6.4 |
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, C, 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, ++, C, M |
|
6.4 |
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, C, M |
|
6.7 |
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» |
|
6.2 |
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, C, M «Fanny och Alexander» |
|
6.7 |
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, C, M «La leggenda del pianista sull'oceano» |
|
6.2 |
1995 |
CDW![Color; Aspect: 1.78:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Underground |
Emir Kusturica, W, W, C, 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, ++, C, M |
|
6.0 |
2015 |
Baby |
Neeraj Pandey, W, C |
|
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, C, M |
|
6.5 |
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, C, M, M, M «Crna macka, beli macor» |
|
4.8 |
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, ++, C, 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, ++, C, 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, C, M |
|
6.3 |
2015 |
BDMc![Color; Aspect: 2.35:1; Redcode RAW; /i Scope (anamorphic) (source format) Digital Intermediate (2K) (master format) Kowa Scope (anamorphic) (source format) Redcode RAW (6K) (source format); Red Epic Dragon, Cooke Anamorphic/i, Kowa Prominar, Zeiss Super Speed, Lightweight, Fujinon Alura, Angenieux Optimo and Optimo 2S Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/d-rgb.png) |
Straight Outta Compton |
F. Gary Gray, W, W, ++, C, M |
|
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, ++, C, 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, C, M «Amores perros» |
|
5.2 |
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, ++, C, M |
|
7.3 |
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, C, M |
|
5.8 |
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, ++, C, M, M, M++ |
|
6.7 |
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, ++, C, M |
|
4.5 |
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, C, M |
|
6.0 |
1967 |
CrDMT![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Le Samouraï |
Jean-Pierre Melville, W, W, ++, C, M «Le samouraï» |
|
6.7 |
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, ++, C, C, M |
|
5.1 |
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, ++, C, M |
|
5.7 |
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, C |
|
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, ++, C, M «Salinui chueok» |
|
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, C, M «Okuribito» |
|
5.4 |
2011 |
Zindagi Na Milegi Dobara |
Zoya Akhtar, W, W, ++, C, M, M, M |
|
4.6 |
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, C |
|
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, C, C, M «Mou gaan dou» |
|
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, C, C, M, M, M «Chung Hing sam lam» |
|
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, C, M |
|
5.3 |
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, C, M |
|
5.0 |
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, C, M |
|
6.7 |
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, C, C, 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, C, M |
|
6.2 |
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, C, M «Bin-jip» |
|
5.0 |
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, ++, C, M «Solyaris» |
|
6.7 |
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, ++, C, M |
|
6.5 |
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, C |
|
4.9 |
2014 |
AAdSf![Color; Aspect: 1.90:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format) J-D-C Scope (anamorphic) (source format) (one scene); Arri Alexa XT Plus, Panavision Primo, Cooke Xtal Express and Angenieux Optimo Lenses; AUDIO: Datasat, Dolby Digital, Dolby Atmos Color](icons/d-rgb.png) |
Guardians of the Galaxy |
James Gunn, W, W, ++, C, 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, C, M «La haine» |
|
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, ++, C, M |
|
5.7 |
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, ++, C, 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, ++, C, C, M «La strada» |
|
7.0 |
1920 |
Ho![Black and White (tinted); Silent](icons/bw.png) |
The Cabinet of Dr. Caligari |
Robert Wiene, W, W, C, M, M, M++ «Das Cabinet des Dr. Caligari» |
|
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, C, M «Bom yeoreum gaeul gyeoul geurigo bom» |
|
6.0 |
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, ++, C, M «La dolce vita» |
|
4.9 |
1984 |
D![Color; Aspect: 1.66:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Paris, Texas |
Wim Wenders, W, W, C, M |
|
7.3 |
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, ++, C |
|
6.5 |
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, ++, C, M «Festen» |
|
6.0 |
1972 |
MT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Color](icons/rgb.png) |
Sleuth |
Joseph L. Mankiewicz, W, C, 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, ++, C, M «Tropa de Elite 2 - O Inimigo Agora É Outro» |
|
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, ++, C, M |
|
2.8 |
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, C, M, M, M |
|
7.3 |
1986 |
AnAAdFFanR![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Color](icons/rgb.png) |
Castle in the Sky |
Hayao Miyazaki, W, C, M «Tenkû no shiro Rapyuta» |
|
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, C, M «Yip Man» |
|
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, C, M «Trois couleurs: Rouge» |
|
4.9 |
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, ++, C, M «Der Himmel über Berlin» |
|
6.0 |
2014 |
BDTW![Color, Black and White (archive footage); Aspect: 2.35:1; 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 Lenses Arricam ST, Zeiss Master Prime Lenses; AUDIO: Dolby Digital Color, Black and White (archive footage)](icons/rgb-bw.png) |
The Imitation Game |
Morten Tyldum, W, W, C, M |
|
6.7 |
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, ++, C, M |
|
5.8 |
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, C, C, C, M, M «Fa yeung nin wa» |
|
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, C, M |
|
6.6 |
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, C, M |
|
7.4 |
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, ++, C, C, 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, ++, C, 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, ++, C, M «Tropa de Elite» |
|
6.5 |
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, ++, C, 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, ++, C, M |
|
4.4 |
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, ++, C, M |
|
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, C, M |
|
6.4 |
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, ++, C, 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, C, M |
|
5.8 |
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, ++, C, M |
|
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, ++, C, M |
|
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, ++, C, M |
|
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, C, M «Mar adentro» |
|
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, ++, C, M |
|
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, ++, C, M, 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 |
|
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, ++, C, M |
|
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, ++, C, M |
|
6.1 |
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, ++, C, 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, ++, C, M |
|
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, ++, C, M |
|
6.5 |
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, C, M |
|
7.7 |
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, ++, C, M |
|
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, ++, C, M |
|
7.6 |
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, ++, C, M |
|
6.9 |
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, ++, C |
|
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, ++, C, 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, ++, C, 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, ++, C, C, M «Per un pugno di dollari» |
|
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, ++, C, C, M, M |
|
4.9 |
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, C, M |
|
6.7 |
2003 |
Kal Ho Naa Ho |
Nikhil Advani, W, ++, C, M, M, M |
|
2.2 |
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, C |
|
6.7 |
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, ++, C, M |
|
6.7 |
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, C, M |
|
4.4 |
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, ++, C |
|
6.4 |
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, ++, C, 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, C, M |
|
7.3 |
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, C, M «Le scaphandre et le papillon» |
|
6.6 |
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, C, M |
|
7.0 |
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 |
|
6.6 |
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, ++, C, 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, C |
|
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 |
|
7.0 |
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, ++, C, M, M |
|
6.1 |
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, C, M |
|
6.9 |
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, ++, C, 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, ++, C, M |
|
7.0 |
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, ++, C, C, M |
|
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, ++, C |
|
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, ++, C, 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, C, M |
|
5.5 |
2015 |
CrDMT![Color; Aspect: 2.35:1; Codex; ARRIRAW (3.4K) (source format) Digital Intermediate (4K) (master format); Arri Alexa XT Plus, Zeiss Master Prime Lenses Arri Alexa XT Studio, Zeiss Master Prime Lenses; AUDIO: Dolby Digital, Dolby Atmos Color](icons/d-rgb.png) |
Sicario |
Denis Villeneuve, W, C, 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, ++, C, M, M, 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, C, 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, C, M |
|
6.6 |
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, C, C, M, M, M «The Raid 2: Berandal» |
|
7.0 |
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, ++, C, M |
|
6.9 |
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, C |
|
5.5 |
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, ++, C, M |
|
5.4 |
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, ++, C, M |
|
5.3 |
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, ++, C, M |
|
6.0 |
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, C, M «Aguirre, der Zorn Gottes» |
|
5.0 |
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, C, 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, C, 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, ++, C, M |
|
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, C, M «Vozvrashchenie» |
|
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, C |
|
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, ++, C, 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, C, M |
|
5.9 |
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, C, M |
|
6.9 |
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, ++, C, M |
|
7.3 |
2007 |
Jab We Met |
Imtiaz Ali, W, C, M, M, M |
|
5.3 |
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, ++, C, M |
|
7.1 |
2008 |
DoAnBDW![Color; Aspect: 1.85:1; 35 mm Digital; Digital Intermediate (master format) Digital (source format) Spherical (source format); AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Waltz with Bashir |
Ari Folman, W, M «Vals Im Bashir» |
|
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, ++, C, 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, C, M «Hable con ella» |
|
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, ++, C, C, M |
|
6.7 |
1922 |
Ho![Black and White; Silent](icons/bw.png) |
Nosferatu |
F.W. Murnau, W, ++, C, C, M, M, M++ «Nosferatu, eine Symphonie des Grauens» |
|
7.2 |
2013 |
D![Color; Color](icons/q-rgb.png) |
Short Term 12 |
Destin Cretton, W, C, 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, ++, C, M, M «Central do Brasil» |
|
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, ++, C, M |
|
7.7 |
1995 |
AnDFMcR![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Whisper of the Heart |
Yoshifumi Kondô, W, W, ++, C, M «Mimi wo sumaseba» |
|
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, C, M |
|
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, C, M |
|
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 |
|
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, C, M, M, M++ |
|
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, C, M «Kôkaku kidôtai» |
|
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, ++, C, M |
|
6.6 |
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, ++, C, M |
|
2.6 |
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, C, M |
|
6.2 |
1925 |
DH![Black and White; Silent](icons/bw.png) |
Battleship Potemkin |
Sergei M. Eisenstein, W, ++, C, C, M, M, M++ «Bronenosets Potyomkin» |
|
6.9 |
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, C, 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, C, M |
|
3.2 |
2014 |
D![Color; 35 mm; Digital Intermediate; Panavision Cameras and Lenses Color](icons/rgb.png) |
Boyhood |
Richard Linklater, W, C, C |
|
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 |
|
3.9 |
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, C |
|
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, C, 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, ++, C, M |
|
6.8 |
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, ++, C, M |
|
7.0 |
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, C, M |
|
6.7 |
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, ++, C, M |
|
7.1 |
2013 |
D![Color; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Dallas Buyers Club |
Jean-Marc Vallée, W, W, C |
|
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, ++, C, 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, C, M |
|
6.5 |
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, C, 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, ++, C, 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, C, M |
|
7.3 |
2004 |
DR![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Head-On |
Fatih Akin, W, C, M, M «Gegen die Wand» |
|
6.2 |
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, ++, C, M |
|
6.0 |
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, C, M |
|
5.9 |
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, C, 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, ++, C, M «Trois couleurs: Bleu» |
|
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, ++, C, M |
|
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, C, M, 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, ++, C, M |
|
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, ++, C, C, M |
|
6.5 |
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, C |
|
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, ++, C, 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, C, 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, ++, C, M, M |
|
5.0 |
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, C, M «Låt den rätte komma in» |
|
7.3 |
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, ++, C, 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, C, M |
|
6.8 |
2013 |
Special 26 |
Neeraj Pandey, W, C, M, M, M «Special Chabbis» |
|
6.5 |
1972 |
CDFan![Color (Eastmancolor); Aspect: 1.66:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
The Discreet Charm of the Bourgeoisie |
Luis Buñuel, W, W, C «Le charme discret de la bourgeoisie» |
|
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, C, M |
|
6.1 |
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, C, C, C, 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, C, M |
|
7.1 |
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, C |
|
6.5 |
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, ++, C, M |
|
5.2 |
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, ++, C, M «À bout de souffle» |
|
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, ++, C, C, C++, 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, C, M |
|
2.0 |
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, C, 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, C, 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, ++, C |
|
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, ++, C, 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, ++, C, M |
|
6.9 |
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, ++, C, 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, C, M |
|
1.9 |
2010 |
My Name Is Khan |
Karan Johar, W, ++, C, M, M, M |
|
4.6 |
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, ++, C, M |
|
7.3 |
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, C |
|
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, ++, C, M, M |
|
3.7 |
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, ++, C, M |
|
2.8 |
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, ++, C, M |
|
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, C, M |
|
5.6 |
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, C, C, M |
|
6.7 |
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, C, M |
|
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, C, M |
|
7.4 |
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, ++, C, 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, C, 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, ++, C, M |
|
3.5 |
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, ++, C, M «Ying xiong» |
|
6.1 |
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, ++, C, M |
|
5.1 |
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, ++, C, 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, ++, C, M |
|
6.8 |
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, ++, C, 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, C, M |
|
6.5 |
2015 |
DT![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (4K) (master format) Hawk Scope (anamorphic) (source format); Arricam LT, Hawk V-Lite, V-Lite Vintage '74 and V-Plus Lenses Arricam ST, Hawk V-Lite, V-Lite Vintage '74 and V-Plus Lenses Arriflex 235, Hawk V-Lite, V-Lite Vintage '74 and V-Plus Lenses Arriflex 435 Advanced, Hawk V-Lite, V-Lite Vintage '74 and V-Plus Lenses; AUDIO: Datasat, Dolby Digital Color](icons/rgb.png) |
Bridge of Spies |
Steven Spielberg, W, W, ++, C, M |
|
3.7 |
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, C, M, 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, ++, C, M «Bride of Frankenstein» |
|
4.8 |
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, C «4 luni, 3 saptamâni si 2 zile» |
|
7.1 |
2000 |
CrDT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Nine Queens |
Fabián Bielinsky, W, C, M «Nueve reinas» |
|
6.6 |
1952 |
CDR![Color (Technicolor); Aspect: 1.37:1; 35 mm; Mitchell Cameras; AUDIO: Mono (RCA Sound System) Color (Technicolor)](icons/rgb.png) |
The Quiet Man |
John Ford, W, W, ++, C, M |
|
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, ++, C, M «Cowboy Bebop: Tengoku no tobira» |
|
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, ++, C, M «Chugyeogja» |
|
7.1 |
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, C, M |
|
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, ++, C, 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, C, C, M «Dip huet seung hung» |
|
6.6 |
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, ++, C, M |
|
6.6 |
1967 |
BCrD![Color (Technicolor); Aspect: 1.78:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Bonnie and Clyde |
Arthur Penn, W, W, ++, C, M |
|
6.7 |
1992 |
ACrDT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Hard Boiled |
John Woo, W, W, ++, C, M «Lat sau san taam» |
|
2.5 |
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, ++, C, M |
|
6.3 |
1993 |
AnAAdFanT![Color; Aspect: 1.33:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Ninja Scroll |
Yoshiaki Kawajiri, Kevin Seymour, W, C, M «Jûbê ninpûchô» |
|
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, C, M «Todo sobre mi madre» |
|
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, ++, C, M «Un prophète» |
|
6.6 |
1973 |
CrD![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Badlands |
Terrence Malick, W, C, C, C, 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, C, 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, ++, C |
|
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, ++, C, 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, ++, C, 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, C, M |
|
6.0 |
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 |
|
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, ++, C, 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, ++, C, M |
|
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, ++, C, M, M |
|
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, ++, C, M «Wo hu cang long» |
|
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, C, 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, C, 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, ++, C, 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, ++, C, C, C, M «Les choristes» |
|
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, C, M |
|
5.7 |
1991 |
DFanMcR![Color; Aspect: 1.66:1; 35 mm (Kodak); Moviecam Cameras; AUDIO: Dolby SR Color](icons/rgb.png) |
The Double Life of Veronique |
Krzysztof Kieslowski, W, W, C, M «La double vie de Véronique» |
|
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, ++, C, M |
|
6.4 |
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, ++, C, 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, C, M |
|
4.7 |
1962 |
DR![Black and White; Aspect: 2.35:1; 35 mm; Franscope; Chevereau Cameras; AUDIO: Mono Black and White](icons/bw.png) |
Jules and Jim |
François Truffaut, W, W, ++, C, M «Jules et Jim» |
|
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, C, M «Lilja 4-ever» |
|
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 |
|
5.8 |
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 |
|
6.7 |
2013 |
D![Color; Aspect: 1.85:1; Arri Alexa Color](icons/d-rgb.png) |
The Past |
Asghar Farhadi, W, W, C, M, M «Le passé» |
|
5.3 |
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, ++, C, M |
|
4.7 |
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, ++, C, M, M |
|
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, C, M |
|
2.1 |
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, ++, C, M |
|
7.5 |
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, C, C, M |
|
6.4 |
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, C, M |
|
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, C, M |
|
6.9 |
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, ++, C, 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, ++, C, M «My Left Foot: The Story of Christy Brown» |
|
7.3 |
2007 |
D![Color; Aspect: 1.85:1; 35 mm (Fuji); Digital Intermediate (source format) Spherical (master format); AUDIO: Dolby Digital EX Color](icons/rgb.png) |
The Edge of Heaven |
Fatih Akin, W, C, M «Auf der anderen Seite» |
|
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, ++, C, M |
|
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, C, M |
|
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, ++, C, 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, ++, C, M |
|
6.3 |
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, ++, C, M, M |
|
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, C, M «Majo no takkyûbin» |
|
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, C, M «Ajeossi» |
|
4.4 |
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, C, M |
|
7.4 |
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» |
|
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, C, 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, C, M, 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, C, M |
|
6.6 |
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, C, M, M, M |
|
5.9 |
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, C, M |
|
5.1 |
2013 |
DR![Color; Aspect: 2.35:1; Canon C300 Color](icons/d-rgb.png) |
Blue Is the Warmest Color |
Abdellatif Kechiche, W, W, ++, C «La vie d'Adèle» |
|
3.8 |
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, C |
|
5.1 |
2004 |
Veer-Zaara |
Yash Chopra, W, ++, C, M, M |
|
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, C, M |
|
7.7 |
1993 |
AnACrFMRSfT![Color; Aspect: 1.33:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Batman: Mask of the Phantasm |
Eric Radomski, Bruce W. Timm, ++, W, W, ++, M |
|
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, C |
|
3.9 |
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, C, M, 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, C, M |
|
6.4 |
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, ++, C, M, 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, C, M |
|
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, C, M |
|
6.9 |
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, C, M «Adams æbler» |
|
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, ++, C, M «Män som hatar kvinnor» |
|
6.5 |
2015 |
CD![Color; Aspect: 2.35:1; SxS Pro; Digital Intermediate (2K) (master format) Master Scope (anamorphic) (source format) ProRes 4:4:4 (2K) (source format); Arri Alexa Studio, Zeiss Master Anamorphic and Master Prime Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Me and Earl and the Dying Girl |
Alfonso Gomez-Rejon, W, C, M, M |
|
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, ++, C |
|
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, C, M |
|
4.5 |
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, C, M «Akmareul boatda» |
|
6.7 |
1987 |
CD![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Withnail & I |
Bruce Robinson, W, C, M, 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, C, M «La migliore offerta» |
|
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, ++, C, M «Diarios de motocicleta» |
|
5.0 |
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» |
|
6.2 |
2003 |
D![Color; Aspect: 1.85:1; 35 mm; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Evil |
Mikael Håfström, W, W, ++, C, M «Ondskan» |
|
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, C, 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, C, 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, C, M |
|
5.9 |
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, C, M |
|
4.4 |
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, C, M «Zwartboek» |
|
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, C, M |
|
5.8 |
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, ++, C, M |
|
6.2 |
2009 |
CrDMT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219); Digital Intermediate (2K) (master format) Hawk Scope (anamorphic) (source format); Arricam LT, Hawk V-Plus and V-Series Lenses Arricam ST, Hawk V-Plus and V-Series Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Mother |
Joon-ho Bong, W, W, ++, C, M «Madeo» |
|
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, C, M |
|
6.4 |
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 |
|
6.2 |
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, C, M |
|
4.0 |
1998 |
Kuch Kuch Hota Hai |
Karan Johar, W, ++, C, M, 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, C, 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, ++, C, 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, C, M |
|
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, C, M, M «Abre los ojos» |
|
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, ++, C, M |
|
6.7 |
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, ++, C |
|
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, C, M |
|
5.6 |
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, ++, C |
|
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» |
|
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, C, M |
|
4.1 |
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, ++, C, 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, ++, C, M |
|
6.5 |
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, C, 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, ++, C «Belle de jour» |
|
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, C, 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, C, M «The Boy in the Striped Pyjamas» |
|
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, C, C, M |
|
6.8 |
1975 |
CW![Color; Aspect: 1.33:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Mono Color](icons/rgb.png) |
Love and Death |
Woody Allen, W, C |
|
5.4 |
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, ++, C, 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, C, C, M «Kurenai no buta» |
|
3.3 |
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, C, 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, C, M |
|
7.0 |
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, ++, C, M «Ghost Busters» |
|
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, ++, C, 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, C «Das weiße Band - Eine deutsche Kindergeschichte» |
|
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, C, M |
|
5.1 |
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, ++, C, M |
|
5.4 |
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, ++, C, M, 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, ++, C, 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, ++, C, 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, C, M |
|
7.3 |
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, ++, C, M, 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, ++, C, M |
|
5.1 |
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, ++, C, C, 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, ++, C, 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, C, M |
|
7.6 |
2001 |
CDMcMl![Color; Aspect: 1.85:1; 35 mm; Panavision Panaflex Millennium XL; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Hedwig and the Angry Inch |
John Cameron Mitchell, W, W, ++, C, M |
|
6.7 |
2013 |
The Lunchbox |
Ritesh Batra, W, C, M «Dabba» |
|
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, C, M |
|
2.8 |
2014 |
AAdCCrSf![Color; Aspect: 2.35:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format) Hawk Scope (anamorphic) (source format); Arri Alexa XT Plus, Hawk V-Lite, V-Plus, V-Series, Cooke S4, Fujinon Alura and Angenieux Optimo Lenses Blackmagic Cinema Camera, Canon L-Series and Cooke miniS4 Lenses Canon EOS 5D Mark II, Canon L-Series Lenses Phantom Flex, Cooke S4, Fujinon Alura and Angenieux Optimo Lenses; AUDIO: Dolby Atmos Color](icons/d-rgb.png) |
Kingsman: The Secret Service |
Matthew Vaughn, W, W, ++, C, M, M |
|
5.3 |
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, ++, C, 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, ++, C, 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, C, 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, ++, C, 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, ++, C, M |
|
4.8 |
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, ++, C, M |
|
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, ++, C, M |
|
6.2 |
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, C, M |
|
5.9 |
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, ++, C, M |
|
6.7 |
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, C, M |
|
6.4 |
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, ++, C, C, 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 |
|
6.1 |
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, C, M |
|
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, C, M |
|
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, ++, C, M |
|
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, ++, C, M, M, 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 |
|
6.7 |
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, ++, C, 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, C, 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, ++, C, M, M, M++ «Kung fu» |
|
5.9 |
1976 |
T![Color (Eastmancolor); Aspect: 1.66:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
The Tenant |
Roman Polanski, W, W, ++, C, M «Le locataire» |
|
7.6 |
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, C, M |
|
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, C, M |
|
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, C, M, M, M «Lola rennt» |
|
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, C, M |
|
6.6 |
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, C, C, M |
|
3.0 |
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, C, M |
|
5.9 |
2014 |
CD![Color; Color](icons/q-rgb.png) |
Pride |
Matthew Warchus, W, C, M |
|
5.9 |
2001 |
DT![Color; Aspect: 1.85:1; 35 mm (Fuji); AUDIO: Dolby Digital Color](icons/rgb.png) |
The Experiment |
Oliver Hirschbiegel, W, ++, C, M «Das Experiment» |
|
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, ++, C, M |
|
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, ++, C, 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, C, C, M |
|
3.2 |
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, ++, C, M |
|
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, C, M, M |
|
6.3 |
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, ++, C, 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, C, 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, ++, C, M «Der Name der Rose» |
|
6.4 |
2012 |
D![Color; Color](icons/q-rgb.png) |
The Broken Circle Breakdown |
Felix Van Groeningen, W, W, ++, C, 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, ++, C, M |
|
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, C, M |
|
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, C, M |
|
7.5 |
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, C, 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, C, M |
|
4.9 |
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, C, 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, ++, C, 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, ++, C, 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, C |
|
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, C, 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, ++, C, 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, C, 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, C, M, 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, C, M |
|
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, C, 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, C |
|
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, ++, C, 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, C |
|
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, ++, C |
|
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, ++, C, 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, C |
|
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, ++, C, M |
|
6.6 |
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, ++, C, M |
|
4.7 |
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, C, M |
|
6.0 |
1998 |
DRMMc![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Red Violin |
François Girard, W, W, C, M «Le violon rouge» |
|
4.9 |
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, C, M «Batoru rowaiaru» |
|
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, ++, C, M «Star Trek: The Wrath of Khan» |
|
6.2 |
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, ++, C |
|
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, C, M |
|
7.0 |
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, C |
|
4.9 |
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, ++, C, M |
|
6.1 |
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, C, 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, ++, C, M |
|
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, C, 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, C, M |
|
5.8 |
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, C, M |
|
5.6 |
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, ++, C, M |
|
6.3 |
2006 |
AnMSfT![Color; Aspect: 1.85:1; 35 mm; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
Paprika |
Satoshi Kon, W, W, ++, C, M «Papurika» |
|
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, ++, C, M |
|
5.9 |
1991 |
D![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Color](icons/rgb.png) |
Barton Fink |
Joel Coen, ++, W, W, C, 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, C, 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, ++, C, M |
|
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, C, M |
|
5.9 |
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, ++, C, M |
|
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, ++, C, M «Un long dimanche de fiançailles» |
|
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, ++, C, 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, C, M |
|
4.6 |
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, ++, C, M «La grande bellezza» |
|
6.7 |
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, C, 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, ++, C, 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, C, 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, C, M «Jeux d'enfants» |
|
3.6 |
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, C, M, M |
|
6.7 |
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, ++, C, M |
|
5.2 |
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, C, M, 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, C, M |
|
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, C, M |
|
5.2 |
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, ++, C, 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 |
|
5.4 |
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, C, 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, ++, C, 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, ++, C, 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, C, 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, ++, C, M, M, M++ |
|
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, ++, C, M |
|
5.7 |
1956 |
DRWe![Color (Warnercolor); Aspect: 1.66:1; 35 mm; AUDIO: Mono (RCA Sound Recording) Color (Warnercolor)](icons/rgb.png) |
Giant |
George Stevens, W, W, ++, C, M |
|
5.3 |
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, ++, C «Boksuneun naui geot» |
|
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, C, M «Gake no ue no Ponyo» |
|
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, C, 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, C, 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, C, 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, C, M |
|
5.8 |
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, C, M |
|
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, C, M «Le dîner de cons» |
|
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, ++, C |
|
4.3 |
1997 |
D![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279); Panavision (anamorphic); Panavision Panaflex Gold II, Panavision E-Series Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Sweet Hereafter |
Atom Egoyan, W, W, C, M |
|
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, C, M |
|
6.0 |
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, C, M |
|
4.2 |
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, ++, C, M |
|
5.3 |
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, C, 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, C, 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, ++, C, M |
|
4.7 |
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, ++, C, 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, ++, C, M «Trois couleurs: Blanc» |
|
6.8 |
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, ++, C, 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, C |
|
6.3 |
1967 |
C![Color (Pathécolor); Aspect: 1.37:1; 35 mm; AUDIO: Mono Color (Pathécolor)](icons/rgb.png) |
The Producers |
Mel Brooks, W, C, 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, C, M |
|
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, C, M |
|
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, C, 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, C, M |
|
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, ++, C, 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, C, M |
|
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, ++, C, M «La cité des enfants perdus» |
|
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, C, 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, C, 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, C, M |
|
5.2 |
1993 |
CD![Color; Aspect: 1.85:1; 35 mm (Eastman); AUDIO: Dolby SR Color](icons/rgb.png) |
Dazed and Confused |
Richard Linklater, W, C |
|
6.6 |
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, C, M «Huo Yuan Jia» |
|
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, C, 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, C «Fucking Åmål» |
|
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, ++, C, 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, ++, C, 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, ++, C, M |
|
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, ++, C, M |
|
4.8 |
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, C |
|
6.9 |
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, C, 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, C, M |
|
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, ++, C, M |
|
7.1 |
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 |
|
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, ++, C, M «Celda 211» |
|
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, ++, C, M «Blowup» |
|
6.0 |
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, ++, C, 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, C, M |
|
5.0 |
2014 |
D![Color; Color](icons/q-rgb.png) |
Leviafan |
Andrey Zvyagintsev, W, W, C |
|
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, ++, C, M |
|
6.5 |
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, ++, C, M «Hævnen» |
|
7.0 |
1970 |
HWe![Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); AUDIO: 70 mm 6-Track (Spanish release), Stereo Color (Technicolor)](icons/rgb.png) |
Little Big Man |
Arthur Penn, W, W, C, M |
|
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, ++, C, M «Kari-gurashi no Arietti» |
|
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, C, M «Chinjeolhan geumjassi» |
|
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, ++, C, M |
|
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, C, M «La môme» |
|
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, C, 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, C «Y tu mamá también» |
|
4.0 |
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, C, 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, C, 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, ++, C, M |
|
6.0 |
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, ++, C, M |
|
5.8 |
1992 |
CCrDMRT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Ultra Stereo Color](icons/rgb.png) |
The Player |
Robert Altman, W, C, 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, C, 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, ++, C, M, M «Le grand bleu» |
|
4.6 |
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, ++, C, 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, ++, C, M |
|
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, C, 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, C, M |
|
3.2 |
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, C, 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, ++, C, C, C++, M, M, M++ |
|
4.5 |
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, C, 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, ++, C, M |
|
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, C, M |
|
2.4 |
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, ++, C, 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, C, 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, C, 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, ++, C, M |
|
4.9 |
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, C, M, M |
|
6.6 |
2013 |
D![Color; Aspect: 1.85:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Philomena |
Stephen Frears, W, W, ++, C, 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, C, 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, C, 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, C, M |
|
6.6 |
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, C, M |
|
3.1 |
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, ++, C, 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, C, M |
|
6.9 |
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, ++, C, M «Mad Max 2» |
|
6.1 |
1963 |
Ho![Black and White; Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
The Haunting |
Robert Wise, W, W, C, 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, C, 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, ++, C, M |
|
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, ++, C |
|
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 |
|
4.6 |
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, ++, C, C, M |
|
5.8 |
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, C, M «Jin líng shí san chai» |
|
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, C, M, M |
|
4.3 |
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, C, M |
|
4.9 |
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, ++, C, M «La piel que habito» |
|
6.0 |
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, C, 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, ++, C, M |
|
6.5 |
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, C |
|
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, C, M |
|
4.4 |
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, C, 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, ++, C, 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, C, M |
|
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, C, M |
|
6.2 |
2004 |
AnDSfT![Color; Aspect: 1.85:1; Digital; Digital Intermediate (master format) Digital (source format); AUDIO: DTS-ES, Dolby Digital EX Color](icons/d-rgb.png) |
Ghost in the Shell 2: Innocence |
Mamoru Oshii, W, W, C, M «Innocence» |
|
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, ++, C, C, C++, M, M «Jui kuen II» |
|
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, ++, C, 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, ++, C, 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, C, 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, C, 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, ++, C, 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, ++, C, M |
|
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, ++, C, M |
|
4.9 |
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, ++, C, M, M |
|
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, C, C, M, M «Serbuan maut» |
|
7.4 |
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, ++, C, 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, C, 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, C, M |
|
3.9 |
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 |
|
4.9 |
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, ++, C, 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, C, 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, ++, C, M, M, M «C'est arrivé près de chez vous» |
|
5.3 |
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, ++, C, M, M |
|
6.8 |
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, ++, C, M |
|
5.8 |
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, ++, C, M |
|
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, C, M, 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, C, M |
|
5.8 |
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, C, M «Jûsan-nin no shikaku» |
|
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, ++, C, M |
|
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, C, 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, C, M «Zatôichi» |
|
6.5 |
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, C, M «Die Fälscher» |
|
5.8 |
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, ++, C, M |
|
6.7 |
2015 |
AdBDT![Color; Aspect: 2.35:1; Redcode RAW; Deep Vision 3D (6K) (source format) Digital Intermediate (2K) (master format); Red Epic Dragon; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/d-rgb.png) |
The Walk |
Robert Zemeckis, W, W, ++, C, 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, C, M «Lo imposible» |
|
3.7 |
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, C, M |
|
6.5 |
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, ++, C, M, M «En kongelig affære» |
|
5.8 |
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, ++, C, M, 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, C, 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, C, 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, ++, C, M |
|
6.4 |
1998 |
CrDMT![Black and White; Aspect: 1.37:1; 16 mm Black and White](icons/bw.png) |
Following |
Christopher Nolan, W, C, 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, C |
|
6.1 |
1960 |
AdFanRSfT![Color (Metrocolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono (35 mm optical prints), 4-Track Stereo (Westrex Recording System) (35 mm magnetic prints) Color (Metrocolor)](icons/rgb.png) |
The Time Machine |
George Pal, W, W, C, M |
|
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, C, 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, C, M, M |
|
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, C, M |
|
5.4 |
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, C, M |
|
6.7 |
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, C, M |
|
5.8 |
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, ++, C, M «Se, jie» |
|
5.3 |
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, ++, C, M «Yip Man 2» |
|
6.3 |
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 |
|
6.3 |
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 |
|
2.3 |
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, C, M |
|
5.8 |
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, ++, C, M «Die Welle» |
|
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, ++, C, M |
|
5.9 |
1982 |
AnDFFanSf![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Color](icons/rgb.png) |
The Secret of NIMH |
Don Bluth, W, W, ++, 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, C, M |
|
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, C, M |
|
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, C, M |
|
6.6 |
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, C, 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, C, C, M |
|
6.9 |
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, C, 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, C, 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, ++, C, M, M |
|
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, ++, C, C, M |
|
6.1 |
2008 |
ABCrDT![Color; Aspect: 2.35:1; 16 mm (Kodak Vision2 500T 7218) 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 16 (source format) (one scene) Super 35 (3-perf) (source format); Arriflex 16 SR3, Zeiss Vario-Sonnar Lenses Arriflex 235, Panavision Primo and Angenieux Optimo Lenses Arriflex 435, Panavision Primo and Angenieux Optimo Lenses Bell & Howell Eyemo, Panavision Primo Lenses Panavision Panaflex Millennium XL2, Panavision Primo and Angenieux Optimo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Mesrine: Killer Instinct |
Jean-François Richet, W, W, ++, C, M, M «L'instinct de mort» |
|
5.8 |
1976 |
HoM![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); AUDIO: Mono Color](icons/rgb.png) |
The Omen |
Richard Donner, W, C, 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, C, M |
|
4.8 |
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, C, M |
|
4.2 |
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, ++, C, M, M |
|
6.0 |
1992 |
CHo![Color; Aspect: 1.66:1; 35 mm; AUDIO: Dolby Stereo Color](icons/rgb.png) |
Dead Alive |
Peter Jackson, W, ++, C, M «Braindead» |
|
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, C, M |
|
4.2 |
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, ++, C, M |
|
4.9 |
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, ++, C, M |
|
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, C, 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 |
|
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, C, M |
|
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, ++, C, M, M |
|
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, ++, C, 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, C, M |
|
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, C, 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, C, C, M |
|
5.9 |
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, C, 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, ++, C, 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, ++, C, M «Ne le dis à personne» |
|
6.0 |
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, ++, C, M, M «Hodejegerne» |
|
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, ++, C, M |
|
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, C, 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, ++, C, 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, C, 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, C, M |
|
2.3 |
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, ++, C, M |
|
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, C, 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, ++, C, M «Shi mian mai fu» |
|
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, C, M |
|
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, C, 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, C, M |
|
4.9 |
1979 |
CDMl![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) |
Hair |
Milos Forman, W, W, ++, C, C, C, M |
|
6.1 |
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, ++, C, M |
|
4.8 |
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, ++, C, M |
|
6.0 |
2014 |
C![Color; Color](icons/q-rgb.png) |
What We Do in the Shadows |
Jemaine Clement, Taika Waititi, W, W, C, C, M |
|
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, C, 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, C, M, 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, C, M |
|
6.2 |
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, ++, C, M |
|
2.7 |
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, ++, C, M |
|
2.7 |
2004 |
ACCrDR![Color; Aspect: 1.85:1; Video; Digital Video; AUDIO: Dolby Digital Color](icons/v-rgb.png) |
The Edukators |
Hans Weingartner, W, W, C, C, M «Die fetten Jahre sind vorbei» |
|
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, C, 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, C |
|
1.5 |
1989 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak); Technovision; Technovision Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
The Cook, the Thief, His Wife & Her Lover |
Peter Greenaway, W, C, M |
|
7.6 |
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, C, M |
|
4.6 |
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, C, 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, ++, C, 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, C, M, M |
|
7.3 |
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, C, C, M |
|
5.4 |
2008 |
DR![Color; Aspect: 2.35:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Keith |
Todd Kessler, W, W, ++, C, M |
|
3.1 |
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, C, 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, C, M |
|
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, C, 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, C, 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, ++, C «Entre les murs» |
|
6.1 |
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, ++, C, M |
|
3.2 |
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, C, 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, C, 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, C, 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, ++, C, M «Hooligans» |
|
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, ++, C, M |
|
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, C, 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, ++, C, M, M, M |
|
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, C, 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, C, 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, C |
|
6.2 |
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, C, 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, C, M |
|
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, ++, C, C, 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, C, 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, C, M |
|
7.0 |
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, ++, C, M |
|
4.3 |
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» |
|
4.8 |
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, ++, C, M |
|
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, C, M, M |
|
5.7 |
2015 |
AAdT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) Codex; ARRIRAW (3.4K) (6.5K) (source format) (some scenes) Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Arri Alexa 65, Hasselblad Prime 65 Lenses Arri Alexa XT (visual effects plates) Arri Alexa XT M (aerial shots) Arriflex 235, Panavision B-, C-, E- and G-Series Lenses Arriflex 435, Panavision Primo, B-, C-, E-, G-Series, ATZ and AWZ2 Lenses Panavision Panaflex Lightweight, Panavision B-, C-, E- and G-Series Lenses Panavision Panaflex Millennium XL2, Panavision Primo, B-, C-, E-, G-Series, ATZ and AWZ2 Lenses; AUDIO: Datasat, Dolby Digital, Dolby Atmos Color](icons/rgb.png) |
Mission: Impossible - Rogue Nation |
Christopher McQuarrie, W, ++, C, M |
|
4.9 |
2015 |
ADSpT![Color; Aspect: 2.35:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (2K) (master format); Arri Alexa XT, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
Southpaw |
Antoine Fuqua, W, C, M |
|
5.8 |
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, ++, C, 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, C, 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, C, M |
|
6.5 |
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, ++, C, C |
|
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, C, M |
|
6.3 |
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 |
|
2.0 |
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, ++, C, 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, ++, C, C, M, M, M |
|
4.5 |
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, ++, C, 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, C, 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, ++, C |
|
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, C, M |
|
4.2 |
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, ++, C, 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, ++, C, M |
|
7.2 |
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 |
|
6.3 |
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, ++, C, M |
|
4.8 |
2007 |
BCrD![Color; Aspect: 1.85:1; 35 mm; AUDIO: DTS, SDDS, Dolby Digital Color](icons/rgb.png) |
Freedom Writers |
Richard LaGravenese, W, W, ++, C, M, M |
|
6.7 |
1984 |
Ho![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
A Nightmare on Elm Street |
Wes Craven, W, C, M |
|
5.8 |
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, C, 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, C, 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 |
|
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, C, M |
|
5.5 |
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, C |
|
4.9 |
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, C, M «El orfanato» |
|
5.9 |
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, ++, C, M «De rouille et d'os» |
|
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, C, M |
|
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, C, 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, C, M |
|
5.6 |
2015 |
ASf![Color; Aspect: 1.85:1; Codex; ARRIRAW (3.4K) (source format) Digital Intermediate (2K) (master format); Arri Alexa XT Plus, Panavision Primo V and Nova Lenses; AUDIO: Datasat, Dolby Digital, SDDS, Dolby Atmos Color](icons/d-rgb.png) |
Ant-Man |
Peyton Reed, W, W, ++, C, 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, ++, C, 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, ++, C |
|
5.4 |
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, ++, C, M |
|
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, C, 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, ++, C, 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, ++, C, M |
|
4.5 |
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, C, 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, C, M, 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, ++, C, 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, C, M |
|
5.5 |
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, C, 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, ++, C, M |
|
3.5 |
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, C, 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, C, 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, ++, C, M |
|
5.5 |
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, C, C, M |
|
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, C, M |
|
4.9 |
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, ++, C, M |
|
6.1 |
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, C, M |
|
5.9 |
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, ++, C, M «El espinazo del diablo» |
|
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, ++, C, M |
|
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, ++, C, 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, ++, C, M |
|
3.8 |
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, ++, C, M |
|
5.9 |
1996 |
HoMT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Stereo Color](icons/rgb.png) |
Tesis |
Alejandro Amenábar, W, ++, C, M, 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, ++, C, 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, ++, C, M |
|
3.0 |
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, C, M |
|
5.6 |
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, C, M «La mala educación» |
|
6.0 |
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, ++, C, 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, C, 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, C, 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, C, C, M |
|
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, ++, C, M, M, M++ |
|
3.8 |
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, C, M |
|
6.1 |
2005 |
AdCD![Color; Aspect: 1.85:1; 16 mm (Kodak); Super 16; AUDIO: Dolby Digital Color](icons/rgb.png) |
Transamerica |
Duncan Tucker, W, C, 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, C, M |
|
6.5 |
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, ++, C, M «Beetle Juice» |
|
6.4 |
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, ++, C, M |
|
6.7 |
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, C, 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, C, M, 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, ++, C, M |
|
5.8 |
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, C |
|
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, C, 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, C, 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, ++, C, M |
|
2.8 |
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, C, M |
|
3.3 |
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, ++, C |
|
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, C, M |
|
3.7 |
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, C |
|
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, C, M |
|
5.2 |
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, C, 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, C, 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 |
|
4.9 |
1973 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Mean Streets |
Martin Scorsese, W, W, ++, C |
|
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, C, 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, ++, C, M |
|
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, ++, C, M |