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The Phoenician Scheme (2025)

Director: Wes Anderson

Cinematographer: Bruno Delbonnel

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The Legend of Korra (2012 — 2014)

3x12: Enter the Void

Director: Ian Graham

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Catching Fire (2013)

Director: Francis Lawrence

Cinematographer: Jo Willems

Tech Specs:

— Aspect Ratio: 

1.43: 1 (IMAX 70mm - arena sequence)

2.35: 1

2.39: 1 (original ratio)

— Cameras:

Arriflex 435, Panavision Primo, C- and E-Series Lenses

IMAX MSM 9802, Hasselblad LensesPanavision Panaflex Millennium XL2, Panavision Primo, C-, E-Series, ATZ and AWZ2 Lenses

— Negative Format: 

35 mm (Kodak Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219)

65 mm (horizontal, Kodak Vision3 250D 5207, Vision3 500T 5219)

— Cinematographic Process:

IMAX (source format, arena sequence)

Panavision (anamorphic, source format)

Super 35 (source format, arena sequence)

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The Legend of Korra (2012 — 2014)

3x05: The Metal Clan

Director: Colin Heck

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The Phoenician Scheme (2025)

Director: Wes Anderson

Cinematographer: Bruno Delbonnel

Tech Specs:

— Aspect Ratio: 1.48:1

— Cameras:

Arricam LT, Cooke S4/i Lenses

Arricam ST, Cooke S4/i Lenses

— Negative Format: 

35 mm (Kodak Vision3 200T 5213)

Codex

— Cinematographic Process: Super 35 (source format)

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The Batman (2022)

Director: Matt Reeves

Cinematographer: Greig Fraiser

Tech Specs:

— Aspect Ratio: 2.39:1

— Cameras:

Arri Alexa LF, Arri ALFA, Prime DNA, Canon Xtal Express and Cooke Xtal Express Lenses

Arri Alexa Mini LF, Arri ALFA, Prime DNA, Canon Xtal Express and Cooke Xtal Express Lenses

Arri Alexa Plus 4:3, Atlas Orion, Helios and Jupiter Lenses(Crash Camera)

Helios-44-2 58mm f/2(car scenes)

Sony CineAlta Venice 6K, Arri ALFA, Prime DNA, Canon Xtal Express and Cooke Xtal Express Lenses

— Negative Format: 

AXS-R7(6K)

Codex

— Cinematographic Process:

ALFA Scope (anamorphic, source format)

ARRIRAW (4.5K, source format)

J-D-C Scope (anamorphic, source format, some scenes)

X-OCN XT (6K, source format)

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28 Days Later (2002)

Director: Danny Boyle

Cinematographer: Anthony Dod Mantle

Tech Specs:

— Aspect Ratio: 1.85:1

— Cameras:

Arriflex Cameras and Lenses

Canon XL-1

Canon XL-1, Canon EC and EJ Prime Lenses with Optex adapter

— Negative Format:

35 mm (final scene)

Video (PAL)

8 mm (flashback scene)

— Cinematographic Process:

D1

DV

Spherical

Super 8

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Wuthering Heights (1939)

Director: William Wyler

Cinematographer: Gregg Toland

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The Substance (2024)

Director: Coralie Fargeat

Cinematographer: Benjamin Kracun

Tech Specs:

— Aspect Ratio: 2.39:1

— Cameras:

Arri Alexa Mini LF, Canon FD, K35, Angenieux Optimo Ultra, EZ-2, Leitz THALIA 65 lenses, Leitz M 0.8 lenses, Cooke Macro/i FF, Arri Macro, Sigma FF High Speed and Laowa Zero-D Lenses

Red Komodo, Canon K35, Angenieux Optimo Ultra, EZ-2, Leitz THALIA 65 lenses, Leitz M 0.8 lenses, Cooke Macro/i FF, and Arri Macro Lenses

Red V-Raptor, Canon K35, Angenieux Optimo Ultra, EZ-2, Leitz THALIA 65 lenses, Leitz M 0.8 lenses, Cooke Macro/i FF, and Arri Macro Lenses

— Negative Format: 

CFast 2.0

Redcode RAW

— Cinematographic Process:

ARRIRAW (4.5K, source format)

Redcode RAW(6K, 8K, source format)

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All About Eve (1950)

Director: Joseph L. Mankiewicz

Cinematographer: Milton R. Krasner

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Wuthering Heights (1939)

Director: William Wyler

Cinematographer: Gregg Toland

Tech Specs: — Aspect Ratio: 1.37 1 — Cameras: Mitchell BNC — Negative Format: 35 mm — Cinematographic Process: Spherical

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Dazed and Confused (1993)

Director: Richard Linklater

Cinematographer: Lee Daniel

Tech Specs:

— Aspect Ratio: 1.85:1

— Cameras: Arriflex 35 III

— Negative Format: 35 mm (Eastman)

— Cinematographic Process: Spherical

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Dark City (1998)

Director: Alex Proyas

Cinematographer: Dariusz Wolski

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The Thin Red Line (1998)

Director: Terrence Malick

Cinematographer: John Toll

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I Could Never Be Your Woman (2007)

Director: Amy Heckerling

Cinematographer: Brian Tufano

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The Night of the Hunter (1955)

Director: Charles Laughton

Cinematographer: Stanley Cortez

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All About Eve (1950)

Director: Joseph L. Mankiewicz

Cinematographer: Milton R. Krasner

Tech Specs: — Aspect Ratio: 1.37:1 — Negative Format: 35 mm — Cinematographic Process: Spherical