4K made in Hollywood

With more and more 4K Flatpanel TVs pouring in from manufacturers we took a look at the state of 4K usage in Hollywood Films.

But first for a little Hollywood fairytale …
Many movies are shot on film and pretty all of them has been transfered to broadcast video which then have been used for VHS tape and DVD until 2006 when HD-DVD and Bluray were of to fight against each other for the throne of the future HD-Home-Entertainment-Medium. We all know who went out as a winner and we are piling up Bluray’s of our faforite movies in glorious HD qaulity. But at the beginning of 2016 the industry gave us a predecessor of HD. This time it’s UltraHD, a Bluray with more storage to be played on the new UltraHD Bluray players capable of showing movies with a resolution of 3840×2160 pixels, richer color gamuts like BT.2020 or DCI-P3 and even Hollywoods new High-Dynamic-Range (HDR).
Now we have glorious UHD-4K for our home-cinemas. But there’s a catch, as always.

The Cows Are Not What They Seem

At the times of DVD’s there were a lot of great movies which had great new digital sourround sound and an never seen sharpness for home video. But there were also a few which did not have that great quality on dvd, espicially the image looked soft, with off-looking colors. The production companies seem to not really care or invest in good transfers on some of the DVD releases.

But then there came Bluray and everything was much better now! Right? Wrong. Well, sort of. It’s not that bad actually.

With the success of the new Bluray format, nearly five times the resolution of standard definition DVD, the major Hollywood distribution companies released newly scanned masters for the new HD format discs. These new digital masters are mostly scanned as 2K Digitial Intermediate Masters (2048×1080 pixel) or only as HD Masters (1920×1080 pixel) and most of them looked good, some of them great, but sadly many of them are masterd badly and despite it’s HD resolution do not look good, are soft, the image is noisy, the colors dull and sometimes even the sound is not really great in some Bluray releases.

Now with UHD-4K on the rise. What can we expect?

Most certainly a mixed bag of good and bad surprises.
Some distribution companies like Sony market their upcoming 4K content with normal Bluray disks but with the “Mastered in 4K” tag on it. These movies should be mastered with great care and sharop image quality, downscaled to HD and put on these disks. Sony also also implemented his “Mastered in 4K” upscaling algorythm in their recent Sony XD93 UHD-4K line of LCD-TV bigscreen TV, which in theory should upscale these kind of movies to a pristine 4K experience, right? Well not entirely. In this case I review the “Ghosbusters” Bluray with the “Mastered in 4K” tag on it, but what can I say, it’s a sad, bad quality, pourly made Bluray that is soft, and far far away from 4K, not even HD sharp. So again, it depends on many factors in the filmmaking process if the material is treated like it deserves.
There are very good quality HD Blurays out there without a question, but not all of them are deserve to be on a Bluray, or even on a UltraHD 4K Bluray.

There are four steps in the process of a movie from filming to distribution in a theater and then releasing it on a media like Bluray or nowadays on a VOD platform like Netflix or Amazon Prime which are important for a seamless 4K workflow to achieve the most satisfying cinema expierience in cinema theater or at the personal home cinema.

1. Filming: Ideally the material is film either with a digital cinema camera capable of at least 4K resolution or with analog film material which is later scanned as 4K Digital Intermediate.

2. Post-Production: Editing and mastering in 4K with highest possible resolution, ideally with the cameras native format to prevent any quality degration due to file conversions. In case of analog film, the post-production must be handled with great care because many things can go wrong when transferring film to a digital intermediate.

3. Theater Distribution: Most films nowadays are released via digital intermediate stream over satelite or a harddisk with the film on it. These DI’s are mostly 2K but some of them are already 4K if the theater is capable of projecting a movie in 4K.

4. Home Media Release: You would think with 4K TV’s already available and some cinema theaters playing movies in 4K that the release of UltraHD-4K Blurays must be the norm now. Unfortunately this is more like an exception. There have been released a handfull of UltraHD Blurays which claim to show the movie in 4K, well they showing it in 4K with a propper 4K UntraHD Bluray player, but the movies on the Blurays are mostly upscaled from 2K DI masters, not as ine might think from 4K masters. Why is that you might ask? Demand and Money. Most people still watching movies on DVD and they are happy.

Film production studios will eventually upgrading to a 4K workflow and most big ones already have upgraded and will be used on new movies if there is enough budget available, but all other older movies are still stored in 2K digitial intermediate format, or even only in SD video masters for video. Hollywood have to spend money on new 4K DI scans, eventually restore bad 35mm prints, which is not cheap and easy at all, so it will take it’s time until there is a significant number of UltraHD Bluray’s available that are not upscaled from 2K masters. Until that, it’s not 4K what you watching on your 4K TV with your UltraHD Bluray player, sorry.

There is an interresting side effect on 4K content production for independent film productions compared to the big majors. Filmmakers with independent funding can easily create pristine 4K content with the cheaper 4k cinema cameras like a Canon C300 Mark II, edit in in full-resolution or via proxy workflow, deliver 4K masters and then negotiate deals by themselfs with cinemas, tv-stations or VOD platforms showing their content in 4K. So look out for independent Non-Hollywood productions if you want high quality 4K content right now, there are coming from all over the world.

So when you are a home-cinema enthusiast you will not be happy with the current batch of 4K UltraHD Bluray’s and be better of with good quality HD Blurays showing on a decent 4K home-cinema setup. You will get a better quality of a high quality scaler from new LCD TV’s like the new Sony XD93 Series or a 4K Projector playing HD-Blurays than from a Ultra HD Bluray because these are already 4K and soft, compared to the pixel sharp, upscaled HD movies.

We’ve done a bit of research on IMdB.com to check which movie had a full 4K treatment from filming to post-pro and releasing a 4K Digital Intermediate Master. Most of them are not released on UltraHD Bluray yet, but there is good chance that this will happen some day.

Database List of 4K Mastered Hollywood Movies

The list below gives an overview how a movie was shot and mastered. It also rates the released 4K UHD-Bluray if any is released. Take a closer look to the 4K DI column which indicates that a 4K master has been made from a movie, but most importantly also look at the column UPSCALED if the 4K has been upscaled from a lower resolution source. The Source and Camera column indicates the filmic process used on the movie and the camera the film has been shot with.
The Bluray column rates the 4K quality and sharpness out of 10 based on subjective perception. A 5 out of 10 means that the 4K Bluray has a sharpness of a normal 1080p Bluray, 10/10 means the movie has pristine pixel sharpness in scenes that are in focus. When the overall sharpness is below HD quality then the rating is below 5.

Movie	IMDb	4K DI	UHD-Bluray upscaled	UHD-BluRay Q/10	Camera Source Format	Cameras and Lenses
Amour		yes	yes		ArriRaw (2.8K)	Arri Alexa, Cooke S4 and 5/i Lenses
Batman v Superman: Dawn of Justice		yes	partly		16 mm (Kodak Vision3 500T 7219), 35 mm (Kodak Vision3 500T 5219), 65 mm (also horizontal) (Kodak Vision3 500T 5219), ARRIRAW (3.4K), HD	Arri Alexa XT, Arriflex 416, Arriflex 435, Panavision C- and E-Series Lenses, Canon EOS 5D, GoPro HD Hero 4, IMAX MKIII, Zeiss Lenses, IMAX MSM 9802, Hasselblad Lenses, Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-Series, ATZ and AWZ2 Lenses, Panavision Panaflex System 65 Studio, Panavision System 65 Lenses
Bridge of Spies		yes	no		35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219)	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
Captain America: Civil War		yes	partly		ARRIRAW (2.8K, 6.5K)	Arri Alexa 65, Hasselblad Prime 65 Lenses (some scenes), Arri Alexa IMAX, Hasselblad Prime 65 Lenses (some scenes), Arri Alexa XT Plus, Panavision C-, E-, G-, T-Series, ATZ and AWZ2 Lenses, GoPro Hero 4 Black, Red Epic Dragon, Panavision G-Series Lenses
Chappie		yes	yes		Redcode RAW (5K), Video (HD)	Canon EOS-5D Mark III, GoPro HD, Red Epic, Panavision C-, E-, G-Series, ATZ and AWZ2 Lenses, Sony HDC-1500, Sony PMW-EX3
Che: Part Two		yes	no		Redcode RAW (4K)	Red One Camera and Lenses
Deadpool		yes	yes	4/10	ARRIRAW (3.4K), Super 35	Arri Alexa XT Plus, Panavision Primo Lenses, Panavision Cameras and Lenses, Panavision Cameras and Lenses
Fury		yes	no		35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219)	Panavision Panaflex Millennium XL2, Panavision C-, G-Series, ATZ and AWZ2 Lenses
Hancock		yes	no		35 mm (Kodak Vision2 50D 5201, Vision2 200T 5217, Vision2 500T 5218)	Arriflex 235, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses
Iron Man 2		yes	no		35 mm (also horizontal) (Kodak Vision2 50D 5201, Vision2 200T 5217, Vision3 500T 5219, Vision 500T 5279), HD	Arriflex 435 Advanced, Panavision Primo Lenses, CANON EOS 5D Mark II (some shots), Panavision Panaflex Millennium XL2, Panavision Primo and Angenieux Optimo Lenses
Iron Man Three		no	no		ARRIRAW (2.8K)	Arri Alexa Studio, Leica Summilux-C, Fujinon Premier and Angenieux Optimo Lenses, Phantom Flex, Leica Summilux-C, Fujinon Premier and Angenieux Optimo Lenses (high-speed shots)
John Wick		yes	yes		ARRIRAW (2.8K)	Arri Alexa M, Arri Alexa XT, Cooke S4 and Hawk V-Lite Vintage '74 Lenses
Jupiter Ascending		no	yes		ARRIRAW (2.8K)	Arri Alexa Plus 4:3, Cooke S4, Leica Summilux-C, Fujinon Premier and Angenieux Optimo Lenses, Arri Alexa XT, Cooke S4, Leica Summilux-C, Fujinon Premier and Angenieux Optimo Lenses, Canon EOS 6D, Canon L-Series Lenses, Red Epic, Canon L-Series Lenses
Lincoln		yes	no		35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219)	Panavision Panaflex Millennium XL2, Panavision Primo and Super Speed Z-Series MKII Lenses, Panavision Panaflex Platinum, Panavision Primo and Super Speed Z-Series MKII Lenses
Mad Max: Fury Road		no	yes	5/10	ARRIRAW (2.8K), ProRes 4:2:2 (1080p/24)	Arri Alexa M, Panavision Primo, Primo Zoom, Ultra Speed and Angenieux Optimo Lenses Arri Alexa Plus, Panavision Primo, Primo Zoom, Ultra Speed and Angenieux Optimo Lenses Blackmagic Cinema Camera (some shots) Canon EOS 5D Mark II (some shots) Olympus P5 (some shots)
Men in Black 3		yes	partly		35 mm (Kodak Vision3 500T 5219), Arri Alexa	Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses, Arricam ST, Zeiss Master Prime and Angenieux Optimo Lenses, Arriflex 235, Zeiss Master Prime and Angenieux Optimo Lenses, Zeiss Master Prime and Angenieux Optimo Lenses (one scene)
My Blueberry Nights		yes	no		35 mm (Fuji Eterna 250T 8553, Eterna 400T 8583, Eterna 500T 8573)	Arricam LT, Zeiss Master Prime Lenses, Arricam ST, Zeiss Master Prime Lenses
Night at the Museum		yes	no		35 mm (Kodak)	Arriflex 435, Zeiss Ultra Prime and Angenieux Optimo Lenses, Moviecam Compact, Zeiss Ultra Prime and Angenieux Optimo Lenses
Robin Hood		yes	no		35 mm (Kodak Vision2 50D 5201, Vision2 250D 5205, Vision3 500T 5219)	Arricam LT, Panavision Primo, PCZ, Optica Elite and Angenieux Optimo Lenses, Arricam ST, Panavision Primo, PCZ, Optica Elite and Angenieux Optimo Lenses, Arriflex 435, Panavision Primo, PCZ, Optica Elite and Angenieux Optimo Lenses
Room		yes	no		Redcode RAW (5K)	Red Epic Dragon, Panavision Primo and Ultra Speed MKII Lenses
Salt		yes	no	?	35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219)	Arriflex 235, Panavision Primo and Ultra Speed MKII Lenses, Arriflex 435 ES, Panavision Primo Lenses, Panavision Panaflex Millennium XL, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses
Sicario		yes	yes	7/10	ARRIRAW (3.4K)	Arri Alexa XT M, Zeiss Master Prime Lenses, Arri Alexa XT Plus, Zeiss Master Prime Lenses, Arri Alexa XT Studio, Zeiss Master Prime Lenses
Skyfall		yes	partly		ARRIRAW (2.8K) , Redcode RAW (5K)	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)
Spectre		yes	no		ARRIRAW (3.4K, 6.5K), Redcode RAW (6K), 35 mm (also horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219)	Arri Alexa 65, Panavision Primo 70 Lenses, Arri Alexa XT M, Panavision AWZ2 Lenses (aerial shots), Arriflex 235, Panavision Primo Lenses, Arriflex 435 ES, Panavision Primo and Zeiss Master Anamorphic Lenses, Beaumont VistaVision Camera, Panavision Primo Lenses, Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-Series, ATZ and AWZ2 Lenses, Red Epic Dragon, Zeiss Master Prime Lenses
Star Wars: Episode VII - The Force Awakens		yes	partly		35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219), 65 mm (horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219)	Arri Alexa (aerial plates), IMAX MKIII, Hasselblad Lenses, IMAX MSM 9802, Hasselblad Lenses, Panavision Panaflex Millennium XL2, Panavision Primo, Retro C-, E-Series, ATZ and AWZ2 Lenses
Adjustment Bureau, The		yes	no		35 mm (Kodak Vision3 500T 5219)	PanArri 435, Panavision Primo, Angenieux Optimo, Canon and Nikkor Lenses, Panavision Panaflex Millennium XL, Panavision Primo, Angenieux Optimo, Canon and Nikkor Lenses, Panavision Panaflex Platinum, Panavision Primo, Angenieux Optimo, Canon and Nikkor Lenses
Amazing Spider-Man 2, The		yes	no		35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219)	Arriflex 235, Panavision C-Series Lenses, Arriflex 435 ES, Panavision Primo, C-, E- and G-Series Lenses, Panavision Panaflex Millennium XL2, Panavision C-, E-, G-Series, ATZ and AWZ2 Lenses
BFG, The		no	yes		ARRIRAW (2.8K)	Arri Alexa XT, Panavision Primo Lenses
Expendables 3, The		yes	no		Redcode RAW	Red Epic, Zeiss Super Speed, Fujinon Alura and Premier Lenses, Red Scarlet, Zeiss Super Speed, Fujinon Alura and Premier Lenses
Hunger Games: Mockingjay - Part 2, The		no	yes		Codex ARRIRAW (2.8K)	Arri Alexa XT, Panavision Primo, C-, E-, G-Series, ATZ and AWZ2 Lenses
Informant!, The		no	no		Redcode RAW (4K)	Red One Camera, Red Pro Prime Lenses
Martian, The		no	no	7/10	Redcode RAW (6K), H.264 (4K)	GoPro HERO4, Red Epic Dragon, Zeiss Ultra Prime, Fujinon Premier Cabrio, Angenieux Optimo and Optimo DP Lenses, Red Scarlet Dragon, Zeiss Ultra Prime, Fujinon Premier Cabrio, Angenieux Optimo and Optimo DP Lenses
Revenant, The		yes	no	7/10	ARRIRAW (3.4K, 6.5K), Redcode RAW (6K)	Arri Alexa 65, Hasselblad Prime 65 Lenses, Arri Alexa XT M, Panavision Primo, C-Series, Leica Summilux-C and Zeiss Master Prime Lenses, Arri Alexa XT, Panavision Primo, C-Series, Leica Summilux-C and Zeiss Master Prime Lenses, Red Epic Dragon, Angenieux Optimo Lenses
Smurfs 2, The		yes	no		F65 RAW (4K)	Sony CineAlta F65
Tourist, The		yes	no		35 mm (Kodak Vision3 500T 5219)	Arriflex 235, Panavision G-Series Lenses, Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-, G-Series, ATZ and AWZ2 Lenses
Tree of Life, The		yes	no		35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218), 65 mm (also horizontal) (Kodak Vision2 200T 5217, Vision2 500T 5218), Redcode RAW	Arricam LT, Zeiss Master Prime and Ultra Prime Lenses, Arricam ST, Zeiss Master Prime and Ultra Prime Lenses, Arriflex 235, Zeiss Master Prime and Ultra Prime Lenses, Arriflex 435, Zeiss Master Prime Lenses, Dalsa Evolution, IMAX Cameras, Panavision 65 HR Camera, Panavision System 65 Lenses, Phantom HD Gold, Red One Camera (some shots)
Tomorrowland		yes	no		F55 RAW (4K) (source format), F65 RAW (4K) (source format)	Sony CineAlta F65, Zeiss Master Prime and Fujinon Premier Lenses, Sony CineAlta PMW-F55, Zeiss Master Prime and Fujinon Premier Lenses
War Horse		yes	no		35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219)	Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses, Arricam ST, Zeiss Master Prime and Angenieux Optimo Lenses, Arriflex 235, Zeiss Master Prime and Angenieux Optimo Lenses, Arriflex 435, Zeiss Master Prime and Angenieux Optimo Lenses
War Room		yes	no		Redcode RAW (5K)	Red Epic, Zeiss Ultra Prime Lenses
X-Men: Apocalypse		yes	no		Redcode RAW (6K)	Red Epic Dragon, Leica Summilux-C and Zeiss Master Prime Lenses, Phantom Flex, Leica Summilux-C and Zeiss Master Prime Lenses
Youth		yes	no		Redcode RAW (4K) (5K)	Red Epic Dragon, Zeiss Ultra Prime Lenses
Suicide Squad		no	yes		35mm (Kodak Vision3 500T 5219)	Arriflex 435 ES, Panavision G-Series Lenses Panavision Panaflex Millennium XL2, Panavision E- and G-Series Lenses Phantom Flex4K, Panavision G-Series Lenses
Zootopia		no	yes		CGI 2K Master	CGI
Star Wars: Rogue One		yes	no		ARRIRAW (Codex 6.5K)	Arri Alexa 65, Panavision APO Panatar and Hawk65 Anamorphic Lenses
The Jungle Book		no	yes		ARRIRAW (3.4K)	Arri Alexa XT M, Panavision Primo Lenses
Warcaft		no	yes		ARRIRAW (3.4K)	Arri Alexa XT Plus, Leica Summilux-C Lenses
Doctor Strange		no	yes		ARRIRAW (3.4K) (6.5K) (source format) ProRes 4:4:4 (4K) (source format) (some shots) Super 35 (source format) (some scenes)	Arri Alexa 65, Panavision System 65 and Primo 70 Lenses Arri Alexa Mini, Panavision Primo Lenses Arri Alexa XT Plus, Panavision System 65 and Primo 70 Lenses Arriflex 235, Panavision Primo Lenses Panavision Panaflex Millennium XL2, Panavision Primo Lenses Phantom Flex4K, Panavision Primo Lenses
10 Cloverfield Lane		no	yes		Redcode RAW (6K)	Red Epic Dragon, Panavision E- and G-Series Lenses
Star Trek Beyond		no	yes		ARRIRAW (3.4K) Redcode RAW (6K) (some shots)	Arri Alexa XT, Zeiss Master Anamorphic, Master Prime, Ultra Prime, AUWZ and Angenieux Optimo 2S Lenses Red Epic Dragon, Zeiss Compact Prime Lenses
The Nice Guys		no	yes		Codex ARRIRAW (2.8K) Redcode RAW (6K)	Arri Alexa XT Plus, Panavision E-, G-Series and Angenieux Optimo 2S Lenses Red Epic Dragon, Kowa Prominar Lenses
Fantastic Beasts and Where to Find Them		yes	yes		ARRIRAW (3.4K)	Arri Alexa XT Studio, Panavision E- and G-Series Lenses
Now You See Me 2		no	yes		ARRIRAW (3.4K) Redcode RAW (6K)	Arri Alexa XT Plus, Panavision Primo and Angenieux Optimo Lenses Red Epic Dragon (some scenes)
Ghostbusters (2016)		no	yes		ARRIRAW (2.8K)	Arri Alexa XT, Zeiss Master Prime and Fujinon Premier Cabrio Lenses
Jason Bourne		yes	yes (partly)		Super 35 (3-perf) (source format) ARRIRAW (2.8K) (some scenes) Canon Cinema RAW (4K) (some shots) CineForm RAW (some shots) Redcode RAW (6K) (some shots) Super 16 (some scenes)	Aaton Penelope, Panavision Primo, Zeiss Super Speed, Ultra Prime, TLS Morpheus, Fujinon Premier Cabrio and Angenieux Optimo Lenses Aaton XTR Prod, Canon Lenses Arri Alexa Plus 4:3, Angenieux Optimo Lenses Arri Alexa XT, Zeiss Super Speed, Ultra Prime, Fujinon Premier Cabrio and Angenieux Optimo Lenses Blackmagic Micro Cinema Camera, Kowa Prominar Lenses Blackmagic Pocket Cinema Camera, Kowa Prominar Lenses Canon EOS C500, Zeiss Super Speed, Ultra Prime and Angenieux Optimo Lenses Codex Action Cam Red Epic Dragon, Zeiss Super Speed, Ultra Prime and Angenieux Optimo Lenses
Finding Dory		yes	no		Rendered	CGI
Arrival		no	yes		ARRIRAW (2.8K)	Arri Alexa XT M, Camtech Vintage Ultra Prime, Kowa Cine Prominar and Zeiss Super Speed Lenses Arri Alexa XT Plus, Camtech Vintage Ultra Prime, Kowa Cine Prominar and Zeiss Super Speed Lenses
Independence Day: Resurgence		yes	no		Redcode RAW (4K) (6K)	Red Epic Dragon, Hawk V-Lite, V-Lite 1.3x, V-Plus, Fujinon Alura and Zeiss Compact Zoom Lenses Red Weapon Dragon, Hawk V-Lite, V-Lite 1.3x, V-Plus, Fujinon Alura and Zeiss Compact Zoom Lenses
Legend of Tarzan, The		no	yes		Redcode RAW (6K)	Red Epic Dragon, Leica Summicron-C and Angenieux Optimo Lenses
Me Before You		no	yes		ARRIRAW (3.4K)	Arri Alexa XT Plus, Cooke S4 and Angenieux Optimo Lenses
Sully		yes	no		ARRIRAW (6.5K)	Arri Alexa 65, Hasselblad Prime 65 Lenses Arri Alexa IMAX, Hasselblad Prime 65 Lenses
Secret Life of Pets, The		no	yes		Rendered	CGI
Kung Fu Panda 3		no	yes		Rendered	CGI
Kingsman: The Secret Service		no	yes		ARRIRAW (2.8K)	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 Blackmagic Production Camera 4K Canon EOS 5D Mark II, Canon L-Series Lenses Phantom Flex, Cooke S4, Fujinon Alura and Angenieux Optimo Lenses

  Movie-Infos has been gathered from IMdB.com and will be updated if new information is available.