Janusz Kamiński

Anamorphic prime lenses made in Germany by Vantage Film, using the same optical and mechanical design as the standard V-Lites but with coatings that replicate the look of 1970s anamorphic glass. Available in 2x and 1.3x squeeze versions. They flare easily, have reduced contrast, and render warm skin tones.

ARRI's 35mm sync-sound production camera introduced in 1990 as a replacement for the Arriflex 35 BL line. Featured a programmable mirror shutter that could vary its open angle while running, enabling exposure-compensated speed ramps. Earned ARRI a Scientific and Engineering Academy Award in 1995.

Released in 1993 as a lighter, more compact redesign of the original ARRIFLEX 535. It is a 35mm sync-sound production camera with PL mount, crystal-controlled speeds from 3 to 60 fps, and a mechanical variable shutter adjustable from 11 to 180 degrees. Supports Super 35 format and SMPTE time code. It was replaced by the Arricam ST and LT in 2000.

The Panaflex Platinum is a 35mm sync-sound film camera introduced by Panavision in 1986 as a successor to the GII Golden Panaflex. It runs at 4 to 36 fps forward and reverse with crystal control, has a variable shutter adjustable from 50 to 200 degrees while running, and uses dual full-fitting registration pins for improved image steadiness. The Platinum served as Panavision's flagship 35mm camera until the Millennium replaced it in 1997.

The Panaflex Millennium XL2 is a 35mm sync-sound film camera introduced by Panavision in 2004 as an update to the original Millennium XL. It features crystal-controlled speeds from 3 to 50 fps with in-shot speed ramping, a variable shutter adjustable from 11.2 to 180 degrees, dual registration pins, and dual pull-down claws. The camera converts between studio, handheld, and Steadicam configurations and is available in 3-perf or 4-perf pulldown.

The lightweight, handheld-optimized companion to the Arricam ST, introduced in 2000 as part of ARRI's replacement for the Arriflex 535 line. Shares the ST's dual-pin registration and dual pull-down claws but accepts only rear-mounted magazines, bringing body weight down to under 6 lbs with a 400-foot magazine. Supports 1-48 fps in 4-perf and 3-perf Super 35, with a noise level below 24 dB(A) for sync-sound shooting.

ARRI's flagship 35mm sync-sound studio camera, introduced in 2000 as a replacement for the Arriflex 535 line. It was ARRI's first 35mm silent camera to use displacement magazines instead of coaxial ones. Features dual-pin registration, dual pull-down claws, and an electronically adjustable mirror shutter (0-180 degrees in 0.1-degree increments) with crystal motors accurate to 1/1000 fps.

The Arriflex 435, introduced in 1995, is a high-speed MOS 35mm camera capable of 1 to 150 fps in both forward and reverse. Weighing 5.9 kg, it was designed for Steadicam, motion control, and aerial work. It replaced the Arriflex 35-III line and uses the ARRI PL mount with Super 35 compatibility.

ARRI's Super 16mm production camera, introduced in 2006. Built with PL mount compatibility shared with ARRI's 35mm cameras, it supports frame rates from 1 to 75 fps (up to 150 fps in the HS variant) and runs below 20 dB(A) at 24 fps for sync-sound work. The viewfinder and video assist operate independently, allowing fast changeovers for Steadicam or remote operation.

Fast cinema prime lenses (T1.3) originally designed for low-light 35mm film production, with a warm, organic rendering.

Fast spherical prime lenses from Panavision with maximum apertures around T1.4, designed for low-light shooting. The MKII revision improved optical performance over the original Ultra Speeds. A workhorse set used extensively in narrative filmmaking from the 1980s onward.

The PVintage series, introduced in 2013, rehouses glass elements from Panavision's Ultra Speed lenses (originally debuted in 1976) into modern barrels with a consistent 113mm front diameter. All lenses open wider than T2 and most focus down to 24 inches. The rehousing retains the soft, organic rendering of the original Ultra Speeds while standardizing size, weight, and front diameter across the set.

Panavision's C Series 2x anamorphic primes have been in continuous use since their introduction in 1968. Available in focal lengths from 35mm to 100mm, they are compact and lightweight, making them well suited for handheld and Steadicam work. The lenses produce a pronounced anamorphic flare and organic bokeh with graduated depth of field.

Eastman Double-X 5222 is a black-and-white negative motion picture film rated at EI 250 in daylight and EI 200 under tungsten light. Originally developed from Kodak's Super-XX formula and released in its current form in 1959, it has remained largely unchanged for over six decades. It was the stock used to shoot Raging Bull, Schindler's List, and Manhattan.

Kodak Vision3 500T 5219 is a high-speed tungsten-balanced (3200K) color negative motion picture film rated at ISO 500. Introduced in 2007 as the first stock in Kodak's Vision3 line, it uses Dye Layering Technology to reduce grain in shadows while maintaining a wide exposure latitude. Available in 35mm and 16mm (7219), it is processed in ECN-2 chemistry and remains a standard for low-light and interior cinematography.

Kodak Vision3 50D 5203 is a low-speed daylight-balanced (5500K) color negative motion picture film rated at ISO 50. Introduced in 2011 as the finest-grain stock in the Vision3 line, it is designed for high-detail work in bright exterior conditions. Films shot on 5203 include Interstellar, Dunkirk, and Killers of the Flower Moon.

Tungsten-balanced color negative stock from Kodak's EXR (Extended Range) line, introduced in 1989 and rated at EI 200. Featured improved grain structure and tonal range over earlier Eastman stocks. Discontinued in 2002 when replaced by Vision2 stocks.