Vittorio Storaro

The Mitchell BNCR is a blimped, studio 35mm motion picture camera introduced in 1967 as a reflex-viewing upgrade to the original Mitchell BNC (1934). The "R" designates the addition of a spinning mirror reflex viewfinder, allowing operators to see through the lens while filming. Its double-claw, register-pin movement provided exceptional image steadiness, and the aluminum blimp housing made it near-silent on sound stages. The BNCR dominated Hollywood studio production through the 1970s.

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.

Sony's flagship 8K digital cinema camera, built around a single 20-megapixel Super 35mm CMOS sensor capable of capturing 8K (7680x4320) raw output. It uses a rotary shutter rather than an electronic one. Introduced in 2011.

Cinema prime lenses with the warm, slightly soft "Cooke Look" that flatters skin tones and organic textures.

Bausch & Lomb produced several lines of cinema primes from the 1930s through the 1970s, including the Baltar, Super Baltar, and Ultra Baltar series. These single-coated lenses became Hollywood standards, known for warm rendering, smooth bokeh, and veiling glare that softens digital imagery.

A set of 10 deeply saturated color filter gels co-developed by cinematographer Vittorio Storaro and Rosco after production on Dick Tracy (1990). Created because Storaro found existing gels too weak, requiring multiple layers to reach the saturation he wanted. Part of the Rosco Cinegel range.

Anamorphic cinema lenses originally developed by Henryk Chroscicki's Technovision company in Rome, combining Japanese Shiga anamorphic elements with Cooke Speed Panchro or Zeiss base optics. Used by Vittorio Storaro on Apocalypse Now and Suspiria.