Gear in Action

World Premiere at the Santa Barbara Film Festival 2017

Directed by: Gregory Erdstein
Producer: Anna Kojevnikov, Sally Storey, Alice Foulcher & Gregory Erdstein
Cinematography: Shelley Farthing-Dawe
Shot on Alexa Mini with Zeiss Ultra Primes T1.9

Selected for Venice Film Festival 2017

Directed by:Jason Raftopoulos
Producer: Jason Raftopoulos & Alexandros Ouzas
Cinematography: Thom Neal
Shot on Alexa SXT with Zeiss Super Speeds

Director: Christopher Hill
Cinematographer: Edward Goldner
Production Company: The OTTO Empire
Shot on Arri Alexa Mini with Cooke 5i lenses

Director: Greg Wood
Cinematographer: Ross Giardina ACS
Production Company: Exit Films
Shot on Arri Alexa Mini with Kowa Anamorphic lenses

Director: Pete Baker
Cinematographer: Shelley Farthing-Dawe
Production Company: Revolver / Will O’Rourke
Shot on Arri Alexa Mini with Kowa Anamorphic lenses

Director: Craig Griffin
Cinematogrpaher: Edward Goldner
Production Company: The Director’s Group
Shot on Arri Alexa XT with Cooke Anamorphic lenses

Director: Damian Walshe-Howling
Cinematogrpaher: Denson Baker ACS NZCS
Production Company: Guilty / The Weinstein Company
Shot on Arri Alexa Mini with Cooke Anamorphic lenses

Towards the end of 2015 a Masterclass was held at The Vision House for third year Swinburne University students and a series of lens tests were conducted.

Lenses tested were: Cooke S4i
Cooke Mini S4i
Zeiss Master Primes
Zeiss Ultra Primes
Zeiss Compact Primes
Zeiss Super Speeds
Zeiss Standard Speeds
Cooke Speed Pancro
Bausch and Lomb
Cooke Anamorphic
Kowa Anamorphic
Lomo Anamorphic

Director: Matt Weston
Producer: Poppy Jones
Cinematogrpaher: Liam Gilmour
Production Company: The Feds
Shot on Arri Alexa XT with Cooke Anamorphic lenses

Director: Steve Callen
Cinematographer: Shelley Farthing-Dawe
Production Company: Filmgraphics
Shot with Cooke Anamorphics & Zeiss Master Diopters

Director: Luci Schroder
Producer: Emma Haarburger
Cinematographer: Michael Latham
Production Company: Guilty
Shot on Arri Amira with Cooke S4i Lenses

Director: Lizzy Bailey
Producer: Leo Burnett
Cinematography: Aaron Farrugia
Production Company: Studio Pancho
Shot using Artemis MX30 Stabiliser

Directed by: Ben Quinn
Producer: Allison Lockwood
Cinematography: Shelley Farthing-Dawe
Production Company: The Sweet Shop
Shot on Arri Alexa XT with Kowa Anamorphics

Directed by: Michael Shanks
Producer: Nicholas Colla
Cinematography: Edward Goldner
Production Company: LateNite Films
Shot on RED Epic & Phantom Miro LC320S with Cooke 5i T1.4 Lenses

Directed by: Tooth & Claw
Producer: Tooth & Claw
Cinematography: Joel Betts & Sherwin Akbarzadeh
Production Company: Tooth & Claw
Shot on Arri Alexa XT with Kowa Anamorphics

Directed by: Tooth & Claw
Producer: Tooth & Claw
Cinematography: Joel Betts & Sherwin Akbarzadeh
Production Company: Tooth & Claw
Shot on Arri Alexa Classic with Zeiss Ultra Primes T1.9

Director: Will Horne
Producer: Charlotte Griffiths
Cinematographer: Liam Gilmour
Production Company: One20
Shot on Phantom Miro with Cooke 5i T1.4 Lenses

Directed by: Jake Robb
Producer: Jackie Fish
Cinematography: Adam Howden
Production Company: Fiction Film Company
Shot on RED EPIC Dragon with Zeiss Ultra Primes T1.9

Directed by: Corrie Jones
Producer: Jason Byrne
Cinematography: Shelley Farthing-Dawe
Production Company: Guilty
Aerials shot on RED EPIC Dragon with Kowa Anamorphics

Directed by: Roland Dan
Producer: Simon Hoy
Cinematography: Alan Yap
Production Company: Hub Productions
Shot on Arri Alexa Classic & Phantom Miro LC320S with Cooke S4i T1.4 Lenses, Zeiss Compact Primes & Angenieux 24-290mm Optimo T2.8

Directed by: Carole Denis
Producer: Simon Hoy
Cinematography: Sebastian Pflaffenbichler
Production Company: Hub Productions
Shot on Arri Alexa M with Zeiss Standards T2.1, Zeiss Super Speeds T1.3, Angneieux Optimo 15-40mm T2.6, Angenieux 25-250mm HR T3.5, Ronford F7 Head & Power Pod Remote Pan and Tilt System

Directed by: Edwin McGill
Producer: Jason Byrne
Cinematography: Shelley Farthing Dawe
Production Company: Guilty
Shot on Arri Alexa XT, Arri Alexa Classic with Cooke S4i T2 Lenses & Angenieux Optimo 17-80mm T2.6

Director: Will Horne
Producer: Charlotte Griffiths
Cinematographer: Liam Gilmour
Production Company: One20
Shot on Phantom Miro with Cooke 5i T1.4 Lenses

Directed by: Matt Hopper
Producer: Emma Gibbs
Cinematography: Richard Hosking
Production Company: Compulsive
Shot on Sony F55, Angenieux Optimo 15-40mm T2.6, Angenieux 45-120mm T2.8, Angenieux 2x Extender & Power Pod Remote Head with 3rd Axis Role Module

Directed by Matt Wilson
Producer: Marco Damiano
Cinematography: Barry Malseed
Production Company: Hub Productions
Shot on Sony FS700 & Phantom Miro LC320S with Zeiss Compact Primes & Zeiss 100mm Macro T3

Directed by: Tony Rogers
Producer: Jason Byrne
Cinematography: Jeremy Rouse
Production Company:Guilty
Shot on RED Epic with Zeiss Super Speeds T1.3 & Bausch & Lomb Super Baltars

Directed by: Mick Conolly
Producer: Simon Hoy
Cinematography: Jaems Grant
Production Company: Hub Productions
Shot on RED One MX with Angenieux Optimo 15-40mm T2.6, Angenieux Optimo 45-120mm T2.8 & Angenieux x2 Extender

Directed by: Corrie Jones
Producer: Rohan Timlock
Cinematography: Peter Eastgate
Production Company: Guilty
Shot on Arri Alexa Classic with Cooke S4i T2 Lenses & Angenieux Optimo 24-290mm T2.8

Directed by: Jake Robb
Producer: Jackie Fish
Cinematography: Garry Richards
Production Company: Fiction Film Company
Shot on Arri Alexa Classic with Cooke S4i T2 Lenses

Directed by: Corrie Jones
Producer: Jason Byrne
Cinematography: Shelley Farthing-Dawe
Production Company: Guilty
Shot on Alexa XT with Kowa Anamorphics