Zeiss | 738 Titles
Narcos (2015)
49 Minutes
| Cinematography by | Adrian Teijido, Mauricio Vidal, Carmen Cabana, Juan Carlos Gil, Lula Carvalho, Luis David Sansans | Editing by | Matthew Colonna, Trevor Baker, Luis Carballar, Leo Trombetta, Nathan Gunn, Chris McCaleb, Ryan Jones, Jon Otazua, Victor Du Bois, Alex Marquezmodified:
3 Idiots (2009)
170 Minutes
Directed by | Rajkumar Hirani | Cinematography by | C.K. Muraleedharan | Editing by | Rajkumar Hirani Cameras | ARRICAM Lite (LT) Camera
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Mindhunter (2017)
60 Minutes
| Cinematography by | Erik Messerschmidt, Christopher Probst | Editing by | Tyler Nelson, Kirk Baxter, Grant Surmi, Byron Smith, Eric Zumbrunnen Cameras | Red Xenomorph Camera
Lenses | Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 Lens, Fujinon Premier Lenses, Leica Summilux-C 29 mm T1.4 Lens, Leica Summilux-C 40 mm T1.4 Lens, Leica Summilux-C 65 mm T1.4 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens
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Terminator 2: Judgment Day (1991)
137 Minutes
Directed by | James Cameron | Cinematography by | Adam Greenberg | Editing by | Conrad Buff IV, Dody Dorn, Mark Goldblatt, Richard A. Harris Cameras | ARRIFLEX 35 BL4 Camera
Lenses | Cooke Varotal Lenses, Zeiss Super Speed Lenses
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The Perfect Host (2010)
93 Minutes
Directed by | Nick Tomnay | Cinematography by | John Brawley | Editing by | Nick Tomnay Cameras | Red One Camera
Lenses | Zeiss Ultra Prime Lenses
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First Man (2018)
141 Minutes
Directed by | Damien Chazelle | Cinematography by | Linus Sandgren | Editing by | Tom Cross Cameras | Aaton A-Minima Camera, Aaton Penelope Camera, Aaton Xterà Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 416 Plus, ARRIFLEX 435 Camera, Imax MSM 9802 Camera
Lenses | CamTec Vintage Series Ultra Prime Lenses, Canon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses, Hasselblad Lenses, Kowa Cine Prominar Anamorphic Lenses
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Vice (2018)
132 Minutes
Directed by | Adam McKay | Cinematography by | Greig Fraser | Editing by | Hank Corwin Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 416 Camera, ARRIFLEX 435 Camera, Bolex Cameras
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BlacKkKlansman (2018)
135 Minutes
Directed by | Spike Lee | Cinematography by | Chayse Irvin | Editing by | Barry Alexander Brown Cameras | Aaton Penelope Camera, Aaton XTR Prod Camera, ARRICAM Lite (LT) Camera, Panavision Panaflex Millennium XL2 Camera
Lenses | Panavision PVintage Prime Lenses, Panavision Super Speed Lenses, Panavision Ultra Speed MKII Lenses, Zeiss Master Prime Lenses
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Cloud Atlas (2012)
172 Minutes
Directed by | Tom Tykwer, Lana Wachowski, Lilly Wachowski | Cinematography by | Frank Griebe, John Toll | Editing by | Alexander Berner, Claus Wehlisch Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
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Ties (2018)
13 Minutes
Directed by | Laura Stabilini | Cinematography by | Paul Cameron | Editing by | Pieter Viljoenmodified:
Black Wedding (2015)
70 Minutes
Directed by | Thomas Bohn | Cinematography by | Frank Glencairn Cameras | Blackmagic Cinema Camera
Lenses | Zeiss Lenses
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Til the End of the Day (2011)
27 Minutes
Directed by | Callen Diederichs | Cinematography by | Alain Astruc | Editing by | Jean-Sebastien Gauthier Cameras | ARRIFLEX 16SR2 Camera
Lenses | Zeiss Lenses
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Gomorrah (2008)
137 Minutes
Directed by | Matteo Garrone | Cinematography by | Marco Onorato | Editing by | Marco Spoletini Cameras | ARRICAM Lite (LT) Camera
Lenses | Zeiss Ultra Prime Lenses
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Taxi Driver (1976)
114 Minutes
Directed by | Martin Scorsese | Cinematography by | Michael Chapman | Editing by | Tom Rolf, Melvin Shapiro Cameras | ARRIFLEX 35 BL Camera
Lenses | ARRI / Zeiss Lenses
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The Window (2008)
85 Minutes
Directed by | Carlos Sorin | Cinematography by | Julián Apezteguia | Editing by | Mohamed Rajid Cameras | ARRIFLEX 35 BL4s Camera
Lenses | Zeiss Standard Speed Prime Lenses
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The Curious Case of Benjamin Button (2008)
166 Minutes
Directed by | David Fincher | Cinematography by | Claudio Miranda | Editing by | Kirk Baxter, Angus Wall Lenses | Zeiss DigiPrime Lenses
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War for the Planet of the Apes (2017)
140 Minutes
Directed by | Matt Reeves | Cinematography by | Michael Seresin | Editing by | William Hoy, Stan Salfas Cameras | ARRI ALEXA 65 Camera
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The Girl in the Spider’s Web (2018)
115 Minutes
Capture Resolution | 3840 x 2160 (1.78:1) - Capture Resolution, 6560 x 3100 - (2.12:1) Capture Resolution
Directed by | Fede Alvarez | Cinematography by | Pedro Luque | Editing by | Tatiana S. Riegelmodified:
The Expendables (2010)
103 Minutes
Directed by | Sylvester Stallone | Cinematography by | Jeffrey L. Kimball | Editing by | Ken Blackwell, Paul Harb Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
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The Resident (2018)
60 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
| Cinematography by | John Brawley, Hilda Mercado, Elliot Davis | Editing by | Timothy A. Good, William Paley, Nicole Vaskell, Greg Babor, Amanda Panella, Emily Mendez, Patrick McMahon Cameras | ARRI ALEXA Mini Camera, Blackmagic Micro Cinema Camera, Blackmagic Pocket Cinema 4K Camera, Blackmagic URSA Mini Pro 4.6K G2 Camera, Blackmagic URSA Mini Pro Camera
Lenses | Leica Summicron-C 135 mm T2.0 Lens, Leica Summicron-C 18 mm T2.0 Lens, Leica Summicron-C 21 mm T2.0 Lens, Leica Summicron-C 25 mm T2.0 Lens, Leica Summicron-C 29 mm T2.0 Lens, Leica Summicron-C 35 mm T2.0 Lens, Leica Summicron-C 40 mm T2.0 Lens, Leica Summicron-C 50 mm T2.0 Lens, Leica Summicron-C 75 mm T2.0 Lens, Panavision Primo Primes Spherical Lenses, SLR Magic APO HyperPrime Cine 25mm T2.1 Lens, SLR Magic APO HyperPrime Cine 32mm T2.1 Lens, SLR Magic APO HyperPrime Cine 50mm T2.1 Lens, SLR Magic APO HyperPrime Cine 85mm T2.1 Lens, Zeiss Lenses
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