Zeiss | 842 Titles
Box of Moon Light (1996)
Directed by | Tom DiCillo | Cinematography by | Paul Ryan | Editing by | Camilla Toniolo
Cameras | ARRIFLEX 35 III Camera, Moviecam Compact Camera
It’s All About Love (2003)
Directed by | Thomas Vinterberg | Cinematography by | Anthony Dod Mantle | Editing by | Valdís Óskarsdóttir
Cameras | Moviecam Superlight Camera
Lenses | Zeiss Lenses, Zeiss Ultra Prime Lenses
The Green Hornet (2011)
Directed by | Michel Gondry | Cinematography by | John Schwartzman | Editing by | Michael Tronick
Cameras | Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom HD Camera, Red One MX Camera
Lenses | Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Ultra Prime Lenses
Barmy (2012)
Directed by | Russell Bailey | Cinematography by | Alan Vidali | Editing by | Russell Bailey
Cameras | Red One MX Camera
Lenses | Zeiss Ultra Prime Lenses
Friday Night (2002)
Directed by | Claire Denis | Cinematography by | Agnès Godard | Editing by | Nelly Quettier
Cameras | Aaton 35-III Camera, Aaton A-Minima Camera
Lawless (2012)
Directed by | John Hillcoat | Cinematography by | Benoît Delhomme | Editing by | Dylan Tichenor
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
8 Mile (2002)
Directed by | Curtis Hanson | Cinematography by | Rodrigo Prieto | Editing by | Craig Kitson, Jay Rabinowitz
Lenses | Zeiss Ultra Prime Lenses
Heater (1999)
Directed by | Terrance Odette | Cinematography by | Arthur E. Cooper | Editing by | David Wharnsby
Cameras | Aaton 35 mm Camera
Children of Men (2006)
Directed by | Alfonso Cuarón | Cinematography by | Emmanuel Lubezki | Editing by | Alfonso Cuarón, Alex Rodríguez
Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses | Zeiss Master Prime Lenses
Passion in the Desert (1997)
Alex Rider: Operation Stormbreaker (2006)
Directed by | Geoffrey Sax | Cinematography by | Chris Seager | Editing by | Andrew MacRitchie
Cameras | ARRIFLEX 435 Camera
Lenses | Angenieux Lenses, ARRI / Zeiss Lenses
Carancho (2010)
Directed by | Pablo Trapero | Cinematography by | Julián Apezteguia | Editing by | Ezequiel Borovinsky, Pablo Trapero
Cameras | Red One Camera
Let the Right One In (2008)
Directed by | Tomas Alfredson | Cinematography by | Hoyte Van Hoytema | Editing by | Tomas Alfredson, Dino Jonsäter
Cameras | ARRIFLEX 535 B Camera
Lenses | Zeiss Super Speed Lenses
The Lovely Bones (2009)
24 7: Twenty Four Seven (1997)
Directed by | Shane Meadows | Cinematography by | Ashley Rowe | Editing by | William Diver
Cameras | ARRIFLEX 535 B Camera
Lenses | Zeiss Lenses
Hak hap (1996)
Directed by | Daniel Lee | Cinematography by | Tony Cheung | Editing by | Ka Tai Cheung, Ka-Fai Cheung, Ettie M. Feldman
Cameras | ARRIFLEX 35 III Camera, ARRIFLEX 535 Camera
Lenses | Angenieux Lenses, ARRI / Zeiss Lenses
In the Mood for Love (2000)
Directed by | Kar-Wai Wong | Cinematography by | Christopher Doyle, Pung-Leung Kwan, Ping Bin Lee | Editing by | William Chang
Lenses | Zeiss Lenses
Hansel & Gretel: Witch Hunters (2013)
Directed by | Tommy Wirkola | Cinematography by | Michael Bonvillain | Editing by | Jim Page
Cameras | ARRI ALEXA Camera, ARRI ALEXA Plus Camera
Lenses | Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Master Prime Lenses
Jing wu ying xiong (1994)
Directed by | Gordon Chan | Cinematography by | Derek Wan | Editing by | Ki-Hop Chan, Chak-Man Cheng
Cameras | ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 III Camera
Lenses | Angenieux Lenses, ARRI / Zeiss Lenses
Hellboy II: The Golden Army (2008)
Directed by | Guillermo del Toro | Cinematography by | Guillermo Navarro | Editing by | Bernat Vilaplana
Cameras | ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses | Zeiss Ultra Prime Lenses
