Angenieux Optimo Anamorphic Lenses | 23 Titles
A Quiet Place (2018)
90 Minutes
Directed by | John Krasinski | Cinematography by | Charlotte Bruus Christensen | Editing by | Christopher Tellefsen Lenses | Angenieux Optimo Anamorphic Lenses, Panavision Anamorphic Macro Panatar Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses
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Breaking Bad (2008)
49 Minutes
| Cinematography by | Michael Slovis, Reynaldo Villalobos, Arthur Albert, Peter Reniers, Nelson Cragg, John Toll, Marshall Adams | Editing by | Kelley Dixon, Skip Macdonald, Lynne Willingham, Chris McCaleb, Sharidan Williams-Sotelo Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Canon EOS-7D Camera
Lenses | Angenieux Optimo Anamorphic Lenses, Angenieux Optimo Zoom Lenses, Canon Lenses, Cooke S4 Lenses
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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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A Girl Is a Gun (2017)
| Cinematography by | Tobias Deml | Editing by | Benjamin Geronimi
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Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo Anamorphic 30-72mm 2S T4.0 Lens, Cooke Anamorphic/i 135mm T2.3 Lens, Cooke Anamorphic/i 32mm T2.3 Lens, Cooke Anamorphic/i 50mm T2.3 Lens, Cooke Anamorphic/i 75mm T2.3 Lens
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Cold War (2018)
89 Minutes
Directed by | Pawel Pawlikowski | Cinematography by | Lukasz Zal | Editing by | Jaroslaw Kaminski Cameras | ARRI ALEXA XT Camera
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Mary Poppins Returns (2018)
130 Minutes
Directed by | Rob Marshall | Cinematography by | Dion Beebe | Editing by | Wyatt Smith Lenses | Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo V Lenses, Panavision Primo V PV21 21mm T1.9 Lens, Panavision Primo V PV27 27mm T1.9 Lens, Panavision Primo V PV50 50mm T1.9 Lens
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Ophelia (2018)
114 Minutes
Directed by | Claire McCarthy | Cinematography by | Denson Baker | Editing by | Luke Dunkley Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Plus
Lenses | Angenieux Optimo Anamorphic 40-440mm 2S T4.5 Lens, Hawk C-Series 100 mm T3.0 Lens, Hawk C-Series 40 mm T2.2 Lens, Hawk C-Series 50 mm T2.2 Lens, Hawk C-Series 75 mm T2.2 Lens, Hawk Super Wide Angle Zoom 10-24 mm T2.5 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Series 180 mm T3.0 Lens, Hawk V-Series 250 mm T3.0 Lens
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Ice (2016)
60 Minutes
| Cinematography by | Robert Aschmann, Christos Bitsakos, Maz Makhani | Editing by | Lisa Binkley, Stein Myhrstad, Jamie Alain, Daria Ellerman, Luis Carballar, William Paley, Adina Moore Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera
Lenses | Angenieux Optimo 24-290mm T2.8 Lens, Angenieux Optimo Anamorphic 40-440mm 2S T4.5 Lens, Zeiss Master Anamorphic 100mm T1.9 Lens, Zeiss Master Anamorphic 135mm T1.9 Lens, Zeiss Master Anamorphic 35mm T1.9 Lens, Zeiss Master Anamorphic 40mm T1.9 Lens, Zeiss Master Anamorphic 50mm T1.9 Lens, Zeiss Master Anamorphic 60mm T1.9 Lens, Zeiss Master Anamorphic 75mm T1.9 Lens, Zeiss Master Prime Lenses
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Hell or High Water (2016)
102 Minutes
Directed by | David Mackenzie | Cinematography by | Giles Nuttgens | Editing by | Jake Roberts Cameras | ARRI ALEXA XT Studio Camera
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The Nice Guys (2016)
116 Minutes
Directed by | Shane Black | Cinematography by | Philippe Rousselot | Editing by | Joel Negron Cameras | ARRI ALEXA XT Camera
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Straight Outta Compton (2015)
147 Minutes
Directed by | F. Gary Gray | Cinematography by | Matthew Libatique | Editing by | Billy Fox, Michael Tronick Cameras | Red Epic Dragon Camera
Lenses | Angenieux Optimo Anamorphic Lenses, Angenieux Optimo Zoom Lenses, Cooke Anamorphic/i Prime Lenses, Fujinon Alura Lenses, Kowa Cine Prominar Spherical Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Super Speed Lenses
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Creed (2015)
133 Minutes
Directed by | Ryan Coogler | Cinematography by | Maryse Alberti | Editing by | Claudia Castello, Michael P. Shawver Cameras | ARRI ALEXA XT M Camera, ARRI ALEXA XT Plus Camera
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The Martian (2015)
144 Minutes
Directed by | Ridley Scott | Cinematography by | Dariusz Wolski | Editing by | Pietro Scalia Lenses | Angenieux Optimo Anamorphic Lenses, Angenieux Optimo DP 16-42mm T2.8 Lens, Angenieux Optimo DP 30-80mm T2.8 Lens, Fujinon Premier ZK Cabrio PL Compact Lenses
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The 33 (2015)
127 Minutes
Directed by | Patricia Riggen | Cinematography by | Checco Varese | Editing by | Michael Tronick Lenses | Angenieux Optimo Anamorphic Lenses, Cooke S4 Lenses, Kowa JC10M Series Lenses, Zeiss Ultra Prime Lenses
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It Follows (2014)
100 Minutes
Directed by | David Robert Mitchell | Cinematography by | Mike Gioulakis | Editing by | Julio Perez IV Cameras | ARRI ALEXA Plus Camera, Red Epic Camera
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Nezha (2014)
98 Minutes
Capture Resolution | 2880x2160 - (1.33:1) Capture Resolution
Directed by | Xiaofeng Li | Cinematography by | Joewi Verhoeven | Editing by | Yueyue Liu Cameras | ARRI ALEXA Studio Camera
Lenses | Angenieux Optimo Anamorphic 56-152mm 2S T4.0 Lens, Angenieux Optimo Anamorphic Lenses, ARRI / Zeiss Master Anamorphic Lenses, Zeiss Master Anamorphic 35mm T1.9 Lens, Zeiss Master Anamorphic 50mm T1.9 Lens, Zeiss Master Anamorphic 75mm T1.9 Lens
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La vie très privée de Monsieur Sim (2015)
102 Minutes
Directed by | Michel Leclerc | Cinematography by | Guillaume Deffontaines | Editing by | François Gédigier Cameras | Red Epic Dragon Camera
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Get on Up (2014)
139 Minutes
Directed by | Tate Taylor | Cinematography by | Stephen Goldblatt | Editing by | Michael McCusker Lenses | Angenieux Optimo Anamorphic Lenses, Angenieux Optimo Style Lenses, Angenieux Optimo Zoom Lenses, Bausch & Lomb Lenses, Canon EF Series Lenses, Panavision Primo Primes Spherical Lenses
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Le ciel du centaure (2015)
Directed by | Hugo Santiago | Cinematography by | Gustavo Biazzi | Editing by | Alejo Moguillansky
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Cameras | ARRI ALEXA Camera, ARRI ALEXA Series Cameras
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The Equalizer (2014)
132 Minutes
Directed by | Antoine Fuqua | Cinematography by | Mauro Fiore | Editing by | John Refoua Cameras | ARRI ALEXA Plus 4:3 Camera
Lenses | Angenieux Optimo Anamorphic 56-152mm 2S T4.0 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
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