Angenieux Optimo Anamorphic Lenses | 34 Titles
John Wick: Chapter 2 (2017)
Directed by | Chad Stahelski | Cinematography by | Dan Laustsen | Editing by | Evan Schiff
Cameras | ARRI ALEXA XT Plus Camera
It (2017)
Directed by | Andy Muschietti | Cinematography by | Chung-hoon Chung | Editing by | Jason Ballantine
Cameras | ARRI ALEXA Mini Camera
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 Anamorphic Lenses
I Think We’re Alone Now (2018)
Directed by | Reed Morano | Cinematography by | Reed Morano | Editing by | Madeleine Gavin
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo Anamorphic Lenses
Moonlight (2016) 
Directed by | Barry Jenkins | Cinematography by | James Laxton | Editing by | Joi McMillon, Nat Sanders
Cameras | ARRI ALEXA XT Plus Camera
Lenses | Angenieux Optimo Anamorphic Lenses, Hawk V-Lite Lenses, Kowa Cine Prominar Anamorphic Lenses
The Handmaiden (2016)
Directed by | Park Chan-wook | Cinematography by | Chung-hoon Chung | Editing by | Kim Jae-bum, Kim Sang-beom
Cameras | ARRI ALEXA XT Camera
A Beautiful Day in the Neighborhood (2019)
Grey’s Anatomy (2005)
| Cinematography by | Herbert Davis, Alicia Robbins, Steven G. Fracol, Byron Shah, Tim Suhrstedt, Jeanne Tyson, Carlos González, Ross Riege, Robert LaBonge, Christian Sebaldt, Adam Kane, Walt Fraser, Oliver Bokelberg, Daryn Okada, Jeffrey Jur, Mark Jackson, John Simmons | Editing by | Susan Vaill, Joe Mitacek, Edward Ornelas, David Greenspan, Chad Mochrie, Jason Joseph, Meghan Robertson, Vanessa Delgado, Dan Rovetto, Justin Chinn, Briana London, Kathleen Latlip, Gregory Cusumano, Matthew Ramsey, Brandi Bradburn, Bjørn T. Myrholt, Victor Du Bois, Katherine Skjerping, Roger Nygard, Sarah Boyd, Stacy Katzman, Julia Grove, Heidi Scharfe, Philip Fowler, Karoliina Tuovinen, Tom Costain, Kyle Bond, Dino DeLorenzo, Aimee Jennings, Juan Soto
The Veil (2016)
Directed by | Phil Joanou | Cinematography by | Steeven Petitteville | Editing by | Paul Norling
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Plus Camera, Bolex H16 Camera, Phantom Flex Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Anamorphic Lenses, CamTec Lenses, Cineovision Lenses, Kowa Cine Prominar Anamorphic 100mm T3.4 Lens, Kowa Cine Prominar Anamorphic 40mm T2.3 Lens, Kowa Cine Prominar Anamorphic 50mm T2.3 Lens, Kowa Cine Prominar Anamorphic 75mm T2.8 Lens
Breaking Bad (2008)
| 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
Cold War (2018)
Directed by | Pawel Pawlikowski | Cinematography by | Lukasz Zal | Editing by | Jaroslaw Kaminski
Cameras | ARRI ALEXA XT Camera
Ophelia (2018)
Directed by | Claire McCarthy | Cinematography by | Denson Baker | Editing by | Luke Dunkley
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA SXT Plus Camera
Lenses | Angenieux Optimo Anamorphic 44-440 mm A2S 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
Criminal Minds (2005)
| Cinematography by | Greg St. Johns, Glenn Kershaw, Darcy Spires, Gary Tachell, Alex Nepomniaschy | Editing by | Jimmy Hill, Nina M. Gilberti, Hibah Schweitzer, Michael Schweitzer, Farrel Levy, Adam Wolfe, Jimmy Giritlian, Fred Peterson, Joel Rice, Tamara Luciano, Chris Peppe, Peter B. Ellis, Lisa Bromwell, Eli Nilsen, Dana B. Wilson, Randy Jon Morgan
Cameras | Panavision Panaflex Camera, Red Epic Camera, Red Epic Dragon Camera, Sony CineAlta F35 Camera
Lenses | Angenieux Optimo Anamorphic Lenses, Cooke S4 Lenses, Leitz Summicron-C Series Lenses, Panavision Primo Anamorphic Lenses
A Star Is Born (2018)
Directed by | Bradley Cooper | Cinematography by | Matthew Libatique | Editing by | Jay Cassidy
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo Anamorphic Lenses, Cooke Anamorphic/i SF 25mm T2.3 Lens, Cooke Anamorphic/i SF 32mm T2.3 Lens, Cooke Anamorphic/i SF 40mm T2.3 Lens, Cooke Anamorphic/i SF 50mm T2.3 Lens, Cooke Anamorphic/i SF 75mm T2.3 Lens, Cooke Anamorphic/i SF Prime Lenses, Kowa Cine Prominar Anamorphic Lenses
Bloodline (2015)
| Cinematography by | Jaime Reynoso, Darren Lew | Editing by | Josh Beal, Naomi Geraghty, Deborah Moran, Louise Innes, Lynne Willingham, Dorian Harris, Justin Krohn, Ravi Subramanian, Aaron Kuhn, Jill Paget
Cameras | Sony PMW-F55 Camera
Lenses | Angenieux Optimo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses, Zeiss Master Prime Lenses
A Quiet Place (2018)
Directed by | John Krasinski | Cinematography by | Charlotte Bruus Christensen | Editing by | Christopher Tellefsen
Lenses | Angenieux Optimo Anamorphic 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 Macro Anamorphic Panatar Prime Lenses, Panavision Primo Anamorphic Lenses, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses
3 Idiots (2009)
Directed by | Rajkumar Hirani | Cinematography by | C.K. Muraleedharan | Editing by | Rajkumar Hirani
Cameras | ARRICAM Lite (LT) Camera
A Girl Is a Gun (2017)
| Cinematography by | Tobias Deml | Editing by | Benjamin Geronimi
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo Anamorphic 30-72 mm A2S 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
Mary Poppins Returns (2018)
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
Ice (2016)
| 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 24-290 mm T2.8 Lens, Angenieux Optimo Anamorphic 44-440 mm A2S T4.5 Lens, Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 40 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 60 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens, Zeiss Master Prime Lenses
Hell or High Water (2016)
Directed by | David Mackenzie | Cinematography by | Giles Nuttgens | Editing by | Jake Roberts
Cameras | ARRI ALEXA XT Studio Camera
