ARRI / Zeiss Lenses | 691 Titles
I Am Slave (2010)
The Crazies (2010)
Directed by | Breck Eisner | Cinematography by | Maxime Alexandre | Editing by | Billy Fox
Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses | Zeiss Master Prime Lenses
Jonah Lives (2015)
Directed by | Luis Carvalho | Cinematography by | Rich Marino, Jeremy Traub | Editing by | Luis Carvalho
Cameras | ARRI ALEXA Plus Camera
Hall Pass (2011)
Directed by | Bobby Farrelly, Peter Farrelly | Cinematography by | Matthew F. Leonetti | Editing by | Sam Seig
Air Force One (1997)
Directed by | Wolfgang Petersen | Cinematography by | Michael Ballhaus | Editing by | Richard Francis-Bruce
Cameras | ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses | Zeiss Variable Prime Lenses
Shark Night 3D (2011)
Directed by | David R. Ellis | Cinematography by | Gary Capo | Editing by | Dennis Virkler
Cameras | Sony CineAlta F35 Camera
Lenses | Cooke CXX 15-40mm T2.0 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens
Jin ling shi san chai (2011)
Directed by | Yimou Zhang | Cinematography by | Xiaoding Zhao | Editing by | Peicong Meng
Lenses | Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses, Zeiss Master Zoom 16.5–110mm T2.6 Lens
180º (2010)
Directed by | Fernando Kalife | Cinematography by | Eduardo Flores Torres | Editing by | Joel T. Pashby, Hughes Winborne
Cameras | ARRICAM Lite (LT) Camera
Cop Out (2010)
Neighboring Sounds (2012)
Directed by | Kleber Mendonça Filho | Cinematography by | Pedro Sotero, Fabricio Tadeu | Editing by | João Maria, Kleber Mendonça Filho
Lenses | Angenieux HR 25-250 mm T3.5 Lens, 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 Super Speed Lenses
Anacondas: The Hunt for the Blood Orchid (2004)
Directed by | Dwight H. Little | Cinematography by | Stephen F. Windon | Editing by | Marcus D'Arcy, Mark Warner
Lenses | Zeiss Ultra Prime Lenses
The Young Victoria (2009)
Directed by | Jean-Marc Vallée | Cinematography by | Hagen Bogdanski | Editing by | Jill Bilcock, Matt Garner
Lenses | Zeiss Ultra Prime Lenses
Winter’s Bone (2010)
Directed by | Debra Granik | Cinematography by | Michael McDonough | Editing by | Affonso Gonçalves
Cameras | Red One Camera
Lenses | Zeiss Master Prime Lenses
The Wind That Shakes the Barley (2006)
Directed by | Ken Loach | Cinematography by | Barry Ackroyd | Editing by | Jonathan Morris
Lenses | Zeiss Ultra Prime Lenses
Half Nelson (2006)
Directed by | Ryan Fleck | Cinematography by | Andrij Parekh | Editing by | Anna Boden
Cameras | ARRIFLEX 16SR3 Camera
Lenses | Canon Lenses, Zeiss Super Speed Lenses
’79 Parts (2016)
Directed by | Ari Taub | Cinematography by | Reed Nisson, Minos Papas | Editing by | Irina Abraham, Ernie Fritz, Lydia Robertson
Cameras | ARRI Cameras
Lenses | ARRI / Zeiss Lenses
Pan’s Labyrinth (2006)
Directed by | Guillermo del Toro | Cinematography by | Guillermo Navarro | Editing by | Bernat Vilaplana
Cameras | ARRIFLEX 435 ES Camera, Moviecam Compact Camera
Revolutionary Road (2008)
Directed by | Sam Mendes | Cinematography by | Roger Deakins | Editing by | Tariq Anwar
Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera
Lenses | Zeiss Master Prime Lenses
Dolphin Tale (2011)
Directed by | Charles Martin Smith | Cinematography by | Karl Walter Lindenlaub | Editing by | Harvey Rosenstock
Cameras | Red One MX Camera
Elizabeth (1998)
Directed by | Shekhar Kapur | Cinematography by | Remi Adefarasin | Editing by | Jill Bilcock
Cameras | ARRIFLEX 435 ES Camera, ARRIFLEX 535 Camera
Lenses | Cooke Varotal Lenses, Zeiss Super Speed Lenses
