Fujinon Premier Lenses | 23 Titles
Lost Gold of WW2 (2019)
  | Cinematography by | Simon Wagen, Steve Purcell | Editing by | Kevin Browne, Alpesh Patel, Whitney Dunn, Steven Santos, Paul McAleavey, Dennis Schoffstall, Troy Rackley, Antony Berrios  
 
 Only the Brave (2017)
 Directed by | Joseph Kosinski | Cinematography by | Claudio Miranda | Editing by | Billy Fox 
 
  Cameras | Sony CineAlta F65 Camera 
 1923 (2022)
  | Cinematography by | Corrin Hodgson, Ben Richardson, Robert McLachlan | Editing by | Chad Galster, Byron Smith, Christopher Gay, Brooke Rupe, Todd Desrosiers 
 
  Cameras | ARRI Alexa 35 Camera, ARRI ALEXA Mini Camera 
 The Killer (2023)
Mission: Impossible – Rogue Nation (2015)
 Directed by | Christopher McQuarrie | Cinematography by | Robert Elswit | Editing by | Eddie Hamilton 
 
  Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera 
 Mindhunter (2017)
  | 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, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens 
Hemingway & Gellhorn (2012)
 Directed by | Philip Kaufman | Cinematography by | Rogier Stoffers | Editing by | Walter Murch 
 
  Cameras | ARRI ALEXA Camera 
 Death Note (2017)
 Directed by | Adam Wingard | Cinematography by | David Tattersall | Editing by | Louis Cioffi 
 
  Cameras | Panasonic VariCam 35, Panasonic VariCam Camera 
  Lenses | Fujinon Lenses, Fujinon Premier Lenses, P+S Technik Skater Scope T5.6 Lens, Zeiss Master Prime Lenses, Zeiss Ultra Prime 8R 8 mm T.2.8 Lens 
Doctor Strange (2016)
 Directed by | Scott Derrickson | Cinematography by | Ben Davis | Editing by | Sabrina Plisco, Wyatt Smith 
 
  Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera 
  Lenses | Angenieux Optimo Zoom Lenses, Fujinon Premier Lenses, Panavision 65mm Prime Lenses, Panavision Primo 70 Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses 
The Wedding Ringer (2015)
 Directed by | Jeremy Garelick | Cinematography by | Bradford Lipson | Editing by | Jeff Groth, Shelly Westerman, Byron Wong 
 
  Cameras | Sony CineAlta F65 Camera, Sony PMW-F55 Camera 
 Furious 7 (2015)
 Directed by | James Wan | Cinematography by | Marc Spicer, Stephen F. Windon | Editing by | Leigh Folsom Boyd, Dylan Highsmith, Kirk M. Morri, Christian Wagner 
 
  Cameras | ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera 
  Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses 
Tomorrowland (2015)
 Directed by | Brad Bird | Cinematography by | Claudio Miranda | Editing by | Walter Murch, Craig Wood 
 
  Cameras | Sony CineAlta F65 Camera, Sony PMW-F55 Camera 
  Lenses | Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens 
Labor Day (2013)
 Directed by | Jason Reitman | Cinematography by | Eric Steelberg | Editing by | Dana E. Glauberman 
 
  Cameras | Red Epic Camera 
  Lenses | Angenieux Optimo Zoom Lenses, Bausch & Lomb Super Baltar Lenses, Cooke Varotal Lenses, Fujinon Premier Lenses, Zeiss Master Prime Lenses 
Dumb and Dumber To (2014)
 Directed by | Bobby Farrelly, Peter Farrelly | Cinematography by | Matthew F. Leonetti | Editing by | Steven Rasch 
 
  Cameras | ARRI ALEXA Camera 
 The Homesman (2014)
 Directed by | Tommy Lee Jones | Cinematography by | Rodrigo Prieto | Editing by | Roberto Silvi 
 
  Cameras | ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera 
  Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Zeiss Master Prime Lenses 
Annabelle (2014)
Lone Survivor (2013)
 Directed by | Peter Berg | Cinematography by | Tobias A. Schliessler | Editing by | Colby Parker Jr. 
 
  Cameras | Phantom Flex Camera, Red Epic 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, Angenieux Optimo 45-120 mm T2.8 Lens, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens 
The Fifth Estate (2013)
 Directed by | Bill Condon | Cinematography by | Tobias A. Schliessler | Editing by | Virginia Katz 
 
  Cameras | ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera 
  Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 45-120 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Zeiss Master Prime Lenses 
Sin City: A Dame to Kill For (2014)
 Directed by | Frank Miller, Robert Rodriguez | Cinematography by | Robert Rodriguez | Editing by | Robert Rodriguez 
 
  Cameras | ARRI ALEXA M Camera 
  Lenses | Fujinon Premier Lenses 
White House Down (2013)
 Directed by | Roland Emmerich | Cinematography by | Anna Foerster | Editing by | Adam Wolfe 
 
  Cameras | ARRI ALEXA Plus Camera, Sony CineAlta F65 Camera 
 
 









































































