Leica Lenses | 62 Titles
Gemini Man (2019)
117 Minutes
Directed by | Ang Lee | Cinematography by | Dion Beebe | Editing by | Tim Squyres Cameras | ARRI ALEXA XT M Camera, Phantom Flex4K Camera
Lenses | Leica Summilux-C Series Lenses
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Silicon Valley (2014)
28 Minutes
| Cinematography by | Tim Suhrstedt, Jim Denault | Editing by | Tim Roche, Brian Merken, Al LeVine, Paul Zucker, Brian Bautista Cameras | ARRI ALEXA Camera
Lenses | Leica Summilux-C Series Lenses
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Stranger Things (2016)
51 Minutes
Capture Resolution | 6144x3160 - (1.94:1) Capture Resolution
| Cinematography by | Tim Ives, Tod Campbell, Lachlan Milne, David Franco | Editing by | Kevin D. Ross, Dean Zimmerman, Nat Fuller, Katheryn Naranjo Lenses | Leica Summilux-C Series Lenses
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Escape Room (2019)
99 Minutes
Directed by | Adam Robitel | Cinematography by | Marc Spicer | Editing by | Steve Mirkovich Cameras | ARRI ALEXA Mini Camera
Lenses | Leica Summilux-C 100 mm T1.4 Lens, Leica Summilux-C 16 mm T1.4 Lens, Leica Summilux-C 18 mm T1.4 Lens, Leica Summilux-C 21 mm T1.4 Lens, Leica Summilux-C 25 mm T1.4 Lens, Leica Summilux-C 29 mm T1.4 Lens, Leica Summilux-C 35 mm T1.4 Lens, Leica Summilux-C 40 mm T1.4 Lens, Leica Summilux-C 50 mm T1.4 Lens, Leica Summilux-C 65 mm T1.4 Lens, Leica Summilux-C 75 mm T1.4 Lens
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Whiplash (2014)
106 Minutes
Directed by | Damien Chazelle | Cinematography by | Sharone Meir | Editing by | Tom Cross Cameras | ARRI ALEXA Camera, Canon EOS-7D Camera
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Mindhunter (2017)
60 Minutes
| 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, Leica Summilux-C 29 mm T1.4 Lens, Leica Summilux-C 40 mm T1.4 Lens, Leica Summilux-C 65 mm T1.4 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens
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13 Reasons Why (2017)
60 Minutes
| Cinematography by | Ivan Strasburg, Kevin Thompson, Cameron Duncan, Andrij Parekh, Marshall Adams, Tommy Lohmann | Editing by | Matthew Ramsey, Leo Trombetta, Philip Harrison, Jacques Gravett, Daniel Gabbe, Sue Blainey, Rich Fox Cameras | Panasonic VariCam 35
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Into the Badlands (2015)
42 Minutes
| Cinematography by | Owen McPolin, Shane Hurlbut, Sam McCurdy, Daniel Aranyó, Nigel Willoughby, Denis Crossan, P.J. Dillon, Jean-Philippe Gossart | Editing by | Paul G. Day, Ben Wilkinson, Erin Deck, Jay Prychidny, Bridget Durnford, Ray Daniels III, Vikash Patel, Anthony Pinker, Cedric Nairn-Smith Cameras | Red Epic Dragon Camera
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Green Book (2018) 
130 Minutes
Directed by | Peter Farrelly | Cinematography by | Sean Porter | Editing by | Patrick J. Don Vito Cameras | ARRI ALEXA Mini Camera
Lenses | Leica Summilux-C Series Lenses
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Avengers: Infinity War (2018)
149 Minutes
Directed by | Anthony Russo, Joe Russo | Cinematography by | Trent Opaloch | Editing by | Jeffrey Ford, Matthew Schmidt Lenses | Angenieux Lenses, Leica Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
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Mr. Robot (2015)
49 Minutes
| Cinematography by | Tod Campbell, Tim Ives | Editing by | Franklin Peterson, John Petaja, Justin Krohn, Philip Harrison, Rosanne Tan, Joel T. Pashby, Sam Seig, Sharidan Williams-Sotelo, Joe Bini, Andrew Thompson Cameras | Red Epic Dragon Camera
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Dogs of Berlin (2018)
542 Minutes
Capture Resolution | 3424 x 2202 - (1.55:1) Capture Resolution, 5120 x 2880 - (1.78:1) Capture Resolution, 6560 x 3100 - (2.12:1) Capture Resolution
| Cinematography by | Christoph Krauss, Frank Lamm | Editing by | Marc Hofmeister, Bobby Good Cameras | ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Lenses | ARRI Rental Prime 65 28mm T4.0 Lens, ARRI Rental Prime DNA Lenses, Leica Summilux-C Series Lenses
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The Resident (2018)
60 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
| Cinematography by | John Brawley, Hilda Mercado, Elliot Davis | Editing by | Timothy A. Good, William Paley, Nicole Vaskell, Greg Babor, Amanda Panella, Emily Mendez, Patrick McMahon Cameras | ARRI ALEXA Mini Camera, Blackmagic Micro Cinema Camera, Blackmagic Pocket Cinema 4K Camera, Blackmagic URSA Mini Pro 4.6K G2 Camera, Blackmagic URSA Mini Pro Camera
Lenses | Leica Summicron-C 135 mm T2.0 Lens, Leica Summicron-C 18 mm T2.0 Lens, Leica Summicron-C 21 mm T2.0 Lens, Leica Summicron-C 25 mm T2.0 Lens, Leica Summicron-C 29 mm T2.0 Lens, Leica Summicron-C 35 mm T2.0 Lens, Leica Summicron-C 40 mm T2.0 Lens, Leica Summicron-C 50 mm T2.0 Lens, Leica Summicron-C 75 mm T2.0 Lens, Panavision Primo Primes Spherical Lenses, SLR Magic APO HyperPrime Cine 25mm T2.1 Lens, SLR Magic APO HyperPrime Cine 32mm T2.1 Lens, SLR Magic APO HyperPrime Cine 50mm T2.1 Lens, SLR Magic APO HyperPrime Cine 85mm T2.1 Lens, Zeiss Lenses
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El Último Suspiro (2017)
5 Minutes
Capture Resolution | 1920x1080 - (1.78:1) Capture Resolution
Directed by | Joan Girbau Xalabarder | Cinematography by | Joan Girbau Xalabarder | Editing by | Xavi Morcillo Cameras | Blackmagic Design Cameras, Canon Cameras
Lenses | Canon Lenses, Leica Lenses
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Don’t Breathe (2016)
88 Minutes
Capture Resolution | 2048x1152 - (1.78:1) Capture Resolution
Directed by | Fede Alvarez | Cinematography by | Pedro Luque | Editing by | Eric L. Beason, Louise Ford, Gardner Gould Cameras | ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses | Fujinon Alura Zoom 15.5-45mm T2.8 Lens, Fujinon Alura Zoom 45-250mm T2.8 Lens, Leica Summilux-C 100 mm T1.4 Lens, Leica Summilux-C 16 mm T1.4 Lens, Leica Summilux-C 18 mm T1.4 Lens, Leica Summilux-C 21 mm T1.4 Lens, Leica Summilux-C 25 mm T1.4 Lens, Leica Summilux-C 29 mm T1.4 Lens, Leica Summilux-C 35 mm T1.4 Lens, Leica Summilux-C 40 mm T1.4 Lens, Leica Summilux-C 50 mm T1.4 Lens, Leica Summilux-C 65 mm T1.4 Lens, Leica Summilux-C 75 mm T1.4 Lens, Zeiss Super Speed Lenses, Zeiss Super Speeds Mk II 18 mm T1.3 Lens, Zeiss Super Speeds Mk II 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 12 mm T1.3 Lens, Zeiss Ultra 16 Distagon 14 mm T1.3 Lens, Zeiss Ultra 16 Distagon 18 mm T1.3 Lens, Zeiss Ultra 16 Distagon 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 6 mm T1.3 Lens, Zeiss Ultra 16 Distagon 8 mm T1.3 Lens, Zeiss Ultra 16 Distagon 9.5 mm T1.3 Lens, Zeiss Ultra 16 Planar 35 mm T1.3 Lens
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Ray Donovan (2013)
60 Minutes
| Cinematography by | Robert McLachlan, Matthew Jensen, Loren S. Yaconelli, Roy H. Wagner, David Franco, Tim Nagasawa, Dan Stoloff | Editing by | Lynne Willingham, Harvey Rosenstock, John Axness, Peter B. Ellis, Sidney Wolinsky, Tanya M. Swerling, Susan Godfrey, Amy Colla, Garret Donnelly, John Duffy, Miriam Kim Cameras | ARRI ALEXA Camera
Lenses | Leica Summilux-C Series Lenses
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Finding Carter (2014)
42 Minutes
| Cinematography by | Alison Kelly, Bradford Lipson, Karsten Gopinath | Editing by | Jim Towne, John Wesley Whitton, Tad Dennis, Brandon Lott, Tammis Chandler, Robin Katz, Evan Henke Lenses | Leica Summilux-C Series Lenses
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No Good Deed (2014)
84 Minutes
Directed by | Sam Miller | Cinematography by | Michael Barrett | Editing by | Randy Bricker, Jim Page Cameras | Sony CineAlta F65 Camera
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The Legend of Tarzan (2016)
110 Minutes
Directed by | David Yates | Cinematography by | Henry Braham | Editing by | Mark Day Cameras | Red Epic Dragon Camera
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Crouching Tiger, Hidden Dragon: Sword of Destiny (2016)
96 Minutes
Directed by | Woo-Ping Yuen | Cinematography by | Newton Thomas Sigel | Editing by | Jeff Betancourt Cameras | Red Epic Dragon Camera
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