Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens | 12 Titles
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
modified:
Anonymous (2011)
130 Minutes
Directed by | Roland Emmerich | Cinematography by | Anna Foerster | Editing by | Peter R. Adam Cameras | ARRI ALEXA Camera
Lenses | Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses
modified:
Nymphomaniac: Vol. II (2013)
124 Minutes
Directed by | Lars von Trier | Cinematography by | Manuel Alberto Claro | Editing by | Morten Højbjerg, Jacob Secher Schulsinger, Molly Malene Stensgaard Lenses | Angenieux Optimo 28-76mm T2.6 Lens, Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Super Speed Lenses
modified:
La grande bellezza (2013)
141 Minutes
Directed by | Paolo Sorrentino | Cinematography by | Luca Bigazzi | Editing by | Cristiano Travaglioli Lenses | Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Ultra Prime Lenses
modified:
All Is Lost (2013)
106 Minutes
Capture Resolution | 2880x1620 - (1.78:1) Capture Resolution
Directed by | J.C. Chandor | Cinematography by | Frank G. DeMarco, Peter Zuccarini | Editing by | Pete Beaudreau Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo 17-80mm T2.2 Lens, Angenieux Optimo 24-290mm T2.8 Lens, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Standard Speed Prime Lenses
modified:
The Color of Magic (2008)
191 Minutes
| Cinematography by | Gavin Finney | Editing by | Joe McNally, Liz Webber Cameras | ARRIFLEX D-21 Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
modified:
Secretariat (2010)
123 Minutes
Directed by | Randall Wallace | Cinematography by | Dean Semler | Editing by | John Wright Cameras | ARRIFLEX 435 Camera, Olympus PEN E-P1 Camera, Pan-Arri 435 Camera, Panavision Genesis Camera, Phantom HD Camera
Lenses | Panavision Primo Anamorphic Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
modified:
The Illusionist (2006)
110 Minutes
Directed by | Neil Burger | Cinematography by | Dick Pope | Editing by | Naomi Geraghty Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
modified:
The Bourne Ultimatum (2007)
115 Minutes
Directed by | Paul Greengrass | Cinematography by | Oliver Wood | Editing by | Christopher Rouse Cameras | ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
Lenses | Cooke S4 Lenses, Fujinon Alura Zoom 15.5-45mm T2.8 Lens, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
modified:
Atonement (2007)
123 Minutes
Directed by | Joe Wright | Cinematography by | Seamus McGarvey | Editing by | Paul Tothill Lenses | Panavision Hylén System Lens, Panavision Primo Primes Spherical Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
modified:
The Black Dahlia (2006)
121 Minutes
Directed by | Brian De Palma | Cinematography by | Vilmos Zsigmond | Editing by | Bill Pankow Lenses | Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Ultra Prime Lenses
modified:
Hansel & Gretel: Witch Hunters (2013)
88 Minutes
Directed by | Tommy Wirkola | Cinematography by | Michael Bonvillain | Editing by | Jim Page Cameras | ARRI ALEXA Camera, ARRI ALEXA Plus Camera
Lenses | Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Master Prime Lenses
modified:
