Zeiss Variable Prime Lenses | 14 Titles
Ratcatcher (1999)
Directed by | Lynne Ramsay | Cinematography by | Alwin H. Küchler | Editing by | Lucia Zucchetti
Cameras | ARRIFLEX 16mm Cameras, ARRIFLEX 35mm Cameras
Lenses | Zeiss Lenses, Zeiss Variable Prime Lenses
The Day After Tomorrow (2004)
Directed by | Roland Emmerich | Cinematography by | Ueli Steiger | Editing by | David Brenner
Cameras | ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Do Começo ao Fim (2009)
Directed by | Aluizio Abranches | Cinematography by | Ueli Steiger | Editing by | Fábio S. Limma
Cameras | Aaton Cameras
Lenses | Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Distagon 14 mm T1.9 Lens, Zeiss Variable Prime VP1 16-30 mm T2.2 Lens, Zeiss Variable Prime VP2 29-60 mm T2.2 Lens, Zeiss Variable Prime VP3 55-150 mm T2.2 Lens
Molly’s Theory of Relativity (2013)
Directed by | Jeff Lipsky | Cinematography by | Jendra Jarnagin | Editing by | Patricfia Burgess, Patricia Burgess
Cameras | Red One MX Camera
Broken Flowers (2005)
Directed by | Jim Jarmusch | Cinematography by | Frederick Elmes | Editing by | Jay Rabinowitz
Lenses | Zeiss Variable Prime Lenses
United 93 (2006)
Directed by | Paul Greengrass | Cinematography by | Barry Ackroyd | Editing by | Clare Douglas, Richard Pearson, Christopher Rouse
Cameras | Aaton A-Minima Camera, ARRICAM Lite (LT) Camera
Lenses | Cooke S4 Lenses, Zeiss Variable Prime Lenses
Gangs of New York (2002)
Directed by | Martin Scorsese | Cinematography by | Michael Ballhaus | Editing by | Thelma Schoonmaker
Harry Potter and the Goblet of Fire (2005)
Directed by | Mike Newell | Cinematography by | Roger Pratt | Editing by | Mick Audsley
Lenses | Angenieux Optimo Anamorphic Lenses, Canon Lenses, Cooke S4 Lenses, Zeiss Variable Prime Lenses
Shakespeare in Love (1998) 
Directed by | John Madden | Cinematography by | Richard Greatrex | Editing by | David Gamble
Cameras | ARRIFLEX 535 B Camera
Lenses | Zeiss Variable Prime Lenses
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
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
Tsotsi (2005)
Directed by | Gavin Hood | Cinematography by | Lance Gewer | Editing by | Megan Gill
Cameras | Moviecam Compact Camera
The Departed (2006)
Directed by | Martin Scorsese | Cinematography by | Michael Ballhaus | Editing by | Thelma Schoonmaker
Lenses | Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses, Zeiss Variable Prime Lenses
Wild Wild West (1999)
Directed by | Barry Sonnenfeld | Cinematography by | Michael Ballhaus | Editing by | Jim Miller
Lenses | Zeiss Variable Prime VP1 16-30 mm T2.2 Lens, Zeiss Variable Prime VP2 29-60 mm T2.2 Lens, Zeiss Variable Prime VP3 55-150 mm T2.2 Lens
