Fluorescent Lighting | 152 Titles
Die Hard (1988)
Directed by | John McTiernan | Cinematography by | Jan de Bont | Editing by | John F. Link, Frank J. Urioste
Cameras | Panavision Panaflex Gold Camera
Lenses | Carl Zeiss Planar 50 mm f0.7 Lens (Modified by Ed DiGiulio), Carl Zeiss Planar 50mm with Kollmorgen Adaptor 36.5 mm f0.7 (Modified by Ed DiGiulio), Cooke Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Lenses, Panavision Ultra Speed MKII Lenses
Le militaire (2014)
Directed by | Noël Mitrani | Cinematography by | Bruno Philip | Editing by | Arthur Tarnowski
Cameras | Aaton XTR Prod Camera
Lenses | Zeiss Compact Prime CP.2 Distagon 21 mm T2.9 Lens, Zeiss Compact Prime CP.2 Distagon 28 mm T2.1 Lens, Zeiss Compact Prime CP.2 Distagon 35 mm T2.1 Lens, Zeiss Compact Prime CP.2 Planar 50 mm T2.1 Macro Lens, Zeiss Compact Prime CP.2 Planar 85 mm T2.1 Lens
Divergence (2007)
Directed by | Patrick J. Donnelly | Cinematography by | Patrick J. Donnelly | Editing by | Patrick J. Donnelly, Robert Mead
Lenses | ARRI / Fujinon Lenses
A Christmas Prince (2017)
Directed by | Alex Zamm | Cinematography by | Viorel Sergovici | Editing by | Marshall Harvey
Cameras | Red Helium (Weapon) 8K
Lenses | Zeiss Ultra Prime Lenses
Reto Sangriento (2016)
Directed by | Ricky Gonzalez | Cinematography by | Ricky Gonzalez
Cameras | Blackmagic Cinema Camera
Lenses | Rokinon XEEN 16mm T2.6 Lens, Rokinon XEEN 24mm T1.5 Lens, Rokinon XEEN 35mm T1.5 Lens, Rokinon XEEN 50mm T1.5 Lens, Rokinon XEEN 85mm T1.5 Lens
The Man in Room 6 (2022)
Directed by | Trevor Juenger | Cinematography by | Dylan Schnitker, Joe Tello, Rexx Villotti | Editing by | Abbey Heise, Trevor Juenger
Cameras | GoPro (Woodman Labs) Cameras, GoPro HERO4 Black, Panasonic Lumix DMC-GH5 Camera, Sony α7S II Camera
Lenses | Rokinon Lenses, SLR Magic Lenses
The Veil (2016)
Directed by | Phil Joanou | Cinematography by | Steeven Petitteville | Editing by | Paul Norling
Cameras | ARRI ALEXA Plus 4:3 Camera, ARRI ALEXA XT Plus Camera, Bolex H16 Camera, Phantom Flex Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Anamorphic Lenses, CamTec Lenses, Cineovision Lenses, Kowa Cine Prominar Anamorphic 100mm T3.4 Lens, Kowa Cine Prominar Anamorphic 40mm T2.3 Lens, Kowa Cine Prominar Anamorphic 50mm T2.3 Lens, Kowa Cine Prominar Anamorphic 75mm T2.8 Lens
Bitcoin Miners (2021)
Directed by | Scott Migdol | Cinematography by | Scott Migdol
Starring | Freya Fox
Cameras | Blackmagic Micro Studio 4K Camera
Behold the Lamb (2011)
Directed by | John McIlduff | Cinematography by | Steeven Petitteville | Editing by | Nick Emerson
Cameras | ARRIFLEX 16mm Cameras
Lenses | Cooke Spherical Lenses, Cooke Varotal Lenses, Cooke Zoom Lenses, Leica R Series Lenses, Technovision Lenses
The Stroller Strategy (2012)
Directed by | Clément Michel | Cinematography by | Steeven Petitteville | Editing by | Julie Dupré
Cameras | ARRI ALEXA Plus Camera
Lenses | Panavision PMZ 14.5-50 mm T2.2 Lens, Panavision SL100 100 mm T1.9 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 SL75 75 mm T1.9 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Ambuli (2012)
Directed by | Haresh Narayan, K. Hari Shankar | Cinematography by | Sathish G. | Editing by | K. Hari Shankar
Cameras | Panasonic AG-3DA1 Camera
Lenses | Panasonic Lenses
Room X (2008)
Directed by | Kelvin C. Bias | Cinematography by | Robson Garcia Jr. | Editing by | Pen Williams
Cameras | Bolex H16 SB Camera
Lenses | Angenieux Lenses
Arc de Barà (2016)
Directed by | JC Ceinos | Cinematography by | JC Ceinos | Editing by | JC Ceinos
Cameras | Canon EOS 600D Camera, Canon EOS Rebel T3i camera, Canon EOS-5D Mark II Camera, GoPro HERO4 Black
Noctambulous (2011)
Directed by | Kelvin C. Bias | Cinematography by | Robson Garcia Jr. | Editing by | Ann Foo
Cameras | Canon EOS-7D Camera, Panasonic AG-HVX200 Camera
Lenses | Canon EF 24-70 mm f2.8L II Lens, Canon EF 70-200 mm f2.8 L IS II Lens, Canon L Series Lenses
The Enchantress of Number (2018)
Directed by | Rebecca Murga | Cinematography by | David Auner
Cameras | Aaton Penelope Camera, ARRI AMIRA Premium Camera
Lenses | Cooke Speed Panchro (S2) 32mm f2.3 Lens, Cooke Speed Panchro (S2) 40mm f2.3 Lens, Cooke Speed Panchro (S2) 50mm f2.3 Lens, Cooke Speed Panchro (S2) 75mm f2.3 Lens, Cooke Speed Panchro (S3) 18mm T2.2 Lens, Cooke Speed Panchro (S3) 25mm T2.2 Lens
Empire Hotel (2018)
Directed by | Ivo Ferreira | Cinematography by | Susana Gomes | Editing by | Sandro Aguilar
Cameras | Sony α7S II Camera
Lenses | ARRI / Zeiss Lenses, ARRI Macro 60mm T3.0 Lens, Zeiss ARRI Macro Lenses, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Distagon 40 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 65 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 100 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 135 mm T1.9 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens
Parasite (2019)
Directed by | Bong Joon Ho | Cinematography by | Kyung-pyo Hong | Editing by | Jinmo Yang
Cameras | ARRI ALEXA 65 Camera
Promised: A True Story (2021)
Directed by | Yitzchok Zev Weisz | Cinematography by | Duvid Steinberg | Editing by | Duvid Steinberg, Yitzchok Zev Weisz
Cameras | Canon Cameras
Lenses | Canon EF Series Lenses