Color | 3927 Titles
Un beau dimanche (2013)
Directed by | Nicole Garcia | Cinematography by | Pierre Milon | Editing by | Simon Jacquet
Cameras | ARRI ALEXA Camera
En solitaire (2013)
Directed by | Christophe Offenstein | Cinematography by | Guillaume Schiffman | Editing by | Ruy Diaz, Véronique Lange
Cameras | Red Epic Camera, Red Scarlet 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, Zeiss Standard Speed Prime Lenses
À coup sûr (2014)
Directed by | Delphine de Vigan | Cinematography by | Antoine Monod | Editing by | Reynald Bertrand
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens
Dans la cour (2014)
Directed by | Pierre Salvadori | Cinematography by | Gilles Henry | Editing by | Isabelle Devinck
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens
Do Not Disturb (2012)
Directed by | Yvan Attal | Cinematography by | Thomas Hardmeier | Editing by | Jennifer Augé
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, ARRI Shift & Tilt System Lens, Zeiss Master Prime Lenses, Zeiss Super Speed Lenses
Main dans la main (2012)
Directed by | Valérie Donzelli | Cinematography by | Sébastien Buchmann | Editing by | Pauline Gaillard
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
Quelques heures de printemps (2012)
Directed by | Stéphane Brizé | Cinematography by | Antoine Héberlé | Editing by | Anne Klotz
Cameras | ARRI ALEXA Camera
Trois mondes (2012)
Directed by | Catherine Corsini | Cinematography by | Claire Mathon | Editing by | Muriel Breton
Cameras | Aaton Penelope Camera
Lenses | Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Ultra Prime Lenses
Don-eui mat (2012)
Directed by | Sang-soo Im | Cinematography by | Woo-hyung Kim | Editing by | Eun Soo Lee
Cameras | Red One Camera
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens
Renoir (2012)
Directed by | Gilles Bourdos | Cinematography by | Ping Bin Lee | Editing by | Yannick Kergoat
Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses
Camille redouble (2012)
Directed by | Noémie Lvovsky | Cinematography by | Jean-Marc Fabre | Editing by | Annette Dutertre, Michel Klochendler
Cameras | ARRI ALEXA Plus Camera
Cornouaille (2012)
Plan de table (2012)
Directed by | Christelle Raynal | Cinematography by | Éric Guichard | Editing by | Philippe Bourgueil
Cameras | Aaton Penelope Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
Le grand soir (2012)
Directed by | Benoît Delépine, Gustave Kervern | Cinematography by | Hugues Poulain | Editing by | Stéphane Elmadjian
Cameras | ARRI ALEXA Camera, Canon EOS-7D Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
10 jours en or (2012)
Directed by | Nicolas Brossette | Cinematography by | Benoît Chamaillard | Editing by | Jean-François Elie
Cameras | ARRI ALEXA Camera
Lenses | Angenieux Optimo Zoom Lenses, Cooke S4 Lenses
Sister (2012)
Directed by | Brenda Davis | Cinematography by | Alexandra swati Guild | Editing by | Alistair Shurman
Cameras | ARRI ALEXA Camera
À coeur ouvert (2012)
Directed by | Marion Laine | Cinematography by | Antoine Héberlé | Editing by | Mathilde Van de Moortel
Cameras | ARRI ALEXA Camera
Astérix and Obélix: God Save Britannia (2012)
Directed by | Laurent Tirard | Cinematography by | Catherine Pujol, Denis Rouden | Editing by | Valérie Deseine
Cameras | ARRI ALEXA Camera
Bienvenue parmi nous (2012)
Directed by | Jean Becker | Cinematography by | Arthur Cloquet | Editing by | Franck Nakache, Jacques Witta
Cameras | ARRI ALEXA Camera
Populaire (2012)
Directed by | Régis Roinsard | Cinematography by | Guillaume Schiffman | Editing by | Laure Gardette, Sophie Reine


















































