HMI Lighting | 134 Titles
Gold Star (2020)
Directed by | Amin Pourbarghi | Cinematography by | Costa Konstantinou | Editing by | Gusti Wiblinger
Cameras | ARRI ALEXA Camera, Canon EOS-C300 Camera
Lenses | Canon EF Series Lenses, Canon FD Series Lenses
Maître du monde (2011)
Directed by | Enrico Alexander Giordano | Cinematography by | Daniel Brouwer | Editing by | Enrico Alexander Giordano
Starring | Boris Beynet
Cameras | Panasonic AG-HVX200 Camera
Lenses | Canon FD 135 mm f2.5 SC Lens, Canon FD 24 mm f2.8 SSC Lens, Canon FD 35 mm f2.0 SSC Lens, Canon FD 50 mm f1.4 SSC Lens, Canon FD 85 mm f1.8 SSC Lens
Venus Effect (2024)
Directed by | Andrew Burn | Cinematography by | Andrew Burn
Cameras | Sony Cameras, Sony ILME-FX3 Camera
Lenses | Sony G Master Series Lenses
Lupin (2021)
| Cinematography by | Christophe Nuyens, Maxime Cointe, Nicolas Massart, Martial Schmeltz | Editing by | Jean-Daniel Fernandez Qundez, Audrey Simonaud, Romain Rioult, Richard Marizy, Matthilde Carlier, Vincent Tabaillon
Cameras | ARRI ALEXA LF Camera, ARRI ALEXA Mini LF Camera
Lenses | P+S Technik TECHNOVISION 1.5x 100 mm T2.5 Lens, P+S Technik TECHNOVISION 1.5x 135 mm T2.5 Lens, P+S Technik TECHNOVISION 1.5x 40 mm T2.2 Lens, P+S Technik TECHNOVISION 1.5x 40-70 mm T3.2 Lens, P+S Technik TECHNOVISION 1.5x 50 mm T2.2 Lens, P+S Technik TECHNOVISION 1.5x 75 mm T2.5 Lens
Roses. Film-Cabaret (2021)
Directed by | Irena Stetsenko | Cinematography by | Serhiy Stetsenko | Editing by | Mykola Bazarkin
Lenses | Konica Hexanon AR 21mm f2.8 Lens, Konica Hexanon AR 28mm f1.8 Lens, Konica Hexanon AR 40mm f1.8 Lens, Konica Hexanon AR 50mm f1.7 Lens
Die Another Day (2002)
Directed by | Lee Tamahori | Cinematography by | David Tattersall | Editing by | Andrew MacRitchie, Christian Wagner
Cameras | ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Quantum of Solace (2008)
Directed by | Marc Forster | Cinematography by | Roberto Schaefer | Editing by | Matt Chesse, Richard Pearson
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R Camera
Lenses | Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Portrait of a Lady on Fire (2019)
Directed by | Céline Sciamma | Cinematography by | Claire Mathon | Editing by | Julien Lacheray
Cameras | Red Monstro 8K Camera
Lenses | Leitz THALIA Series Lenses
Snakes on a Train (2006)
Directed by | Peter Mervis | Cinematography by | Mark Atkins | Editing by | Peter Mervis
Cameras | Sony HDW-F900 Camera
The Grand Budapest Hotel (2014)
Directed by | Wes Anderson | Cinematography by | Robert D. Yeoman | Editing by | Barney Pilling
Cameras | ARRICAM Studio (ST) Camera
Lenses | Angenieux Lenses, Cooke S4 Lenses, Cooke Varotal Lenses, Technovision Techno-Cooke Anamorphic Zoom 40-200mm T4.5 Lens
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
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
Operator (2016)
Directed by | Logan Kibens | Cinematography by | Steeven Petitteville | Editing by | Logan Kibens
Cameras | ARRI AMIRA Series Cameras, Sony α7S Camera
Lenses | Zeiss Lenses
La Marginale (2022)
Directed by | Frank Cimière | Cinematography by | Matthieu-David Cournot | Editing by | Bruno Safar
Cameras | ARRI ALEXA Mini Camera
Lenses | Atlas Orion Anamorphic 100 mm T2 Lens, Atlas Orion Anamorphic 32 mm T2 Lens, Atlas Orion Anamorphic 40 mm T2 Lens, Atlas Orion Anamorphic 65 mm T2 Lens, Atlas Orion Anamorphic 80 mm T2 Lens
Operation Portugal (2021)
Directed by | Frank Cimière | Cinematography by | Matthieu-David Cournot | Editing by | Stéphanie Gaurier
Cameras | ARRI ALEXA Mini Camera
Lenses | Cooke S4 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
Friendship’s Field (1995)
Directed by | Bruce Neibaur | Cinematography by | Matthew Williams
Cameras | ARRIFLEX 35 BL4s Camera
Lenses | Zeiss Standard Speed Prime Lenses
American Pastime (2007)
Directed by | Desmond Nakano | Cinematography by | Matthew Williams | Editing by | Mark Yoshikawa
Cameras | Moviecam Compact Camera
Lenses | Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 18mm T2.0 Lens, Cooke S4 Prime 25mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens
Saving Sarah Cain (2007)
Directed by | Michael Landon Jr. | Cinematography by | Matthew Williams | Editing by | Steve Haugen
Cameras | Sony HDW-F900R Camera
