HMI Lighting | 128 Titles
Reveròn (2011)
Directed by | Diego Rísquez | Cinematography by | Cezary Jaworski | Editing by | Leonardo Henríquez
Cameras | Red One Camera
Der Abschied (2003)
Directed by | Sören Schulz | Cinematography by | Thomas Frischhut | Editing by | Sylvain Coutandin
Cameras | ARRI Cameras
The Lone Ranger (2013)
Directed by | Gore Verbinski | Cinematography by | Bojan Bazelli | Editing by | James Haygood, Craig Wood
Cameras | ARRI ALEXA Studio Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Red Epic Camera
Lenses | Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision SL21 21 mm T1.9 Lens
The Moment After II: The Awakening (2006)
Directed by | Wes Llewellyn | Cinematography by | Todd Barron | Editing by | Wes Llewellyn, Mike Wech
Cameras | Panasonic Cameras, Panasonic VariCam Camera
Lenses | Canon Lenses
The Moment After (1999)
Directed by | Wes Llewellyn | Cinematography by | Philip Hurn | Editing by | Wes Llewellyn
Cameras | Aaton Cameras
Lenses | Cooke Lenses
Club 60 (2013)
Directed by | Sanjay Tripathy | Cinematography by | Shyamanand Jha | Editing by | Aditya Joshi, Arunabha Mukherjee
Cameras | Panavision Panaflex Platinum Camera
Push (2009)
Directed by | Paul McGuigan | Cinematography by | Peter Sova | Editing by | Nicolas Trembasiewicz
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 16SR3 Camera, Bolex H16 RX5 Camera, Bolex H16 SB Camera
Julia X (2011)
Directed by | P.J. Pettiette | Cinematography by | Jason Goodman | Editing by | Rob Neal
Cameras | Red One Camera
Se Puder… Dirija! (2013)
Directed by | Anita Barbosa, Paulo Fontenelle | Cinematography by | Nonato Estrela, Pedro Guimaraes
Cameras | Red Epic Camera
Lenses | Zeiss 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 Lenses, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 65 mm T1.9 Lens
Everything Put Together (2000)
Directed by | Marc Forster | Cinematography by | Roberto Schaefer | Editing by | Matt Chesse
Cameras | Sony DSR-PD100 Camera
Inner City Snow (2009)
Directed by | Bryan Martin | Cinematography by | Chris Leplus, Victor Lou | Editing by | Bryan Martin
Cameras | Arritechno 35 Camera, Éclair EX16 Camera
Lenses | Canon Lenses
Best in Show (2000)
Directed by | Christopher Guest | Cinematography by | Roberto Schaefer | Editing by | Robert Leighton
Cameras | Aaton Cameras
Drowning Mona (2000)
Directed by | Nick Gomez | Cinematography by | Bruce Douglas Johnson | Editing by | Richard Pearson
Cameras | Pan-Arri 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL Camera
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
Stranger Than Fiction (2006)
Neighbor (2009)
Directed by | Robert A. Masciantonio | Cinematography by | MJ Schirmer | Editing by | R. Emmett Sibley
Cameras | Red One MX Camera
Mystery Team (2009)
Directed by | Dan Eckman | Cinematography by | Austin F. Schmidt | Editing by | Dan Eckman
Cameras | Red One Camera
Monster’s Ball (2001)
Directed by | Marc Forster | Cinematography by | Roberto Schaefer | Editing by | Matt Chesse
Cameras | ARRIFLEX 35 IIIC Camera, ARRIFLEX 535 Camera
The Big Slice (1991)
Directed by | John Bradshaw | Cinematography by | Ludek Bogner | Editing by | Nick Rotundo
Cameras | ARRI ARRIFLEX Series Cameras