LED Lighting | 158 Titles
Andi Mack (2017)
| Cinematography by | Matthew Williams | Editing by | Jane Choi, Marcelo Sansevieri
Cameras | ARRI ALEXA Mini Camera
Lenses | Cooke 5/i Prime 100mm T1.4 Lens, Cooke 5/i Prime 135mm T1.4 Lens, Cooke 5/i Prime 18mm T1.4 Lens, Cooke 5/i Prime 25mm T1.4 Lens, Cooke 5/i Prime 32mm T1.4 Lens, Cooke 5/i Prime 40mm T1.4 Lens, Cooke 5/i Prime 50mm T1.4 Lens, Cooke 5/i Prime 65mm T1.4 Lens, Cooke 5/i Prime 75mm T1.4 Lens, Cooke S4/i Prime 100mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Skull (2018)
Directed by | Yusron Fuadi | Editing by | Yusron Fuadi
Lenses | Nikon - Nikkor Lenses, Samyang VDSLR II Cine 85 mm T1.5 Lens, Zeiss Distagon T* 25mm f2.0 ZE
Sleepless (2017)
Directed by | Baran bo Odar | Cinematography by | Mihai Malaimare Jr. | Editing by | Robert Rzesacz
Lenses | Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Super Speed Lenses
Family Obligations (2019)
Directed by | Kenneth R. Frank | Cinematography by | Kenneth R. Frank | Editing by | Chris Mollica, Kevin Wolfring
Cameras | Blackmagic Pocket Cinema Camera
The Perfect Host (2010)
Directed by | Nick Tomnay | Cinematography by | John Brawley | Editing by | Nick Tomnay
Cameras | Red One Camera
Lenses | Zeiss Ultra Prime Lenses
Missing Girl (2017)
Directed by | Jimmy Barranco | Cinematography by | Jimmy Barranco | Editing by | Jimmy Barranco
Cameras | Blackmagic Pocket Cinema Camera
Lenses | Canon Lenses, Sigma Lenses
The Resident (2018)
| Cinematography by | John Brawley, Hilda Mercado, Elliot Davis | Editing by | Timothy A. Good, William Paley, Nicole Vaskell, Greg Babor, Amanda Panella, Emily Mendez, Patrick McMahon
Cameras | ARRI ALEXA Mini Camera, Blackmagic Micro Cinema Camera, Blackmagic Pocket Cinema 4K Camera, Blackmagic URSA Mini Pro 4.6K G2 Camera, Blackmagic URSA Mini Pro Camera
Lenses | Leitz Summicron-C 135 mm T2.0 Lens, Leitz Summicron-C 18 mm T2.0 Lens, Leitz Summicron-C 21 mm T2.0 Lens, Leitz Summicron-C 25 mm T2.0 Lens, Leitz Summicron-C 29 mm T2.0 Lens, Leitz Summicron-C 35 mm T2.0 Lens, Leitz Summicron-C 40 mm T2.0 Lens, Leitz Summicron-C 50 mm T2.0 Lens, Leitz Summicron-C 75 mm T2.0 Lens, Panavision Primo Primes Spherical Lenses, SLR Magic APO HyperPrime Cine 25mm T2.1 Lens, SLR Magic APO HyperPrime Cine 32mm T2.1 Lens, SLR Magic APO HyperPrime Cine 50mm T2.1 Lens, SLR Magic APO HyperPrime Cine 85mm T2.1 Lens, Zeiss Lenses
Measure of a Man (2018)
Directed by | Jim Loach | Cinematography by | Denson Baker | Editing by | Dany Cooper
Cameras | ARRI ALEXA Camera
Lenses | Cooke S4/i Prime 100mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Innerself (2018)
Directed by | Johnny Wu | Cinematography by | Peter Sampson | Editing by | Johnny Wu
Cameras | Panasonic Lumix DMC-GH5 Camera
Lenses | Meike 25mm T2.2, Panasonic Lumix G X Vario 12-35mm f2.8 Lens, Panasonic Lumix G X Vario 35-100mm f2.8 Lens
Rattlesnake (2019)
Directed by | Zak Hilditch | Editing by | Merlin Eden
Cameras | Sony CineAlta VENICE Camera
Lenses | Kowa Cine Prominar Spherical Lenses
Chelsea Lately (2007)
| Cinematography by | Lee Rose | Editing by | Philip D. Favre, Ignacio Pinerua, Michelle Gevoian, Jason Gill, Kurt Heydle, Jason Wood, Josh Belson, Xiao Niu, Dave Wilson, Sean Hubbert, Karl Kimbrough, Gasper Chiaramonte, Phil Favre, Don Misraje
Lenses | Fujinon Lenses
R.L. Stine’s The Haunting Hour (2010)
| Cinematography by | Michael Balfry | Editing by | Lisa Robison, Charles Robichaud, Jana Fritsch, Jeanne Slater, Jana Fitsch
Cameras | Red Epic Camera
Lenses | Cooke S4/i Lenses, Fujinon Alura Lenses, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens
El Último Suspiro (2017)
Directed by | Joan Girbau Xalabarder | Cinematography by | Joan Girbau Xalabarder | Editing by | Xavi Morcillo
Cameras | Blackmagic Design Cameras, Canon Cameras
Lenses | Canon Lenses, Leitz Lenses
Boots on the Ground (2017)
Directed by | Louis Melville | Cinematography by | Boyd Skinner | Editing by | Lucas Roche
Cameras | GoPro HERO4 Black
Revelator (2017)
Directed by | J. Van Auken | Cinematography by | Dan Clarke | Editing by | J. Van Auken
Cameras | Blackmagic URSA Camera
Beast (2015)
Directed by | Sam McKeith, Tom McKeith | Cinematography by | Michael Steel | Editing by | Paul Murphy
Cameras | ARRI AMIRA Camera
Lenses | Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens
Postpartum (2016)
Directed by | Richard Bakewell, Lale Arpaci | Cinematography by | Chun Ming Huang
Cameras | Panasonic VariCam 35
Don’t Breathe (2016)
Directed by | Fede Alvarez | Cinematography by | Pedro Luque | Editing by | Eric L. Beason, Louise Ford, Gardner Gould
Cameras | ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses | Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens, Zeiss Super Speed Lenses, Zeiss Super Speeds Mk II 18 mm T1.3 Lens, Zeiss Super Speeds Mk II 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 12 mm T1.3 Lens, Zeiss Ultra 16 Distagon 14 mm T1.3 Lens, Zeiss Ultra 16 Distagon 18 mm T1.3 Lens, Zeiss Ultra 16 Distagon 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 6 mm T1.3 Lens, Zeiss Ultra 16 Distagon 8 mm T1.3 Lens, Zeiss Ultra 16 Distagon 9.5 mm T1.3 Lens, Zeiss Ultra 16 Planar 35 mm T1.3 Lens
Morris from America (2016)
Directed by | Chad Hartigan | Cinematography by | Sean McElwee | Editing by | Anne Fabini
Cameras | ARRI ALEXA Camera, Red Epic Camera
Capsule (2015)
Directed by | Andrew Martin | Cinematography by | Felix Forrest | Editing by | Jan Hillman
Lenses | Angenieux Optimo 45-120 mm T2.8 Lens, Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Cooke miniS4/i 100mm T2.8 Lens, Cooke miniS4/i 18mm T2.8 Lens, Cooke miniS4/i 25mm T2.8 Lens, Cooke miniS4/i 32mm T2.8 Lens, Cooke miniS4/i 50mm T2.8 Lens, Cooke miniS4/i 75mm T2.8 Lens, Cooke miniS4/i Lenses, Red Pro Zoom 17-50 mm T2.9 Lens, Red Pro Zoom Lenses, Tokina AT-X116 Pro DX 11-16 mm f2.8 Lens, Tokina Lenses
