Digital Film Recording: Technicolor
Out of the Furnace (2013)
Directed by: Scott Cooper
Cinematography by: Masanobu Takayanagi
Edited by: David Rosenbloom
Editing System: Avid Editing System
Film Recording: Technicolor
Scary Movie 5 (2013)
Cinematography by: Steven Douglas Smith
Edited by: Sam Seig
Cameras: ARRI ALEXA Camera
Imaging Technician: Technicolor Hollywood
The Paperboy (2012)
Directed by: Lee Daniels
Cinematography by: Roberto Schaefer
Edited by: Joe Klotz
Cameras: Aaton XTR Prod Camera, ARRIFLEX 16SR3 Camera
Lenses: Canon Lenses, Zeiss Super Speed Lenses
Imaging Technician: Technicolor Digital Intermediate
Silver Linings Playbook (2012)
Directed by: David O. Russell
Cinematography by: Masanobu Takayanagi
Digital Film Recordist / Film Scanner
Playing for Keeps (2012)
Directed by: Gabriele Muccino
Cinematography by: Peter Menzies Jr.
Edited by: Padraic McKinley
Imaging Technician: Technicolor
Lincoln (2012)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Film Recording: Technicolor Los Angeles
Moonrise Kingdom (2012)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Andrew Weisblum
Cameras: Aaton A-Minima Camera, Aaton Xterà Camera
Lenses: Canon Lenses, Zeiss Super Speed Lenses
Digital Imaging Technician / Digital Intermediate Scanner And Recorder
Source Code (2011)
Directed by: Duncan Jones
Cinematography by: Don Burgess
Edited by: Paul Hirsch
Imaging Technician
Limitless (2011)
Directed by: Neil Burger
Cinematography by: Jo Willems
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Red One Camera
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Intermediate Imaging Technician
Super (2010)
Directed by: James Gunn
Cinematography by: Steve Gainer
Edited by: Cara Silverman
Cameras: Red One Camera
Editing System: Avid Editing System
Scanning And Recording: Technicolor Creative Services
The Fighter (2010)
Directed by: David O. Russell
Cinematography by: Hoyte Van Hoytema
Edited by: Pamela Martin
Scanning & Recording: Technicolor Digital Intermediates
The Spy Next Door (2010)
Directed by: Brian Levant
Cinematography by: Dean Cundey
Edited by: Lawrence Jordan
Digital Imaging Technician: Technicolor
All Good Things (2010)
Directed by: Andrew Jarecki
Cinematography by: Michael Seresin
Imaging Technician: Technicolor Digital Intermediates
Punisher: War Zone (2008)
Directed by: Lexi Alexander
Cinematography by: Steve Gainer
Edited by: William Yeh
Scanning: Technicolor Digital Intermediates, Burbank
All the Days Before Tomorrow (2007)
Directed by: François Dompierre
Cinematography by: Gavin Kelly
Imaging Technician: TDI
The Hunting Party (2007)
Directed by: Richard Shepard
Cinematography by: David Tattersall
Edited by: Carole Kravetz Aykanian
Scanning And Recording: TDI
Superman Returns (2006)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Panavision Genesis Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Scanning Supervisor
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDC-F950 Camera
Film Recording Engineer: ILM
Lemony Snicket's A Series of Unfortunate Events (2004)
Directed by: Brad Silberling
Cinematography by: Emmanuel Lubezki
Edited by: Michael Kahn
Cameras: Panavision Panaflex Platinum Camera
Technical Support: ILM
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Digital Imaging Operator: ILM
The Bourne Supremacy (2004)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Cameras: ARRI Cameras
Film Recording Engineer: ILM
Hidalgo (2004)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Technical Support: ILM
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Film Recording Engineer: ILM
Dreamcatcher (2003)
Directed by: Lawrence Kasdan
Cinematography by: John Seale
Scanning And Recording Operator: ILM
Hulk (2003)
Directed by: Ang Lee
Cinematography by: Frederick Elmes
Edited by: Tim Squyres
Cameras: ARRIFLEX 535 B Camera
Negative Cutter: ILM
Tears of the Sun (2003)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Cameras: Panavision Cameras
Film Recording Engineer: ILM
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Film Group Technician: ILM
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Visual Effects Editorial And Imaging Services Group: ILM
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
Scanning Operator: ILM
Signs (2002)
Directed by: M. Night Shyamalan
Cinematography by: Tak Fujimoto
Edited by: Barbara Tulliver
Imaging Services Engineer: ILM
Men in Black II (2002)
Directed by: Barry Sonnenfeld
Cinematography by: Greg Gardiner
Film Recording Engineer: ILM
A.I. Artificial Intelligence (2001)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: ARRI / Zeiss Lenses
Scanning Operator: ILM
Mission to Mars (2000)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Film Scanning Operator: ILM
The Adventures of Rocky & Bullwinkle (2000)
Directed by: Des McAnuff
Cinematography by: Thomas E. Ackerman
Edited by: Dennis Virkler
Scanning: ILM
Magnolia (1999)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Cameras: Panavision Cameras, Pathé Cameras
Lenses: Panavision Lenses
Film Scanning Operator: ILM
Wild Wild West (1999)
Directed by: Barry Sonnenfeld
Cinematography by: Michael Ballhaus
Edited by: Jim Miller
Film Scanning And Recording: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Scanner Operator: ILM
Mercury Rising (1998)
Directed by: Harold Becker
Cinematography by: Michael Seresin
Edited by: Peter Honess
Film Scanning: ILM
Jack Frost (1998)
Directed by: Troy Miller
Cinematography by: László Kovács
Edited by: Lawrence Jordan
Film Scanning: ILM
Deep Impact (1998)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Cameras: ARRIFLEX 535 Camera
Film Scanning Operator: ILM
Speed 2: Cruise Control (1997)
Directed by: Jan de Bont
Cinematography by: Jack N. Green
Edited by: Alan Cody
Scanning Operator: ILM
101 Dalmatians (1996)
Directed by: Stephen Herek
Cinematography by: Adrian Biddle
Edited by: Trudy Ship
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Scanning Operator: ILM
Star Trek: First Contact (1996)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: John W. Wheeler
Film Scanning: ILM
Mars Attacks! (1996)
Directed by: Tim Burton
Cinematography by: Peter Suschitzky
Edited by: Chris Lebenzon
Digital Scanning Operator: ILM - Special Version
Star Wars: Episode VI - Return of the Jedi (1983)
Directed by: Richard Marquand
Cameras: ARRIFLEX 35 BL3 Camera, ARRIFLEX 35 IIC Camera
Scanning Operator: ILM - 1997 Special Version
Star Wars: Episode V - The Empire Strikes Back (1980)
Directed by: Irvin Kershner
Cinematography by: Peter Suschitzky
Scanning Operator: ILM - 1997 Special Version
Star Wars: Episode IV - A New Hope (1977)
Directed by: George Lucas
Cinematography by: Gilbert Taylor
Cameras: Dykstraflex Camera, Mitchell VistaVision Camera, Panavision Cameras, Panavision Silent Reflex PSR Camera, VistaVision Cameras
Lenses: Panavision Lenses
