Post Finishing Editor
Good Boys (2019)
Movie
Directed by: Gene Stupnitsky
Cinematography by: Jonathan Furmanski
Edited by: Daniel Gabbe
Lenses: Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 mm T1.9 Lens, Zeiss Master Anamorphic 180 mm T2.8 Lens, Zeiss Master Anamorphic 28 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 40 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 60 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens
Post Finishing Editor
The Girl in the Spider's Web (2018)
Directed by: Fede Alvarez
Cinematography by: Pedro Luque
Edited by: Tatiana S. Riegel
Post Finishing Editor
Solo: A Star Wars Story (2018)
Directed by: Ron Howard
Cinematography by: Bradford Young
Edited by: Pietro Scalia
Post Finishing Editor
To All the Boys I've Loved Before (2018)
Directed by: Susan Johnson
Cinematography by: Michael Fimognari
Cameras: ARRI ALEXA Mini Camera
Digital Opticals
Sleepless (2017)
Directed by: Baran bo Odar
Cinematography by: Mihai Malaimare Jr.
Edited by: Robert Rzesacz
Digital Opticals
Battle of the Sexes (2017)
Cinematography by: Linus Sandgren
Edited by: Pamela Martin
Digital Intermediate Conform
It (2017)
Directed by: Andy Muschietti
Cinematography by: Chung-hoon Chung
Edited by: Jason Ballantine
Cameras: ARRI ALEXA Mini Camera
Digital Opticals: EFILM
Baywatch (2017)
Directed by: Seth Gordon
Cinematography by: Eric Steelberg
Edited by: Peter S. Elliot
Cameras: ARRI ALEXA XT Plus Camera
Digital Opticals
Ben-Hur (2016)
Directed by: Timur Bekmambetov
Cinematography by: Oliver Wood
Editing System: Avid Editing System
Digital Opticals
Deadpool (2016)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA XT Plus Camera
Editing System: Adobe Premiere Editing System
Digital Opticals
Midnight Special (2016)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Digital Opticals
The Boss (2016)
Directed by: Ben Falcone
Cinematography by: Julio Macat
Edited by: Craig Alpert
Cameras: ARRI ALEXA 65 Camera
Lenses: Leitz Summilux-C Series Lenses
Digital Opticals
Neighbors 2: Sorority Rising (2016)
Directed by: Nicholas Stoller
Cinematography by: Brandon Trost
Cameras: ARRI ALEXA XT Plus Camera
Digital Opticals
Term Life (2016)
Directed by: Peter Billingsley
Cinematography by: Roberto Schaefer
Cameras: ARRI ALEXA Camera, Red Epic Dragon Camera
Digital Opticals
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
Digital Opticals
Pete's Dragon (2016)
Directed by: David Lowery
Cinematography by: Bojan Bazelli
Edited by: Lisa Zeno Churgin
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Cooke Anamorphic/i Prime Lenses
Digital Opticals
La La Land (2016)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Digital Opticals
Child 44 (2015)
Directed by: Daniel Espinosa
Cinematography by: Oliver Wood
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk Anamorphic Lenses
Digital Opticals
Sicario (2015)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Digital Opticals
The Big Short (2015)
Directed by: Adam McKay
Cinematography by: Barry Ackroyd
Edited by: Hank Corwin
Digital Opticals
Creed (2015)
Directed by: Ryan Coogler
Cinematography by: Maryse Alberti
Editing System: Avid Editing System
Digital Opticals
Straight Outta Compton (2015)
Directed by: F. Gary Gray
Cinematography by: Matthew Libatique
Cameras: Red Epic Dragon Camera
Digital Opticals
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 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 SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Digital Opticals
Jane Got a Gun (2015)
Directed by: Gavin O'Connor
Cinematography by: Mandy Walker
Edited by: Alan Cody
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision B Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Opticals
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Digital Opticals
Divergent (2014)
Directed by: Neil Burger
Cinematography by: Alwin H. Küchler
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Digital Opticals
The Hunger Games: Mockingjay - Part 1 (2014)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Digital Opticals
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Digital Opticals
Selma (2014)
Directed by: Ava DuVernay
Cinematography by: Bradford Young
Edited by: Spencer Averick
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Hawk V-Plus Lenses, Hawk V-Series Lenses
Digital Opticals
The Homesman (2014)
Directed by: Tommy Lee Jones
Cinematography by: Rodrigo Prieto
Edited by: Roberto Silvi
Cameras: ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera
Digital Opticals
The Maze Runner (2014)
Directed by: Wes Ball
Cinematography by: Enrique Chediak
Edited by: Dan Zimmerman
Digital Opticals
The Gambler (2014)
Directed by: Rupert Wyatt
Cinematography by: Greig Fraser
Edited by: Pete Beaudreau
Cameras: ARRI ALEXA XT Camera
Digital Opticals
If I Stay (2014)
Directed by: R.J. Cutler
Cinematography by: John de Borman
Edited by: Keith Henderson
Digital Opticals
R.I.P.D. (2013)
Directed by: Robert Schwentke
Cinematography by: Alwin H. Küchler
Edited by: Mark Helfrich
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Digital Opticals
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Opticals
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Digital Opticals: EFilm
Beautiful Creatures (2013)
Directed by: Richard LaGravenese
Cinematography by: Philippe Rousselot
Edited by: David Moritz
Digital Opticals: EFilm
The Host (2013)
Directed by: Andrew Niccol
Cinematography by: Roberto Schaefer
Edited by: Thomas J. Nordberg
Cameras: ARRI ALEXA Camera
Digital Opticals
Carrie (2013)
Directed by: Kimberly Peirce
Cinematography by: Steve Yedlin
Cameras: ARRI ALEXA Camera
Digital Opticals
Prisoners (2013)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Cameras: ARRI ALEXA Studio Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Opticals
The Best Man Holiday (2013)
Directed by: Malcolm D. Lee
Cinematography by: Greg Gardiner
Edited by: Paul Millspaugh
Cameras: ARRI ALEXA Plus 4:3 Camera
Digital Opticals
Get the Gringo (2012)
Directed by: Adrian Grunberg
Cinematography by: Benoît Debie
Edited by: Steven Rosenblum
Cameras: Red One MX Camera
Lenses: Hawk V-Lite Lenses
Digital Opticals
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Digital Opticals
Casa de mi Padre (2012)
Directed by: Matt Piedmont
Cinematography by: Ramsey Nickell
Edited by: David Trachtenberg
Cameras: Panavision Panaflex Gold II Camera
Digital Opticals: EFilm
Mud (2012)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Digital Opticals
Good Deeds (2012)
Directed by: Tyler Perry
Cinematography by: Alexander Gruszynski
Edited by: Maysie Hoy
Cameras: ARRI ALEXA Camera
Digital Opticals
Joyful Noise (2012)
Directed by: Todd Graff
Cinematography by: David Boyd
Edited by: Kathryn Himoff
Digital Opticals
To the Wonder (2012)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Opticals: EFilm
The Perks of Being a Wallflower (2012)
Directed by: Stephen Chbosky
Cinematography by: Andrew Dunn
Edited by: Mary Jo Markey
Digital Opticals
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Digital Opticals And Subtitles: EFilm
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Digital Opticals
Looper (2012)
Directed by: Rian Johnson
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Digital Opticals
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Digital Opticals Editor: EFilm
End of Watch (2012)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: Dody Dorn
Digital Opticals
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Digital Opticals
What to Expect When You're Expecting (2012)
Directed by: Kirk Jones
Cinematography by: Xavier Grobet
Edited by: Michael Berenbaum
Cameras: ARRI ALEXA Camera
Digital Intermediate Smoke: EFilm
Hemingway & Gellhorn (2012)
Directed by: Philip Kaufman
Cinematography by: Rogier Stoffers
Edited by: Walter Murch
Cameras: ARRI ALEXA Camera
Editing System: Final Cut Pro Editing System
Digital Opticals
The Vow (2012)
Directed by: Michael Sucsy
Cinematography by: Rogier Stoffers
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Digital Opticals
Red Tails (2012)
Directed by: Anthony Hemingway
Cinematography by: John B. Aronson
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera
Editing System: Lightworks Editing System
Digital Opticals
People Like Us (2012)
Directed by: Alex Kurtzman
Cinematography by: Salvatore Totino
Edited by: Robert Leighton
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Digital Opticals
The Twilight Saga: Breaking Dawn - Part 2 (2012)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Editing System: Adobe Premiere Editing System, Avid Editing System
Digital Opticals
Jack Reacher (2012)
Directed by: Christopher McQuarrie
Cinematography by: Caleb Deschanel
Edited by: Kevin Stitt
Digital Opticals
Django Unchained (2012)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Opticals: EFlm
Arbitrage (2012)
Directed by: Nicholas Jarecki
Cinematography by: Yorick Le Saux
Edited by: Douglas Crise
Cameras: ARRICAM Lite (LT) Camera
Digital Opticals
The Guilt Trip (2012)
Directed by: Anne Fletcher
Cinematography by: Oliver Stapleton
Digital Opticals
In Time (2011)
Directed by: Andrew Niccol
Cinematography by: Roger Deakins
Edited by: Zach Staenberg
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Digital Opticals
Cowboys & Aliens (2011)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Digital Opticals: EFilm
The Cabin in the Woods (2011)
Directed by: Drew Goddard
Cinematography by: Peter Deming
Edited by: Lisa Lassek
Digital Opticals: EFilm
We Bought a Zoo (2011)
Directed by: Cameron Crowe
Cinematography by: Rodrigo Prieto
Edited by: Mark Livolsi
Cameras: ARRICAM Lite (LT) Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Opticals
Horrible Bosses (2011)
Directed by: Seth Gordon
Cinematography by: David Hennings
Edited by: Peter Teschner
Cameras: Panavision Genesis Camera
Digital Opticals
In the Land of Blood and Honey (2011)
Directed by: Angelina Jolie
Cinematography by: Dean Semler
Edited by: Patricia Rommel
Digital Opticals
Water for Elephants (2011)
Directed by: Francis Lawrence
Cinematography by: Rodrigo Prieto
Edited by: Alan Edward Bell
Editing System: Avid Editing System
Digital Opticals
Larry Crowne (2011)
Directed by: Tom Hanks
Cinematography by: Philippe Rousselot
Edited by: Alan Cody
Digital Opticals
Spy Kids 4: All the Time in the World (2011)
Directed by: Robert Rodriguez
Edited by: Dan Zimmerman
Cameras: ARRI ALEXA Camera
Lenses: Angenieux Optimo Zoom Lenses
Digital Opticals
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Digital Opticals
Rise of the Planet of the Apes (2011)
Directed by: Rupert Wyatt
Cinematography by: Andrew Lesnie
Cameras: ARRICAM Lite (LT) Camera
Digital Opticals
The Rite (2011)
Directed by: Mikael Håfström
Cinematography by: Ben Davis
Edited by: David Rosenbloom
Digital Opticals
Monte Carlo (2011)
Directed by: Thomas Bezucha
Cinematography by: Jonathan Brown
Edited by: Jeffrey Ford
Digital Opticals
War Horse (2011)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Editing System: Avid Editing System
Digital Opticals
Mr. Popper's Penguins (2011)
Directed by: Mark Waters
Cinematography by: Florian Ballhaus
Edited by: Bruce Green
Cameras: ARRI ALEXA Camera
Digital Opticals
Beastly (2011)
Directed by: Daniel Barnz
Cinematography by: Mandy Walker
Edited by: Thomas J. Nordberg
Digital Opticals
The Twilight Saga: Breaking Dawn - Part 1 (2011)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Edited by: Virginia Katz
Editing System: Avid Editing System
Digital Opticals
The Help (2011)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Hughes Winborne
Digital Opticals
Captain America: The First Avenger (2011)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera
Editing System: Avid Editing System
Digital Opticals
Rio (2011)
Directed by: Carlos Saldanha
Cinematography by: Renato Falcão
Edited by: Harry Hitner
Digital Opticals
Abduction (2011)
Directed by: John Singleton
Cinematography by: Peter Menzies Jr.
Edited by: Bruce Cannon
Digital Opticals
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Digital Opticals
Going the Distance (2010)
Directed by: Nanette Burstein
Cinematography by: Eric Steelberg
Edited by: Peter Teschner
Digital Opticals
The Runaways (2010)
Directed by: Floria Sigismondi
Cinematography by: Benoît Debie
Edited by: Richard Chew
Cameras: ARRIFLEX 416 Camera
Lenses: Zeiss Master Prime Lenses
Digital Opticals: EFilm
The Company Men (2010)
Directed by: John Wells
Cinematography by: Roger Deakins
Edited by: Robert Frazen
Digital Opticals
Country Strong (2010)
Directed by: Shana Feste
Cinematography by: John Bailey
Digital Opticals
Gulliver's Travels (2010)
Directed by: Rob Letterman
Cinematography by: David Tattersall
Cameras: Canon EOS-1D Mark IV Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera
Editing System: Avid Editing System
Digital Opticals
Our Family Wedding (2010)
Directed by: Rick Famuyiwa
Cinematography by: Julio Macat
Edited by: Dirk Westervelt
Digital Opticals
Sex and the City 2 (2010)
Directed by: Michael Patrick King
Cinematography by: John Thomas
Edited by: Michael Berenbaum
Cameras: Panavision Panaflex Platinum Camera
Digital Opticals
The Next Three Days (2010)
Directed by: Paul Haggis
Cinematography by: Stéphane Fontaine
Edited by: Jo Francis
Digital Opticals
Date Night (2010)
Directed by: Shawn Levy
Cinematography by: Dean Semler
Edited by: Dean Zimmerman
Cameras: Panavision Genesis Camera
Digital Opticals
Killers (2010)
Directed by: Robert Luketic
Cinematography by: Russell Carpenter
Cameras: ARRIFLEX D-21 Camera
Lenses: Hawk V-Series Lenses
Digital Opticals
The Last Airbender (2010)
Directed by: M. Night Shyamalan
Cinematography by: Andrew Lesnie
Edited by: Conrad Buff IV
Digital Opticals: EFilm
Love & Other Drugs (2010)
Directed by: Edward Zwick
Cinematography by: Steven Fierberg
Edited by: Steven Rosenblum
Digital Opticals
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Digital Opticals
Repo Men (2010)
Directed by: Miguel Sapochnik
Cinematography by: Enrique Chediak
Edited by: Richard Francis-Bruce
Digital Opticals
The A-Team (2010)
Directed by: Joe Carnahan
Cinematography by: Mauro Fiore
Digital Opticals
The Back-up Plan (2010)
Directed by: Alan Poul
Cinematography by: Xavier Grobet
Edited by: Priscilla Nedd-Friendly
Digital Opticals
Little Fockers (2010)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Cameras: ARRI Cameras
Digital Opticals
Extraordinary Measures (2010)
Directed by: Tom Vaughan
Cinematography by: Andrew Dunn
Edited by: Anne V. Coates
Digital Opticals
Charlie St. Cloud (2010)
Directed by: Burr Steers
Cinematography by: Enrique Chediak
Edited by: Padraic McKinley
Lenses: Hawk V-Series Lenses
Digital Opticals
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Opticals
True Grit (2010)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Digital Opticals
Secretariat (2010)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: John Wright
Digital Intermediate Opticals
The Tempest (2010)
Directed by: Julie Taymor
Cinematography by: Stuart Dryburgh
Edited by: Françoise Bonnot
Cameras: ARRICAM Lite (LT) Camera
Digital Opticals
Wall Street: Money Never Sleeps (2010)
Directed by: Oliver Stone
Cinematography by: Rodrigo Prieto
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Zeiss Master Prime Lenses
Digital Intermediate Opticals
Dinner for Schmucks (2010)
Directed by: Jay Roach
Cinematography by: Jim Denault
Editing System: Avid Editing System
Digital Opticals
RED (2010)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lenses
Digital Opticals
Love Happens (2009)
Directed by: Brandon Camp
Cinematography by: Eric Alan Edwards
Edited by: Dana E. Glauberman
Digital Opticals
Duplicity (2009)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: Panavision Panaflex Platinum Camera
Digital Opticals
I Love You, Beth Cooper (2009)
Directed by: Chris Columbus
Cinematography by: Phil Abraham
Edited by: Peter Honess
Digital Opticals
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Digital Opticals: EFilm
The Road (2009)
Directed by: John Hillcoat
Cinematography by: Javier Aguirresarobe
Edited by: Jon Gregory
Cameras: ARRICAM Lite (LT) Camera
Digital Opticals
A Serious Man (2009)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Digital Opticals
Aliens in the Attic (2009)
Directed by: John Schultz
Cinematography by: Don Burgess
Edited by: John Pace
Digital Opticals
State of Play (2009)
Directed by: Kevin Macdonald
Cinematography by: Rodrigo Prieto
Edited by: Justine Wright
Digital Opticals
Land of the Lost (2009)
Directed by: Brad Silberling
Cinematography by: Dion Beebe
Edited by: Peter Teschner
Cameras: Panavision Cameras
Digital Opticals
Get Low (2009)
Directed by: Aaron Schneider
Cinematography by: David Boyd
Edited by: Aaron Schneider
Cameras: Panavision Panaflex Gold II Camera
Editing System: Final Cut Pro Editing System
Digital Opticals
Cirque du Freak: The Vampire's Assistant (2009)
Directed by: Paul Weitz
Cinematography by: James M. Muro
Edited by: Leslie Jones
Digital Opticals
Night at the Museum: Battle of the Smithsonian (2009)
Directed by: Shawn Levy
Cinematography by: John Schwartzman
Digital Opticals
The Time Traveler's Wife (2009)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Digital Opticals
The Twilight Saga: New Moon (2009)
Directed by: Chris Weitz
Cinematography by: Javier Aguirresarobe
Edited by: Peter Lambert
Digital Opticals
The Soloist (2009)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Paul Tothill
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Lightworks Editing System
Digital Opticals
The Men Who Stare at Goats (2009)
Directed by: Grant Heslov
Cinematography by: Robert Elswit
Edited by: Tatiana S. Riegel
Cameras: Panavision Panaflex Platinum Camera
Digital Opticals
Couples Retreat (2009)
Directed by: Peter Billingsley
Cinematography by: Eric Alan Edwards
Edited by: Dan Lebental
Editing System: Final Cut Pro Editing System
Digital Opticals: EFilm
Mother and Child (2009)
Directed by: Rodrigo García
Cinematography by: Xavier Grobet
Edited by: Steven Weisberg
Digital Opticals
Up in the Air (2009)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Digital Opticals
Jennifer's Body (2009)
Directed by: Karyn Kusama
Cinematography by: M. David Mullen
Edited by: Plummy Tucker
Digital Opticals
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Digital Opticals
Julie & Julia (2009)
Directed by: Nora Ephron
Cinematography by: Stephen Goldblatt
Edited by: Richard Marks
Digital Opticals
Old Dogs (2009)
Directed by: Walt Becker
Cinematography by: Jeffrey L. Kimball
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Opticals
What Happens in Vegas (2008)
Directed by: Tom Vaughan
Cinematography by: Matthew F. Leonetti
Edited by: Matt Friedman
Cameras: Panavision Cameras
Digital Opticals
The Incredible Hulk (2008)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Editing System: Avid Editing System
Digital Opticals
The Rocker (2008)
Directed by: Peter Cattaneo
Cinematography by: Anthony B. Richmond
Digital Opticals
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Digital Opticals
Redbelt (2008)
Directed by: David Mamet
Cinematography by: Robert Elswit
Edited by: Barbara Tulliver
Digital Opticals
Yes Man (2008)
Directed by: Peyton Reed
Cinematography by: Robert D. Yeoman
Edited by: Craig Alpert
Cameras: Panavision Cameras
Digital Opticals
Four Christmases (2008)
Directed by: Seth Gordon
Cinematography by: Jeffrey L. Kimball
Digital Opticals
Jumper (2008)
Directed by: Doug Liman
Cinematography by: Barry Peterson
Cameras: Panavision Cameras, Red One Camera
Digital Opticals
Revolutionary Road (2008)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Tariq Anwar
Lenses: Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Digital Opticals
Nim's Island (2008)
Cinematography by: Stuart Dryburgh
Edited by: Stuart Levy
Cameras: Panavision Cameras
Digital Opticals
The Spiderwick Chronicles (2008)
Directed by: Mark Waters
Cinematography by: Caleb Deschanel
Edited by: Michael Kahn
Digital Opticals: EFilm
Be Kind Rewind (2008)
Directed by: Michel Gondry
Cinematography by: Ellen Kuras
Edited by: Jeff Buchanan
Digital Opticals
Miracle at St. Anna (2008)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Digital Opticals
Frost/Nixon (2008)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Lenses: Cooke S4 Lenses, Cooke Varotal Lenses
Editing System: Avid Editing System
Digital Opticals
Sex and the City (2008)
Directed by: Michael Patrick King
Cinematography by: John Thomas
Edited by: Michael Berenbaum
Digital Opticals
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Digital Opticals
Iron Man (2008)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Edited by: Dan Lebental
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Opticals: EFilm
Thomas Kinkade's Christmas Cottage (2008)
Directed by: Michael Campus
Cinematography by: Robert Brinkmann
Edited by: Don Brochu
Digital Opticals
Nights in Rodanthe (2008)
Directed by: George C. Wolfe
Cinematography by: Affonso Beato
Edited by: Brian A. Kates
Digital Opticals
Get Smart (2008)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: Richard Pearson
Lenses: Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Digital Opticals
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Digital Opticals
Death Race (2008)
Directed by: Paul W.S. Anderson
Cinematography by: Scott Kevan
Edited by: Niven Howie
Digital Opticals
Defiance (2008)
Directed by: Edward Zwick
Cinematography by: Eduardo Serra
Edited by: Steven Rosenblum
Digital Opticals: EFilm
Milk (2008)
Directed by: Gus Van Sant
Cinematography by: Harris Savides
Edited by: Elliot Graham
Smoke Artist: EFilm
Doubt (2008)
Directed by: John Patrick Shanley
Cinematography by: Roger Deakins
Edited by: Dylan Tichenor
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Digital Opticals
Ghost Rider (2007)
Directed by: Mark Steven Johnson
Cinematography by: Russell Boyd
Edited by: Richard Francis-Bruce
Cameras: Panavision Cameras
Digital Opticals
The Reaping (2007)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Colby Parker Jr.
Digital Opticals
The Number 23 (2007)
Directed by: Joel Schumacher
Cinematography by: Matthew Libatique
Edited by: Mark Stevens
Digital Opticals
Across the Universe (2007)
Directed by: Julie Taymor
Cinematography by: Bruno Delbonnel
Edited by: Françoise Bonnot
Cameras: ARRI Cameras, Panavision Cameras
Lenses: Panavision Lenses
Digital Opticals
The Brave One (2007)
Directed by: Neil Jordan
Cinematography by: Philippe Rousselot
Edited by: Tony Lawson
Cameras: Panavision Panaflex Camera
Digital Opticals
Married Life (2007)
Directed by: Ira Sachs
Cinematography by: Peter Deming
Edited by: Affonso Gonçalves
Digital Opticals
I Am Legend (2007)
Directed by: Francis Lawrence
Cinematography by: Andrew Lesnie
Edited by: Wayne Wahrman
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Lenses
Digital Opticals
Aliens vs. Predator: Requiem (2007)
Cinematography by: Daniel Pearl
Edited by: Dan Zimmerman
Digital Opticals
The Assassination of Jesse James by the Coward Robert Ford (2007)
Directed by: Andrew Dominik
Cinematography by: Roger Deakins
Lenses: Cooke Lenses, Cooke S4 Lenses
Digital Opticals
Music and Lyrics (2007)
Directed by: Marc Lawrence
Cinematography by: Xavier Grobet
Edited by: Susan E. Morse
Cameras: ARRI Cameras
Lenses: Zeiss Lenses
Digital Opticals
Charlie Wilson's War (2007)
Directed by: Mike Nichols
Cinematography by: Stephen Goldblatt
Digital Opticals: EFilm
Fracture (2007)
Directed by: Gregory Hoblit
Cinematography by: Kramer Morgenthau
Edited by: David Rosenbloom
Digital Opticals
Lust, Caution (2007)
Directed by: Ang Lee
Cinematography by: Rodrigo Prieto
Edited by: Tim Squyres
Digital Opticals
Mr. Magorium's Wonder Emporium (2007)
Directed by: Zach Helm
Cinematography by: Roman Osin
Digital Opticals
Hairspray (2007)
Directed by: Adam Shankman
Cinematography by: Bojan Bazelli
Edited by: Michael Tronick
Digital Opticals
I Now Pronounce You Chuck & Larry (2007)
Directed by: Dennis Dugan
Cinematography by: Dean Semler
Edited by: Jeff Gourson
Cameras: Panavision Genesis Camera
Digital Opticals: EFilm
Good Luck Chuck (2007)
Directed by: Mark Helfrich
Cinematography by: Anthony B. Richmond
Edited by: Julia Wong
Digital Opticals
In the Valley of Elah (2007)
Directed by: Paul Haggis
Cinematography by: Roger Deakins
Edited by: Jo Francis
Lenses: Zeiss Master Prime Lenses
Digital Opticals
Rendition (2007)
Directed by: Gavin Hood
Cinematography by: Dion Beebe
Edited by: Megan Gill
Digital Opticals: Efilm
Juno (2007)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Digital Opticals
Wind Chill (2007)
Directed by: Gregory Jacobs
Cinematography by: Dan Laustsen
Edited by: Lee Percy
Digital Opticals
The Seeker: The Dark Is Rising (2007)
Directed by: David L. Cunningham
Cinematography by: Joel Ransom
Cameras: Panavision Cameras
Digital Opticals
Freedomland (2006)
Directed by: Joe Roth
Cinematography by: Anastas N. Michos
Edited by: Nick Moore
Digital Opticals
Night at the Museum (2006)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Don Zimmerman
Digital Opticals
Children of Men (2006)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Digital Opticals
The Da Vinci Code (2006)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Digital Opticals
Man About Town (2006)
Directed by: Mike Binder
Cinematography by: Russ T. Alsobrook
Edited by: Roger Nygard
Digital Opticals
World Trade Center (2006)
Directed by: Oliver Stone
Cinematography by: Seamus McGarvey
Digital Opticals / Fire Artist: EFilm
Apocalypto (2006)
Directed by: Mel Gibson
Cinematography by: Dean Semler
Edited by: John Wright
Digital Opticals
Running Scared (2006)
Directed by: Wayne Kramer
Cinematography by: Jim Whitaker
Edited by: Arthur Coburn
Digital Opticals
Inside Man (2006)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Digital Opticals
Blood Diamond (2006)
Directed by: Edward Zwick
Cinematography by: Eduardo Serra
Edited by: Steven Rosenblum
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk C-Series Lenses, Hawk V-Series Lenses
Digital Opticals
Snakes on a Plane (2006)
Directed by: David R. Ellis
Cinematography by: Adam Greenberg
Edited by: Howard E. Smith
Digital Opticals
Ultraviolet (2006)
Directed by: Kurt Wimmer
Cinematography by: Arthur Wong
Edited by: William Yeh
Digital Opticals: EFilm
The Painted Veil (2006)
Directed by: John Curran
Cinematography by: Stuart Dryburgh
Edited by: Alexandre de Franceschi
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Opticals
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Digital Opticals
Little Children (2006)
Directed by: Todd Field
Cinematography by: Antonio Calvache
Edited by: Leo Trombetta
Digital Opticals
The Illusionist (2006)
Directed by: Neil Burger
Cinematography by: Dick Pope
Edited by: Naomi Geraghty
Digital Opticals
Click (2006)
Directed by: Frank Coraci
Cinematography by: Dean Semler
Edited by: Jeff Gourson
Cameras: Panavision Genesis Camera
Digital Opticals
Idiocracy (2006)
Directed by: Mike Judge
Cinematography by: Tim Suhrstedt
Edited by: David Rennie
Digital Opticals
Amazing Grace (2006)
Directed by: Michael Apted
Cinematography by: Remi Adefarasin
Edited by: Rick Shaine
Cameras: ARRI Cameras
Digital Opticals
Idlewild (2006)
Directed by: Bryan Barber
Cinematography by: Pascal Rabaud
Edited by: Anne Goursaud
Lenses: Zeiss Ultra Prime Lenses
Digital Opticals
Assault on Precinct 13 (2005)
Directed by: Jean-François Richet
Cinematography by: Robert Gantz
Edited by: Bill Pankow
Digital Opticals
Be Cool (2005)
Directed by: F. Gary Gray
Cinematography by: Jeffrey L. Kimball
Edited by: Sheldon Kahn
Digital Opticals
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Digital Opticals
Lackawanna Blues (2005)
Directed by: George C. Wolfe
Cinematography by: Ivan Strasburg
Edited by: Brian A. Kates
Digital Opticals
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Digital Opticals
Rent (2005)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Richard Pearson
Digital Opticals
Wedding Crashers (2005)
Directed by: David Dobkin
Cinematography by: Julio Macat
Edited by: Mark Livolsi
Digital Opticals
Thank You for Smoking (2005)
Directed by: Jason Reitman
Cinematography by: Jim Whitaker
Edited by: Dana E. Glauberman
Digital Opticals
The New World (2005)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Digital Opticals: Efilm
Happy Endings (2005)
Directed by: Don Roos
Cinematography by: Clark Mathis
Edited by: David Codron
Editing System: Final Cut Pro Editing System
Digital Opticals
Ocean's Twelve (2004)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Stephen Mirrione
Digital Opticals
The Life and Death of Peter Sellers (2004)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: John Smith
Opticals: Subtitles
The Alamo (2004)
Directed by: John Lee Hancock
Cinematography by: Dean Semler
Edited by: Eric L. Beason
Digital Opticals
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Digital Opticals
The Life Aquatic with Steve Zissou (2004)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: David Moritz
Digital Opticals
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
Digital Opticals
Flight of the Phoenix (2004)
Directed by: John Moore
Cinematography by: Brendan Galvin
Edited by: Don Zimmerman
Digital Opticals
Dawn of the Dead (2004)
Directed by: Zack Snyder
Cinematography by: Matthew F. Leonetti
Edited by: Niven Howie
Digital Opticals
The Passion of the Christ (2004)
Directed by: Mel Gibson
Cinematography by: Caleb Deschanel
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Opticals
Hellboy (2004)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Peter Amundson
Digital Opticals
Finding Neverland (2004)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Editing System: Avid Editing System
Digital Opticals
Christmas with the Kranks (2004)
Directed by: Joe Roth
Cinematography by: Don Burgess
Edited by: Nick Moore
Digital Opticals
Spider-Man 2 (2004)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Cameras: ARRIFLEX 435 Camera, Beaumont Vista Vision Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision System 65 Camera
Editing System: Avid Editing System
Digital Opticals
The Bourne Supremacy (2004)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Cameras: ARRI Cameras
Digital Opticals
The Butterfly Effect (2004)
Cinematography by: Matthew F. Leonetti
Edited by: Peter Amundson
Digital Opticals
Intolerable Cruelty (2003)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 Camera
Editing System: Final Cut Pro Editing System
Digital Opticals
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
Digital Opticals
The Rundown (2003)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Richard Pearson
Digital Opticals
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Digital Opticals
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
Digital Opticals
The Fighting Temptations (2003)
Directed by: Jonathan Lynn
Cinematography by: Affonso Beato
Edited by: Paul Hirsch
Digital Opticals
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Editing System: Avid Editing System
Digital Opticals
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Digital Opticals
Terminator 3: Rise of the Machines (2003)
Directed by: Jonathan Mostow
Cinematography by: Don Burgess
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Opticals
American Splendor (2003)
Cinematography by: Terry Stacey
Edited by: Robert Pulcini
Editing System: Avid Editing System
Digital Opticals: Efilm
Frida (2002)
Directed by: Julie Taymor
Cinematography by: Rodrigo Prieto
Edited by: Françoise Bonnot
Cameras: ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Digital Opticals
Blue Crush (2002)
Directed by: John Stockwell
Cinematography by: David Hennings
Edited by: Emma E. Hickox
Visual Effects Supervisor
Point of Origin (2002)
Directed by: Newton Thomas Sigel
Cinematography by: Anthony G. Nakonechnyj
Edited by: Cindy Mollo
Digital Compositor: The Post Group
Swordfish (2001)
Directed by: Dominic Sena
Cinematography by: Paul Cameron
Edited by: Stephen E. Rivkin
Senior Visual Effects Compositor: The Post Group's Digital Film Group
The Extreme Adventures of Super Dave (2000)
Directed by: Peter MacDonald
Cinematography by: Bernd Heinl
Edited by: Mike Murphy
Supervising Compositor: The Digital FilmGroup/The Post Group
Return to Me (2000)
Directed by: Bonnie Hunt
Cinematography by: László Kovács
Edited by: Garth Craven
Effects Compositor Of Video Playback Material
Nurse Betty (2000)
Directed by: Neil LaBute
Cinematography by: Jean-Yves Escoffier
Supervising Compositor: The Post Group
Brokedown Palace (1999)
Directed by: Jonathan Kaplan
Cinematography by: Newton Thomas Sigel
Supervising Compositor: The Post Group
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Effects Compositor Of Video Playback Material
Back to the Future Part II (1989)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
