DFX Supervisor: DNEG Montreal
Sonic the Hedgehog 2 (2022)
Directed by: Jeff Fowler
Cinematography by: Brandon Trost
Edited by: Jim May
Cameras: ARRI ALEXA Mini LF Camera
Editing System: Avid Editing System
Head Of Layout: DNEG Montreal
Dune (2021)
Directed by: Denis Villeneuve
Cinematography by: Greig Fraser
Edited by: Joe Walker
Head Of Layout: DNEG , Head Of Layout: DNEG Montreal
No Time to Die (2021)
Directed by: Cary Joji Fukunaga
Cinematography by: Linus Sandgren
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, ARRIFLEX 765 Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Hasselblad Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Head Of Layout: DNEG London
F9 (2021)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Lenses: Tokina Vista Cinema Prime Lenses
Head Of Layout: DNEG Montreal
Wonder Woman 1984 (2020)
Directed by: Patty Jenkins
Cinematography by: Matthew Jensen
Edited by: Richard Pearson
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Head Of Layout: DNEG
Greyhound (2020)
Directed by: Aaron Schneider
Cinematography by: Shelly Johnson
Cameras: Panavision Millennium DXL Camera
Head Of Layout Department: MPC Montreal
The Predator (2018)
Directed by: Shane Black
Cinematography by: Larry Fong
Edited by: Harry B. Miller III
Head Of Layout: Double Negative Vancouver
First Man (2018)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Head Of Layout Dept: MPC Montreal
King Arthur: Legend of the Sword (2017)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Cameras: ARRI ALEXA XT Camera
Head Of Layout Department: MPC, Montreal
War for the Planet of the Apes (2017)
Directed by: Matt Reeves
Cinematography by: Michael Seresin
Cameras: ARRI ALEXA 65 Camera
Head Of Layout Department: MPC Montreal
Blade Runner 2049 (2017)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera
Lenses: ARRI / Zeiss Zoom Lenses, 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Head Of Layout Department: MPC, Montreal
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Head Of Layout Department: MPC Montreal
Murder on the Orient Express (2017)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Mick Audsley
Head Of Layout Department: MPC, Montreal
Wonder Woman (2017)
Directed by: Patty Jenkins
Cinematography by: Matthew Jensen
Edited by: Martin Walsh
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera
Lenses: ARRI Rental Prime 65 Lenses
Head Of Layout Department: MPC, Montreal
Alien: Covenant (2017)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Head Of Layout Department: MPC Montreal
The Greatest Showman (2017)
Directed by: Michael Gracey
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Head Of Layout Department: MPC
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Head Of Layout Department: MPC, Montreal
Ghost in the Shell (2017)
Directed by: Rupert Sanders
Cinematography by: Jess Hall
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Head Of Layout Department: MPC, Montreal
Fantastic Beasts and Where to Find Them (2016)
Directed by: David Yates
Cinematography by: Philippe Rousselot
Edited by: Mark Day
Cameras: ARRI ALEXA XT Camera
Head Of Layout Department: MPC, Montreal
Suicide Squad (2016)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: John Gilroy
Head Of Layout Department: MPC, Montreal
X-Men: Apocalypse (2016)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Head Of Layout Department: MPC, Montreal
The Legend of Tarzan (2016)
Directed by: David Yates
Cinematography by: Henry Braham
Edited by: Mark Day
Cameras: Red Epic Dragon Camera
Head Of Layout Department: MPC, Montreal
The Finest Hours (2016)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Head Of Layout Department: MPC, Montreal
A Monster Calls (2016)
Directed by: J.A. Bayona
Cinematography by: Oscar Faura
Cameras: ARRI ALEXA XT Camera
Layout Technical Director: MPC
Cinderella (2015)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Martin Walsh
Lenses: Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Head Of Layout Department: MPC, Montreal
The Revenant (2015)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Edited by: Stephen Mirrione
Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Head Of Layout Department: MPC, Montreal
The Martian (2015)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Lead Layout Technical Director: MPC
Pan (2015)
Directed by: Joe Wright
Cameras: ARRI ALEXA XT Camera, Phantom Flex Camera
Layout Artist: MPC
Seventh Son (2014)
Directed by: Sergei Bodrov
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA Camera
Layout Technical Director: MPC
300: Rise of an Empire (2014)
Directed by: Noam Murro
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Layout Technical Director: MPC
Maleficent (2014)
Directed by: Robert Stromberg
Cinematography by: Dean Semler
Layout Technical Director: MPC
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Layout Technical Director: Weta Digital
The Hobbit: The Battle of the Five Armies (2014)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Ultra Prime Lenses
Layout Technical Director: MPC
Percy Jackson: Sea of Monsters (2013)
Directed by: Thor Freudenthal
Cinematography by: Shelly Johnson
Edited by: Mark Goldblatt
Layout Artist: MPC
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Layout Technical Director: Weta Digital
The Hobbit: The Desolation of Smaug (2013)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: GoPro HD Hero3 Camera, Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Layout Artist: MPC
47 Ronin (2013)
Directed by: Carl Rinsch
Cinematography by: John Mathieson
Edited by: Stuart Baird
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Layout Artist: MPC
Wrath of the Titans (2012)
Directed by: Jonathan Liebesman
Cinematography by: Ben Davis
Edited by: Martin Walsh
Layout Artist: MPC
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Digital Artist: MPC
Prometheus (2012)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Cameras: ARRI ALEXA Camera, Red Epic Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
