Visual Effects Supervisor: Artemple - Hollywood
The Killer (2023)
Directed by: David Fincher
Cinematography by: Erik Messerschmidt
Edited by: Kirk Baxter
Editing System: Adobe Premiere Editing System
Visual Effects Supervisor: Artemple Hollywood
Mank (2020)
Directed by: David Fincher
Cinematography by: Erik Messerschmidt
Edited by: Kirk Baxter
Cameras: Red Digital Cinema Cameras
Lenses: Leitz Summilux-C Series Lenses
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #2.2 (2019)
Directed by: David Fincher
Cinematography by: Erik Messerschmidt
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #2.8 (2019)
Directed by: Carl Franklin
Cinematography by: Erik Messerschmidt
Edited by: Tyler Nelson
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #2.7 (2019)
Directed by: Carl Franklin
Cinematography by: Erik Messerschmidt
Edited by: Grant Surmi
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #2.1 (2019)
Directed by: David Fincher
Cinematography by: Erik Messerschmidt
Edited by: Kirk Baxter
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #2.3 (2019)
Directed by: David Fincher
Cinematography by: Erik Messerschmidt
Edited by: Kirk Baxter
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #2.4 (2019)
Directed by: Andrew Dominik
Cinematography by: Erik Messerschmidt
Edited by: Tyler Nelson
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #2.5 (2019)
Directed by: Andrew Dominik
Cinematography by: Erik Messerschmidt
Edited by: Tyler Nelson
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #2.6 (2019)
Directed by: Carl Franklin
Cinematography by: Erik Messerschmidt
Edited by: Grant Surmi
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #1.6 (2017)
Directed by: Tobias Lindholm
Cinematography by: Erik Messerschmidt
Visual Effects Supervisor: Artemple Hollywood / Visual Effects Supervisor: Artemple Hollywood - 15 Episodes, 2017-2019
Mindhunter (2017)
Directed by: David Fincher, Carl Franklin, Andrew Douglas, Asif Kapadia, Tobias Lindholm, Andrew Dominik
Cameras: Red Xenomorph Camera
Lenses: Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 Lens, Fujinon Premier Lenses, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Zeiss Ultra Prime Sonnar 180 mm T1.9 Lens
Editing System: Adobe Premiere Editing System
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #1.4 (2017)
Directed by: Asif Kapadia
Cinematography by: Erik Messerschmidt
Edited by: Tyler Nelson
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #1.9 (2017)
Directed by: David Fincher
Cinematography by: Erik Messerschmidt
Edited by: Kirk Baxter
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #1.10 (2017)
Directed by: David Fincher
Cinematography by: Erik Messerschmidt
Edited by: Kirk Baxter
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #1.3 (2017)
Directed by: Asif Kapadia
Cinematography by: Erik Messerschmidt
Edited by: Tyler Nelson
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #1.2 (2017)
Directed by: David Fincher
Cinematography by: Christopher Probst
Edited by: Kirk Baxter
Visual Effects Supervisor: Artemple Hollywood
'Mindhunter' Episode #1.7 (2017)
Directed by: Andrew Douglas
Cinematography by: Erik Messerschmidt
Edited by: Tyler Nelson
Visual Effects Supervisor: Artemple - Hollywood
War Dogs (2016)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Jeff Groth
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor: Artemple -Hollywood
'Vinyl' The Racket (2016)
Directed by: S.J. Clarkson
Cinematography by: Reed Morano
Edited by: Tim Streeto
Visual Effects Supervisor: Artemple -Hollywood - 1 Episode, 2016
Vinyl (2016)
Directed by: Allen Coulter, Jon S. Baird, S.J. Clarkson, Carl Franklin, Nicole Kassell, Mark Romanek, Martin Scorsese, Peter Sollett
Cameras: Sony PMW-F55 Camera
Visual Effects Producer: Artemple Hollywood
Entourage (2015)
Directed by: Doug Ellin
Cinematography by: Steven Fierberg
Edited by: Jeff Groth
Cameras: ARRICAM Lite (LT) Camera
Visual Effects Designer: Artemple - Hollywood
Gone Girl (2014)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Edited by: Kirk Baxter
Cameras: Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Adobe Premiere Editing System
Digital Matte Painting: Method Studios LA
Cloud Atlas (2012)
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
Editing System: Avid Editing System
Visual Effects: Method Studios
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Matte Painting/texture: Method Studios
This Means War (2012)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Nicolas De Toth
Digital Matte Painter: CIS Hollywood
Thin Ice (2011)
Directed by: Jill Sprecher
Cinematography by: Dick Pope
Edited by: Lee Percy
Visual Effects Art Director: Method Studios
The Girl with the Dragon Tattoo (2011)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System, Sony Vegas Editing System
Digital Matte Painter: DD - Digital Domain
Tron (2010)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: James Haygood
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Editing System: Avid Editing System
Matte Painting Supervisor: Digital Domain
The Curious Case of Benjamin Button (2008)
Directed by: David Fincher
Cinematography by: Claudio Miranda
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Matte Painting Supervisor: ILM
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Visual Effects: Digital Domain
Zodiac (2007)
Directed by: David Fincher
Cinematography by: Harris Savides
Edited by: Angus Wall
Cameras: Thomson Viper Camera
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Digital Matte Painter: Digital Domain
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Matte Painting Lead: ILM
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Matte Artist: ILM
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Digital Matte Artist: ILM
Rent (2005)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Richard Pearson
Digital Artist: ILM
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Digital Matte Artist: ILM
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDC-F950 Camera
Digital Matte Artist: ILM
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Digital Matte Artist: ILM
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Matte Artist: ILM
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Digital Matte Artist: ILM
Minority Report (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Digital Matte Artist: ILM
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
Digital Matte Artist: ILM
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
Digital Matte Artist: ILM
The Pledge (2001)
Directed by: Sean Penn
Cinematography by: Chris Menges
Edited by: Jay Cassidy
Digital Matte Artist
The Mummy Returns (2001)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Digital Matte Artist: ILM
Space Cowboys (2000)
Directed by: Clint Eastwood
Cinematography by: Jack N. Green
Edited by: Joel Cox
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Matte Artist: ILM
Mission to Mars (2000)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Digital Matte Artist: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
