Compositor: DNEG
Mission: Impossible - Fallout (2018)
Directed by: Christopher McQuarrie
Cinematography by: Rob Hardy
Edited by: Eddie Hamilton
Digital Artist: Double Negative
The Meg (2018)
Directed by: Jon Turteltaub
Cinematography by: Tom Stern
Digital Compositor: Double Negative
First Man (2018)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Digital Compositor: DNEG
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Digital Compositor: Double Negative
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
Digital Compositor: Double Negative
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
Digital Compositor: Double Negative
The Huntsman: Winter's War (2016)
Directed by: Cedric Nicolas-Troyan
Cinematography by: Phedon Papamichael
Edited by: Conrad Buff IV
Digital Compositor: MPC
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Digital Compositor: MPC
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
Digital Compositor: Double Negative
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
Digital Compositor: Image Engine
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Digital Compositor: Image Engine
Chappie (2015)
Directed by: Neill Blomkamp
Cinematography by: Trent Opaloch
Digital Compositor: Comen VFX
Beyond the Lights (2014)
Directed by: Gina Prince-Bythewood
Cinematography by: Tami Reiker
Edited by: Terilyn A. Shropshire
Cameras: ARRI ALEXA M Camera
Digital Compositor: Image Engine
American Sniper (2014)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Cameras: ARRI ALEXA XT Camera
Digital Compositor
The Expendables 3 (2014)
Directed by: Patrick Hughes
Cinematography by: Peter Menzies Jr.
Look Development Artist
Percy Jackson: Sea of Monsters (2013)
Directed by: Thor Freudenthal
Cinematography by: Shelly Johnson
Edited by: Mark Goldblatt
Look Development Artist
Life of Pi (2012)
Directed by: Ang Lee
Cinematography by: Claudio Miranda
Edited by: Tim Squyres
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Digital Compositor: Rhythm And Hues
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Compositor: Rhythm And Hues
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Digital Compositor: Rhythm And Hues
Hop (2011)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Digital Compositor: Rhythm And Hues
Alvin and the Chipmunks: Chipwrecked (2011)
Directed by: Mike Mitchell
Cinematography by: Thomas E. Ackerman
Edited by: Peter Amundson
Digital Artist: ILM
Super 8 (2011)
Directed by: J.J. Abrams
Cinematography by: Larry Fong
Cameras: ARRIFLEX 16SR3 Camera, ARRIFLEX 435 Camera, Beaulieu 4008 ZM 4 Camera, Bell & Howell Eyemo Camera, Canon 1014XL-S Camera, Panavision Panaflex Millennium XL2 Camera, Red One MX Camera
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, Panavision Primo Anamorphic Lenses, Zeiss Super Speed Lenses
Editing System: Avid Editing System
Digital Compositor: DIVE
Let Me In (2010)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Edited by: Stan Salfas
Compositor: SPI
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Compositing Artist: Rhythm & Hues Studios
Night at the Museum: Battle of the Smithsonian (2009)
Directed by: Shawn Levy
Cinematography by: John Schwartzman
Compositor
Sherlock Holmes (2009)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Digital Compositor: Animal Logic
Knowing (2009)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Edited by: Richard Learoyd
Cameras: Red One Camera
Digital Compositor: Zoic Studios
First Sunday (2008)
Directed by: David E. Talbert
Cinematography by: Alan Caso
Edited by: Jeffrey Wolf
Compositor: Animal Logic
Australia (2008)
Directed by: Baz Luhrmann
Cinematography by: Mandy Walker
Digital Compositor: Zoic Studios
Lakeview Terrace (2008)
Directed by: Neil LaBute
Cinematography by: Rogier Stoffers
Edited by: Joel Plotch
Digital Compositor: Gradient FX
The Informers (2008)
Directed by: Gregor Jordan
Cinematography by: Petra Korner
Edited by: Robert Brakey
Digital Compositor: Zoic Studios
Prom Night (2008)
Directed by: Nelson McCormick
Cinematography by: Checco Varese
Edited by: Jason Ballantine
Compositor: The Orphanage
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Digital Compositor
Drive Thru (2007)
Cinematography by: Vincent E. Toto
Edited by: Daniel R. Padgett
Cameras: Panavision Panaflex Gold II Camera
Lenses: Panavision SL10 10 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 SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens
Editing System: Avid Editing System
Compositor: Cafe FX
The Kite Runner (2007)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Paint/roto Artist: Cafe FX
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Digital Artist: Digital Domain
The Texas Chainsaw Massacre: The Beginning (2006)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Rotoscope Artist: Digital Domain
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
