Kevin Scott Mack

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Extremely Loud & Incredibly Close | ShotOnWhat?

Visual Effects Supervisor

Extremely Loud & Incredibly Close (2011)

Directed by: Stephen Daldry

Cinematography by: Chris Menges

Edited by: Claire Simpson

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke 5/i Lenses

Editing System: Avid Editing System, Final Cut Pro Editing System

Percy Jackson & the Olympians: The Lightning Thief | ShotOnWhat?

Visual Effects Supervisor

Percy Jackson & the Olympians: The Lightning Thief (2010)

Directed by: Chris Columbus

Cinematography by: Stephen Goldblatt

Edited by: Peter Honess

Speed Racer | ShotOnWhat?

Visual Effects Supervisor

Speed Racer (2008)

Directed by: Lana Wachowski, Lilly Wachowski

Cinematography by: David Tattersall

Edited by: Roger Barton, Zach Staenberg

Cameras: Phantom HD Camera, Phantom V Series Camera, Sony CineAlta F23 Camera

Lenses: Zeiss DigiPrime Lenses

Ghost Rider | ShotOnWhat?

Visual Effects Supervisor

Ghost Rider (2007)

Directed by: Mark Steven Johnson

Cinematography by: Russell Boyd

Edited by: Richard Francis-Bruce

Cameras: Panavision Cameras

The Prize Winner of Defiance, Ohio | ShotOnWhat?

Additional Visual Effects Set Supervision: SPI

The Prize Winner of Defiance, Ohio (2005)

Directed by: Jane Anderson

Cinematography by: Jonathan Freeman

Edited by: Robert Dalva

Big Fish | ShotOnWhat?

Visual Effects Supervisor

Big Fish (2003)

Directed by: Tim Burton

Cinematography by: Philippe Rousselot

Edited by: Chris Lebenzon

Cameras: Panavision Cameras

Lenses: Panavision Lenses

A Beautiful Mind | ShotOnWhat?

Visual Effects Supervisor: Digital Domain

A Beautiful Mind (2001)

Directed by: Ron Howard

Cinematography by: Roger Deakins

Edited by: Daniel P. Hanley, Mike Hill

Cameras: ARRIFLEX 435 ES Camera, ARRIFLEX 535 B Camera

Lenses: Cooke S4 Lenses, Zeiss Standard Speed Prime Lenses, Zeiss Super Speed Lenses

Editing System: Avid Editing System

Vanilla Sky | ShotOnWhat?

Visual Effects Supervisor: Digital Domain

Vanilla Sky (2001)

Directed by: Cameron Crowe

Cinematography by: John Toll

Edited by: Joe Hutshing, Mark Livolsi

Cameras: Panavision Panaflex Gold Camera

Lenses: Panavision Primo Primes Spherical Lenses

How the Grinch Stole Christmas | ShotOnWhat?

Visual Effects Supervisor

How the Grinch Stole Christmas (2000)

Directed by: Ron Howard

Cinematography by: Donald Peterman

Edited by: Daniel P. Hanley, Mike Hill

Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision SL10 10 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL35-CF 35 mm T1.8 Lens

Fight Club | ShotOnWhat?

Passenger Clutching Armrest, Visual Effects Supervisor: Digital Domain

Fight Club (1999)

Directed by: David Fincher

Cinematography by: Jeff Cronenweth

Edited by: James Haygood

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Lenses, Panavision Primo Primes Spherical Lenses

What Dreams May Come | ShotOnWhat?

Visual Effects Supervisor: Digital Domain

What Dreams May Come (1998)

Directed by: Vincent Ward

Cinematography by: Eduardo Serra

Edited by: David Brenner, Maysie Hoy

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

The Fifth Element | ShotOnWhat?

Matte Artist

The Fifth Element (1997)

Directed by: Luc Besson

Cinematography by: Thierry Arbogast

Edited by: Sylvie Landra

Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera

Lenses: Zeiss Lenses

Red Corner | ShotOnWhat?

Visual Effects Supervisor: Digital Domain

Red Corner (1997)

Directed by: Jon Avnet

Cinematography by: Karl Walter Lindenlaub

Edited by: Peter E. Berger

The Island of Dr. Moreau | ShotOnWhat?

Visual Effects Supervisor: Digital Domain

The Island of Dr. Moreau (1996)

Directed by: John Frankenheimer, Richard Stanley

Cinematography by: William A. Fraker

Edited by: Paul Rubell, Adam P. Scott, Thom Noble

Apollo 13 | ShotOnWhat?

Digital Effects Art Director: Digital Domain

Apollo 13 (1995)

Directed by: Ron Howard

Cinematography by: Dean Cundey

Edited by: Daniel P. Hanley, Mike Hill

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, VistaVision Cameras

Lenses: Panavision Primo Primes Spherical Lenses

Interview with the Vampire: The Vampire Chronicles | ShotOnWhat?

Digital Painter: Digital Domain

Interview with the Vampire: The Vampire Chronicles (1994)

Directed by: Neil Jordan

Cinematography by: Philippe Rousselot

Edited by: Mick Audsley, Joke van Wijk

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

True Lies | ShotOnWhat?

Digital Painter And Colorist: Digital Domain

True Lies (1994)

Directed by: James Cameron

Cinematography by: Russell Carpenter

Edited by: Conrad Buff IV, Mark Goldblatt, Richard A. Harris, James Cameron

Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 III Camera, Beaumont Vista Vision Camera

Lenses: Cooke Varotal Lenses, Zeiss Super Speed Lenses

RoboCop 3 | ShotOnWhat?

Matte Artist

RoboCop 3 (1993)

Directed by: Fred Dekker

Cinematography by: Gary B. Kibbe

Edited by: Bert Lovitt

Army of Darkness | ShotOnWhat?

Scenic Artist

Army of Darkness (1992)

Directed by: Sam Raimi

Cinematography by: Bill Pope

Edited by: Bob Murawski, Sam Raimi

Defending Your Life | ShotOnWhat?

Model Painter

Defending Your Life (1991)

Directed by: Albert Brooks

Cinematography by: Allen Daviau

Edited by: David Finfer

Solar Crisis | ShotOnWhat?

Model Painter

Solar Crisis (1990)

Directed by: Richard C. Sarafian, Alan Smithee

Cinematography by: Russell Carpenter

Edited by: Richard Trevor

Cameras: Panavision Panaflex Platinum Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera

Lenses: Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses

The Abyss | ShotOnWhat?

Model Painter - Design Setters Corp.

The Abyss (1989)

Directed by: James Cameron

Cinematography by: Mikael Salomon

Edited by: Conrad Buff IV, Joel Goodman, Steven Quale, Howard E. Smith

Cameras: ARRIFLEX 35 BL3 Camera, Panavision System 65 Camera

Dracula's Widow | ShotOnWhat?

Scenic Artist

Dracula's Widow (1988)

Directed by: Christopher Coppola

Cinematography by: Giuseppe Maccari

Edited by: Tom Siiter, William M. Steinberg

Cameras: ARRI Cameras

Airplane II: The Sequel | ShotOnWhat?

Model Maker: Coast Special Effects

Airplane II: The Sequel (1982)

Directed by: Ken Finkleman

Cinematography by: Joseph F. Biroc

Edited by: Tina Hirsch, Dennis Virkler

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