Digital Effects Supervisor: Mammal Studios
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Compositing Supervisor: Mammal Studios
Suicide Squad (2016)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: John Gilroy
Compositing Supervisor: Mammal Studios
The 5th Wave (2016)
Directed by: J Blakeson
Cinematography by: Enrique Chediak
Edited by: Paul Rubell
Cameras: ARRI ALEXA XT Plus Camera
Visual Effects: Mammal Studios
Joy (2015)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Lenses: Zeiss Ultra Prime Lenses
Senior Digital Compositor: Method Studios
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45mm T2.8 Lens, Fujinon Alura Zoom 18-80mm T2.6 Lens, Fujinon Alura Zoom 30-80mm T2.8 Lens, Fujinon Alura Zoom 45-250mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Senior Digital Compositor: Method Studios
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Compositing Supervisor: Mammal Studios
The Interview (2014)
Cinematography by: Brandon Trost
Cameras: ARRI ALEXA Plus 4:3 Camera
Compositing Supervisor: Mammal Studios
Fury (2014)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C1000 1000 mm T5.6 Lens, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Senior Digital Compositor: Digital Domain
Maleficent (2014)
Directed by: Robert Stromberg
Cinematography by: Dean Semler
Senior Digital Compositor: CIS Hollywood
The Apparition (2012)
Directed by: Todd Lincoln
Cinematography by: Daniel Pearl
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision Cooke Xtal Xpress (Joe Dunton Camera Millenium Anamorphic) Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Compositing Supervisor: Method Studios
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Compositing Supervisor: Method Studios
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Lead Compositor: Method Studios
The Odd Life of Timothy Green (2012)
Directed by: Peter Hedges
Cinematography by: John Toll
Edited by: Andrew Mondshein
Compositing Supervisor: CIS Hollywood
Miss Bala (2011)
Directed by: Gerardo Naranjo
Cinematography by: Mátyás Erdély
Edited by: Gerardo Naranjo
Digital Compositor: Method Studios
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 Compositor: CIS Hollywood
The Green Hornet (2011)
Directed by: Michel Gondry
Cinematography by: John Schwartzman
Edited by: Michael Tronick
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom HD Camera, Red One MX Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Senior Digital Compositor: Method Studios
New Year's Eve (2011)
Directed by: Garry Marshall
Cinematography by: Charles Minsky
Edited by: Michael Tronick
Cameras: ARRI ALEXA Camera
Stereoscopic Compositor: CIS Hollywood
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Digital Compositor: Digital Domain
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Digital Compositor: Pixomondo
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 28-76mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Compositor: Rhythm & Hues
Alvin and the Chipmunks: The Squeakquel (2009)
Directed by: Betty Thomas
Cinematography by: Anthony B. Richmond
Edited by: Matt Friedman
Lenses: Cooke S4 Lenses
Digital Compositor: Digital Domain
Transformers: Revenge of the Fallen (2009)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Iwerks IW5A Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Digital Compositor: Digital Domain
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Digital Compositor: Digital Domain
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Digital Compositor: Digital Domain
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Digital Compositor: Digital Domain
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
Digital Compositor: Digital Domain
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Digital Compositor: Digital Domain
The Texas Chainsaw Massacre: The Beginning (2006)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Digital Compositor: Digital Domain
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Digital Compositor: Digital Domain
Æon Flux (2005)
Directed by: Karyn Kusama
Cinematography by: Stuart Dryburgh
Digital Compositor: Digital Domain
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Digital Compositor: Digital Domain
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Digital Compositor: Digital Domain
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Digital 2D Artist: Digital Domain
xXx (2002)
Directed by: Rob Cohen
Cinematography by: Dean Semler