Compositor: Scanline VFX
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Compositor: Level 256
Ride Along 2 (2016)
Directed by: Tim Story
Cinematography by: Mitchell Amundsen
Edited by: Peter S. Elliot
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Compositor: Scanline VFX
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Compositor: Scanline VFX
The Hateful Eight (2015)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Cameras: ARRIFLEX 765 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision APO Panatar 100mm T2.8 Lens, Panavision APO Panatar 135mm T3.0 Lens, Panavision APO Panatar 35mm T2.8 Lens, Panavision APO Panatar 50mm T2.8 Lens, Panavision APO Panatar 75mm T2.8 Lens, Panavision APO Panatar Prism 150mm T3.6 Lens, Panavision APO Panatar Prism 57mm T4.0 Lens, Panavision APO Panatar Prism 75mm T3.5 Lens, Panavision Variable APO Panatar 135mm T3.2 Lens
Editing System: Avid Editing System
Compositor: Scanline VFX
San Andreas (2015)
Directed by: Brad Peyton
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Visual Effects Crew: Scanline VFX
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Visual Effects: Prologue Documentary Footage, Mirada
Pacific Rim (2013)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Cameras: Red Epic Camera
Compositor: Kelvin Optical
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Senior Compositor: Digital Domain
47 Ronin (2013)
Directed by: Carl Rinsch
Cinematography by: John Mathieson
Edited by: Stuart Baird
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Senior Compositor: Pixel Playground
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Lead Compositor: Pixel Playground
Bullet to the Head (2012)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Timothy Alverson
Senior Compositor: Level 256
The Five-Year Engagement (2012)
Directed by: Nicholas Stoller
Cinematography by: Javier Aguirresarobe
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Senior Compositor: Level 256
Wanderlust (2012)
Directed by: David Wain
Cinematography by: Michael Bonvillain
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Senior Compositor: Digital Domain
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Senior Compositor: Digital Domain
Real Steel (2011)
Directed by: Shawn Levy
Cinematography by: Mauro Fiore
Edited by: Dean Zimmerman
Cameras: Sony CineAlta F35 Camera
Lenses: Cooke Lenses, Cooke S4 Lenses
Editing System: Avid Editing System
Lead Compositor: Pixomondo
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Senior Compositor: 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
Senior Compositor: Uncharted Territory
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Senior Digital Compositor: Digital Domain
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Senior Compositor: 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
Digital Compositor: Digital Domain
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Digital Compositor: Digital Domain
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
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
Lead Compositor: Digital Domain
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Digital Compositing Sequence Lead: 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
Lead Compositor: Digital Domain
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Lead Digital Compositor: Digital Domain
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
Lead Compositor: Digital Domain
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Compositor: Tippett Studio
Evolution (2001)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Cameras: Panavision Cameras
Digital Compositor: Digital Domain
How the Grinch Stole Christmas (2000)
Directed by: Ron Howard
Cinematography by: Donald Peterman
Compositor: Rhythm & Hues
The Flintstones in Viva Rock Vegas (2000)
Directed by: Brian Levant
Cinematography by: Jamie Anderson
Edited by: Kent Beyda
Digital Compositor: Rhythm & Hues
Battlefield Earth (2000)
Directed by: Roger Christian
Cinematography by: Giles Nuttgens
Edited by: Robin Russell
Compositor: POP Film
The 13th Warrior (1999)
Cinematography by: Peter Menzies Jr.
Edited by: John Wright
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Compositor: POP Film
Star Trek: Insurrection (1998)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: Peter E. Berger
Cameras: Panavision Cameras
Scanning And Recording Technician: POP Film
Doctor Dolittle (1998)
Directed by: Betty Thomas
Cinematography by: Russell Boyd
Edited by: Peter Teschner
Scanning And Recording Technician: POP Film
What Dreams May Come (1998)
Directed by: Vincent Ward
Cinematography by: Eduardo Serra
Scanning And Recording Technician: POP Film
Flubber (1997)
Directed by: Les Mayfield
Cinematography by: Dean Cundey
Cameras: Panavision Cameras
Scanning And Recording Technician: POP Film
Volcano (1997)
Directed by: Mick Jackson
Cinematography by: Theo van de Sande
Scanning And Recording Technician: POP Film
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter