Visual Effects Crew: Scanline VFX
The Batman (2022)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Art Director: ScanlineVFX
Joker (2019)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Jeff Groth
Lenses: ARRI Rental Prime 65 Lenses, ARRI Rental Prime 65 S Lenses, ARRI Rental Prime DNA Lenses, Zeiss Compact Zoom CZ.2 28-80mm T2.9 Lens, Zeiss Compact Zoom CZ.2 70-200mm T2.9 Lens
Editing System: Avid Editing System
Compositor: Scanline VFX / Digital Compositor: Scanline VFX
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Digital Compositor: Scanline VFX
Pan (2015)
Directed by: Joe Wright
Cameras: ARRI ALEXA XT Camera, Phantom Flex Camera
Compositor: Scanline VFX
San Andreas (2015)
Directed by: Brad Peyton
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Digital Compositor: Scanline VFX
Exodus: Gods and Kings (2014)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
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
Vfx Crew: Scanline VFX
300: Rise of an Empire (2014)
Directed by: Noam Murro
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Visual Effects Crew: Scanline VFX
The Wolf of Wall Street (2013)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Plus 135 mm T3.0 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens, Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Visual Effects Crew: Scanline VFX
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Senior Digital Compositor
Journey 2: The Mysterious Island (2012)
Directed by: Brad Peyton
Cinematography by: David Tattersall
Edited by: David Rennie
Digital Artist: Scanline VFX
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Senior Digital Compositor: Scanline VFX
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Senior Digital Compositor
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
Compositing Supervisor: Shade VFX
Water for Elephants (2011)
Directed by: Francis Lawrence
Cinematography by: Rodrigo Prieto
Edited by: Alan Edward Bell
Editing System: Avid Editing System
Senior Digital Compositor
Immortals (2011)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Compositing Supervisor: Shade VFX
I Am Number Four (2011)
Directed by: D.J. Caruso
Cinematography by: Guillermo Navarro
Senior Digital Compositor
Hereafter (2010)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Digital Compositor
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
Digital Compositor
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Digital Compositor
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Digital Compositor
Fantastic Four: Rise of the Silver Surfer (2007)
Directed by: Tim Story
Cinematography by: Larry Blanford
Cameras: Pan-Arri 235 Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Wescam Cameras
Editing System: Avid Editing System, Sony Vegas Editing System