Compositing Supervsior: Digital Domain 3.0
'Stranger Things' Chapter One: The Hellfire Club (2022)
Cinematography by: Caleb Heymann
Edited by: Dean Zimmerman
Compositing Supervsior: Digital Domain 3.0
'Stranger Things' Chapter Two: Vecna's Curse (2022)
Cinematography by: Caleb Heymann
Compositing Supervsior: Digital Domain 3.0
'Stranger Things' Chapter Four: Dear Billy (2022)
Directed by: Shawn Levy
Cinematography by: Brett Jutkiewicz
Edited by: Dean Zimmerman
Compositing Supervsior: Digital Domain 3.0
'Stranger Things' Chapter Five: The Nina Project (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Compositing Supervsior: Digital Domain 3.0
'Stranger Things' Chapter Six: The Dive (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Compositing Supervsior: Digital Domain 3.0
'Stranger Things' Chapter Seven: The Massacre at Hawkins Lab (2022)
Cinematography by: Caleb Heymann
Compositing Supervsior: Digital Domain 3.0
'Stranger Things' Chapter Eight: Papa (2022)
Cinematography by: Caleb Heymann
Edited by: Katheryn Naranjo
Lead Compositor: Digital Domain
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Lead Compositor: Digital Domain
Thor: Ragnarok (2017)
Directed by: Taika Waititi
Cinematography by: Javier Aguirresarobe
Digital Compositor
Beauty and the Beast (2017)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Compositing Lead: Digital Domain, Lead Compositor: Digital Domain
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Lead Compositor
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Senior Compositor: Scanline VFX
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Compositing Supervsior: Digital Domain 3.0 - 7 Episodes, 2022
Stranger Things (2016)
Directed by: Matt Duffer, Ross Duffer, Shawn Levy, Andrew Stanton, Uta Briesewitz, Nimród Antal, Rebecca Thomas, Dan Trachtenberg
Cinematography by: Tim Ives, Caleb Heymann, Tod Campbell, Lachlan Milne, Brett Jutkiewicz, David Franco
Cameras: ARRI ALEXA LF Camera, Red Epic Dragon Camera, Red Helium (Weapon) 8K, Red Monstro 8K Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Avid Editing System
Digital Compositor: Scanline VFX
The 5th Wave (2016)
Directed by: J Blakeson
Cinematography by: Enrique Chediak
Edited by: Paul Rubell
Cameras: ARRI ALEXA XT Plus Camera
Digital Compositor
Deadpool (2016)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA XT Plus Camera
Editing System: Adobe Premiere Editing System
Senior Compositor: Scanline VFX
Pan (2015)
Directed by: Joe Wright
Cameras: ARRI ALEXA XT Camera, Phantom Flex Camera
Senior Compositor: Scanline VFX
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 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 SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, 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 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Compositor: Scanline VFX / Senior 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: Scanline VFX
'Game of Thrones' The Children (2014)
Directed by: Alex Graves
Cinematography by: Anette Haellmigk
Edited by: Tim Porter
Compositing Technical Director: Rhythm & Hues
Percy Jackson: Sea of Monsters (2013)
Directed by: Thor Freudenthal
Cinematography by: Shelly Johnson
Edited by: Mark Goldblatt
Compositor: Rising Sun Pictures
The Wolverine (2013)
Directed by: James Mangold
Cinematography by: Ross Emery
Edited by: Michael McCusker
Cameras: ARRI ALEXA Camera
Compositing Technical Director: Rhythm & Hues
R.I.P.D. (2013)
Directed by: Robert Schwentke
Cinematography by: Alwin H. Küchler
Edited by: Mark Helfrich
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Digital Compositor: Prime Focus
Dredd (2012)
Directed by: Pete Travis
Cinematography by: Anthony Dod Mantle
Edited by: Mark Eckersley
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor
Red Tails (2012)
Directed by: Anthony Hemingway
Cinematography by: John B. Aronson
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera
Editing System: Lightworks Editing System
Digital Compositor
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Visual Effects: Scanline VFX - 1 Episode, 2014
Game of Thrones (2011)
Directed by: David Nutter, Alan Taylor, Alex Graves, Miguel Sapochnik, Mark Mylod, Jeremy Podeswa, Daniel Minahan, Alik Sakharov, Michelle MacLaren, Brian Kirk, David Benioff, D.B. Weiss, Timothy Van Patten, Neil Marshall, David Petrarca, Michael Slovis, Jack Bender, Daniel Sackheim, Matt Shakman
Cinematography by: Anette Haellmigk, Jonathan Freeman, Robert McLachlan, Fabian Wagner, David Franco, Gregory Middleton, P.J. Dillon, Matthew Jensen, Alik Sakharov, Martin Kenzie, Marco Pontecorvo, Kramer Morgenthau, Chris Seager, Sam McCurdy, David Katznelson
Edited by: Katie Weiland, Frances Parker, Crispin Green, Tim Porter, Oral Norrie Ottey, Martin Nicholson, Jesse Parker, Yan Miles
Editing System: Avid Editing System
Digital Compositor: MPC
Sherlock Holmes: A Game of Shadows (2011)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Digital Compositor: MPC
Fast Five (2011)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Digital Compositor: MPC
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Compositor: Rainmaker
Case 39 (2009)
Directed by: Christian Alvart
Cinematography by: Hagen Bogdanski
Edited by: Mark Goldblatt
Digital Compositor: Rainmaker
Vantage Point (2008)
Directed by: Pete Travis
Cinematography by: Amir Mokri
Edited by: Stuart Baird
Digital Compositor: Rainmaker
The Sandlot: Heading Home (2007)
Directed by: William Dear
Cinematography by: Pascal Jean Provost
Edited by: Chris Conlee
Digital Compositor: MPC
Terry Pratchett's Hogfather (2006)
Directed by: Vadim Jean
Cinematography by: Gavin Finney
Edited by: Joe McNally
Cameras: ARRIFLEX D-20 Camera
