Digital Compositor: ILM Vancouver
Terminator: Dark Fate (2019)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA LF Camera, ARRI ALEXA Mini Camera
Editing System: Adobe Premiere Editing System
Digital Compositor: Scanline VFX
The Meg (2018)
Directed by: Jon Turteltaub
Cinematography by: Tom Stern
Digital Compositor: Scanline VFX
Guardians of the Galaxy Vol. 2 (2017)
Directed by: James Gunn
Cinematography by: Henry Braham
Cameras: Red Weapon Dragon Camera
Lenses: Panavision Primo 70 Lenses
Compositing Lead: 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
Ben-Hur (2016)
Directed by: Timur Bekmambetov
Cinematography by: Oliver Wood
Editing System: Avid Editing System
Lead 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
Digital Compositor: Scanline VFX
Pan (2015)
Directed by: Joe Wright
Cameras: ARRI ALEXA XT Camera, Phantom Flex Camera
Compositor: Scanline VFX / Digital Compositor: Scanline VFX
San Andreas (2015)
Directed by: Brad Peyton
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Digital Compositor: Furious FX
Dumb and Dumber To (2014)
Cinematography by: Matthew F. Leonetti
Edited by: Steven Rasch
Cameras: ARRI ALEXA Camera
Lead Compositor: Rhythm & Hues
Seventh Son (2014)
Directed by: Sergei Bodrov
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA Camera
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
Digital Compositor: Rhythm & Hues
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Sequence Supervisor: Rhythm & Hues
Hop (2011)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Sequence Supervisor: Rhythm & Hues
Mr. Popper's Penguins (2011)
Directed by: Mark Waters
Cinematography by: Florian Ballhaus
Edited by: Bruce Green
Cameras: ARRI ALEXA Camera
Lead Compositor: Rhythm & Hues
Alvin and the Chipmunks: Chipwrecked (2011)
Directed by: Mike Mitchell
Cinematography by: Thomas E. Ackerman
Edited by: Peter Amundson
Lead Compositor: Rhythm & Hues
Night at the Museum: Battle of the Smithsonian (2009)
Directed by: Shawn Levy
Cinematography by: John Schwartzman
Lead 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
Lead Compositor: Rhythm & Hues
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Digital Compositor: Rhythm & Hues
The Incredible Hulk (2008)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Editing System: Avid Editing System
Digital Compositor: Rhythm & Hues
The Kingdom (2007)
Directed by: Peter Berg
Cinematography by: Mauro Fiore
Compositing Lead: Rhythm & Hues
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Lead Compositor: Rhythm & Hues
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Compositing Lead: Rhythm & Hues
Night at the Museum (2006)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Don Zimmerman
Compositing Lead: Rhythm & Hues Studios
Garfield: A Tail of Two Kitties (2006)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Edited by: Peter S. Elliot
Digital Compositor: Rhythm & Hues
The Ring Two (2005)
Directed by: Hideo Nakata
Cinematography by: Gabriel Beristain
Edited by: Michael N. Knue
Digital Compositor: Rhythm & Hues
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Digital Compositor: Rhythm & Hues
Friday Night Lights (2004)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Digital Compositing Lead: Rhythm & Hues
Garfield (2004)
Directed by: Peter Hewitt
Cinematography by: Dean Cundey
Cameras: Panavision Cameras
Digital Compositor: Rhythm & Hues
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Editing System: Avid Editing System
Digital Compositor: Rhythm & Hues
X2: X-Men United (2003)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Digital Compositor: Rhythm & Hues
Daredevil (2003)
Directed by: Mark Steven Johnson
Cinematography by: Ericson Core
Digital Artist: Pacific Title Digital
The Bourne Identity (2002)
Directed by: Doug Liman
Cinematography by: Oliver Wood
Edited by: Saar Klein
Digital Compositor: Pacific Title Digital
City by the Sea (2002)
Directed by: Michael Caton-Jones
Cinematography by: Karl Walter Lindenlaub
Edited by: Jim Clark
Cameras: Panavision Cameras
Digital Compositor: Pacific Title Digital
Rollerball (2002)
Directed by: John McTiernan
Cinematography by: Steve Mason
Digital Artist: Rhythm & Hues
Stuart Little 2 (2002)
Directed by: Rob Minkoff
Cinematography by: Steven Poster
Edited by: Priscilla Nedd-Friendly
Digital Compositor: Rhythm & Hues
Scooby-Doo (2002)
Directed by: Raja Gosnell
Cinematography by: David Eggby
Edited by: Kent Beyda
Cameras: Panavision Cameras
Digital Effects Artist: Pacific Title Digital
Monkeybone (2001)
Directed by: Henry Selick
Cinematography by: Andrew Dunn
Digital Compositor: Pacific Title Digital
Jay and Silent Bob Strike Back (2001)
Directed by: Kevin Smith
Cinematography by: Jamie Anderson
Digital Effects Artist: Pacific Title Digital
Joy Ride (2001)
Directed by: John Dahl
Cinematography by: Jeffrey Jur
Supervising Digital Compositor: Pacific Title Digital
The Last Castle (2001)
Directed by: Rod Lurie
Cinematography by: Shelly Johnson
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor: Pacific Title Digital
Driven (2001)
Directed by: Renny Harlin
Cinematography by: Mauro Fiore
Supervising Digital Compositor: Pacific Title Digital
The Replacements (2000)
Directed by: Howard Deutch
Cinematography by: Tak Fujimoto
Digital Effects Artist: Pacific Title Digital
All the Pretty Horses (2000)
Directed by: Billy Bob Thornton
Cinematography by: Barry Markowitz
Edited by: Sally Menke
Digital Effects Artist: Pacific Title Digital
Dungeons & Dragons (2000)
Directed by: Courtney Solomon
Cinematography by: Douglas Milsome
Edited by: Caroline Ross
Digital Effects Artist: Pacific Title Digital
Unbreakable (2000)
Directed by: M. Night Shyamalan
Cinematography by: Eduardo Serra
Edited by: Dylan Tichenor
Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Effects Artist: Pacific Title Digital
At First Sight (1999)
Directed by: Irwin Winkler
Cinematography by: John Seale
Edited by: Julie Monroe
Digital Compositor: Pacific Title & Art Studio / Digital Effects Artist: Pacific Title Digital
Galaxy Quest (1999)
Directed by: Dean Parisot
Cinematography by: Jerzy Zielinski
Edited by: Don Zimmerman
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Artist: Pacific Title Digital
Virus (1999)
Directed by: John Bruno
Cinematography by: David Eggby
Edited by: M. Scott Smith
Digital Effects Artist: Pacific Title/Mirage
Wing Commander (1999)
Directed by: Chris Roberts
Cinematography by: Thierry Arbogast
Edited by: Peter Davies
Compositor: Pacific Title Digital
Any Given Sunday (1999)
Directed by: Oliver Stone
Cinematography by: Salvatore Totino
Digital Effects Artist: Pacific Title Digital
U.S. Marshals (1998)
Directed by: Stuart Baird
Cinematography by: Andrzej Bartkowiak
Edited by: Terry Rawlings
Digital Effects Artist: Pacific Title/Mirage
Jack Frost (1998)
Directed by: Troy Miller
Cinematography by: László Kovács
Edited by: Lawrence Jordan
Digital Effects Artist: Pacific Title Digital
Deep Impact (1998)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Cameras: ARRIFLEX 535 Camera
Digital Effects Artist: Pacific Title/Mirage
The Faculty (1998)
Directed by: Robert Rodriguez
Cinematography by: Enrique Chediak
Edited by: Robert Rodriguez
Cameras: Panavision Cameras
Digital Effects Artist: Pacific Title Digital
The Negotiator (1998)
Directed by: F. Gary Gray
Cinematography by: Russell Carpenter
Edited by: Christian Wagner
Cameras: Panavision Cameras
Digital Effects Artist: Pacific Title Digital
The Game (1997)
Directed by: David Fincher
Cinematography by: Harris Savides
Edited by: James Haygood
Digital Effects Artist: Pacific Title Digital
The Peacemaker (1997)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Edited by: David Rosenbloom
Digital Effects Artist: Pacific Title Digital
Home Alone 3 (1997)
Directed by: Raja Gosnell
Cinematography by: Julio Macat
Cameras: Panavision Panaflex Gold Camera
Digital Effects Artist: Pacific Title Digital
Mousehunt (1997)
Directed by: Gore Verbinski
Cinematography by: Phedon Papamichael
Edited by: Craig Wood
Digital Effects Artist: Pacific Title Digital
Dante's Peak (1997)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Effects Artist: Pacific Title Digital
Batman & Robin (1997)
Directed by: Joel Schumacher
Cinematography by: Stephen Goldblatt
Digital Effects Artist: Pacific Title Digital
A Thousand Acres (1997)
Directed by: Jocelyn Moorhouse
Cinematography by: Tak Fujimoto
Edited by: Maryann Brandon
Digital Effects Artist: Pacific Title Digital
Turbulence (1997)
Directed by: Robert Butler
Cinematography by: Lloyd Ahern II
Edited by: John Duffy
Digital Effects Artist: Pacific Title Digital
Switchback (1997)
Directed by: Jeb Stuart
Cinematography by: Oliver Wood
Edited by: Conrad Buff IV
Digital Effects Artist: Pacific Title Digital
DragonHeart (1996)
Directed by: Rob Cohen
Cinematography by: David Eggby
Edited by: Peter Amundson
Digital Effects Artist: Pacific Title Digital
Eraser (1996)
Directed by: Chuck Russell
Cinematography by: Adam Greenberg
Edited by: Michael Tronick
Digital Effects Artist: Pacific Title Digital
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Digital Effects Artist: Pacific Title Digital
Mission: Impossible (1996)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Cameras: Panavision Panaflex Camera, Wescam Cameras
Editing System: Lightworks Editing System
Digital Effects Artist: Pacific Title Digital
Chain Reaction (1996)
Directed by: Andrew Davis
Cinematography by: Frank Tidy
Cameras: Panavision Cameras
Digital Effects Artist: Pacific Title Digital
Adrenalin: Fear the Rush (1996)
Directed by: Albert Pyun
Cinematography by: George Mooradian
Edited by: Ken Morrisey
Cameras: Moviecam Compact Camera
Digital Effects Artist: Pacific Title Digital
Executive Decision (1996)
Directed by: Stuart Baird
Cinematography by: Alex Thomson
Digital Effects Artist: Pacific Title Digital
Blood and Wine (1996)
Directed by: Bob Rafelson
Cinematography by: Newton Thomas Sigel
Edited by: Steven Cohen
Digital Effects Artist: Pacific Title Digital
The Chamber (1996)
Directed by: James Foley
Cinematography by: Ian Baker
Edited by: Mark Warner
Digital Effects Artist: Pacific Title Digital
Heat (1995)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Digital Effects Artist: Pacific Title Digital - 1997 Special Version
Star Wars: Episode IV - A New Hope (1977)
Directed by: George Lucas
Cinematography by: Gilbert Taylor
