Jeffrey Penman

12 Titles

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Causeway | ShotOnWhat?

Co-producer

Causeway (2022)

Directed by: Lila Neugebauer

Cinematography by: Diego García

Edited by: Robert Frazen, Lucian Johnston

Cameras: ARRI ALEXA LF Camera

Lenses: Panavision H Series Lenses

Midsommar | ShotOnWhat?

Co-producer

Midsommar (2019)

Directed by: Ari Aster

Cinematography by: Pawel Pogorzelski

Edited by: Lucian Johnston

Cameras: Panavision Millennium DXL2 Camera

Lenses: Panavision Primo Artiste Lenses

The Lighthouse | ShotOnWhat?

Co-producer

The Lighthouse (2019)

Directed by: Robert Eggers

Cinematography by: Jarin Blaschke

Edited by: Louise Ford

Cameras: Panavision Panaflex Millennium XL2 Camera

Lenses: Bausch & Lomb Lenses, Pathé Lenses

Hereditary | ShotOnWhat?

Associate Producer, Post-production Supervisor

Hereditary (2018)

Directed by: Ari Aster

Cinematography by: Pawel Pogorzelski

Edited by: Lucian Johnston, Jennifer Lame

Cameras: ARRI ALEXA Mini Camera

Lenses: Panavision Primo Primes Spherical Lenses

Boy Erased | ShotOnWhat?

Post-production Supervisor

Boy Erased (2018)

Directed by: Joel Edgerton

Cinematography by: Eduard Grau

Edited by: Jay Rabinowitz

Cameras: ARRI ALEXA Mini Camera, ARRICAM Lite (LT) Camera

Lenses: Zeiss Super Speed Lenses

Wildlife | ShotOnWhat?

Associate Producer, Post-production Supervisor

Wildlife (2018)

Directed by: Paul Dano

Cinematography by: Diego García

Edited by: Louise Ford, Matthew Hannam

Cameras: ARRI ALEXA XT Camera

Lenses: Panavision Primo Primes Spherical Lenses

Fifty Shades of Grey | ShotOnWhat?

Digital Dailies Manager

Fifty Shades of Grey (2015)

Directed by: Sam Taylor-Johnson

Cinematography by: Seamus McGarvey

Edited by: Anne V. Coates, Lisa Gunning, Debra Neil-Fisher

Cameras: ARRI ALEXA XT Plus 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

Tomorrowland | ShotOnWhat?

Digital Dailies Operator

Tomorrowland (2015)

Directed by: Brad Bird

Cinematography by: Claudio Miranda

Edited by: Walter Murch, Craig Wood

Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 Camera

Lenses: Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 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 150 mm T1.3 Lens

The Fault in Our Stars | ShotOnWhat?

Dailies Assistant

The Fault in Our Stars (2014)

Directed by: Josh Boone

Cinematography by: Ben Richardson

Edited by: Robb Sullivan

Cameras: ARRI ALEXA XT Camera

The Drop | ShotOnWhat?

Digital Dailies Operator

The Drop (2014)

Directed by: Michaël R. Roskam

Cinematography by: Nicolas Karakatsanis

Edited by: Christopher Tellefsen

Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera

Lenses: Leitz Summilux-C Series Lenses

Top Five | ShotOnWhat?

Digital Dailies Manager

Top Five (2014)

Directed by: Chris Rock

Cinematography by: Manuel Alberto Claro

Edited by: Anne McCabe

Admission | ShotOnWhat?

Digital Dailies Operator

Admission (2013)

Directed by: Paul Weitz

Cinematography by: Declan Quinn

Edited by: Joan Sobel

Cameras: ARRI ALEXA Studio Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

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