Jeremy Burns

40 Titles

Is this you? Add a Profile

The Batman | ShotOnWhat?

Additional Visual Effects Supervisor

The Batman (2022)

Directed by: Matt Reeves

Cinematography by: Greig Fraser

Edited by: William Hoy, Tyler Nelson

Cameras: ARRI ALEXA LF Camera, ARRI ALEXA Mini LF Camera, ARRI ALEXA Plus 4:3 Camera

Lenses: ARRI Rental ALFA Lenses, ARRI Rental Prime DNA Lenses, Atlas Orion Anamorphic Series Lenses, Cooke Xtal Express Lenses

Furious 7 | ShotOnWhat?

Inhouse Compositing Supervisor

Furious 7 (2015)

Directed by: James Wan

Cinematography by: Marc Spicer, Stephen F. Windon

Edited by: Leigh Folsom Boyd, Dylan Highsmith, Kirk M. Morri, Christian Wagner

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

Annabelle | ShotOnWhat?

Additional Visual Effects Supervisor

Annabelle (2014)

Directed by: John R. Leonetti

Cinematography by: James Kniest

Edited by: Tom Elkins

Cameras: ARRI ALEXA XT Camera, Canon EOS-5D Mark III Camera, Red Epic Camera

Lenses: Canon L Series Lenses, Fujinon Premier Lenses, Leitz Summilux-C Series Lenses

Unbroken | ShotOnWhat?

Compositing Supervisor: Arch 9 Films

Unbroken (2014)

Directed by: Angelina Jolie

Cinematography by: Roger Deakins

Edited by: William Goldenberg, Tim Squyres

Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRI ALEXA XT Studio Camera

Lenses: Zeiss Master Prime Lenses

300: Rise of an Empire | ShotOnWhat?

In-house Compositor

300: Rise of an Empire (2014)

Directed by: Noam Murro

Cinematography by: Simon Duggan

Edited by: David Brenner, Wyatt Smith

Cameras: Red Epic Camera

Lenses: Fujinon Alura Lenses, Zeiss Master Prime Lenses

American Hustle | ShotOnWhat?

Digital Compositor

American Hustle (2013)

Directed by: David O. Russell

Cinematography by: Linus Sandgren

Edited by: Alan Baumgarten, Jay Cassidy, Crispin Struthers

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Canon K35 Prime Lenses, Zeiss Standard Speed Prime Lenses

Furious 6 | ShotOnWhat?

In-house Compositor

Furious 6 (2013)

Directed by: Justin Lin

Cinematography by: Stephen F. Windon

Edited by: Greg D'Auria, Leigh Folsom Boyd, Dylan Highsmith, Kelly Matsumoto, Christian Wagner

Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, ARRIFLEX 435 Xtreme Camera, Red Epic Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Zero Dark Thirty | ShotOnWhat?

Compositing Supervisor: Arch 9 Films

Zero Dark Thirty (2012)

Directed by: Kathryn Bigelow

Cinematography by: Greig Fraser

Edited by: William Goldenberg, Dylan Tichenor

Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera

Lenses: Angenieux HP Zoom Lenses, Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Optica Elite Lenses

Editing System: Avid Editing System

The Hunger Games | ShotOnWhat?

Compositor: Clearcut FX

The Hunger Games (2012)

Directed by: Gary Ross

Cinematography by: Tom Stern

Edited by: Christopher S. Capp, Stephen Mirrione, Juliette Welfling

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera

Lenses: Angenieux Optimo Zoom Lenses, Canon Lenses, Zeiss Ultra Prime Lenses

Editing System: Avid Editing System

Cloud Atlas | ShotOnWhat?

Compositor: Method Studios LA

Cloud Atlas (2012)

Directed by: Tom Tykwer, Lana Wachowski, Lilly Wachowski

Cinematography by: Frank Griebe, John Toll

Edited by: Alexander Berner, Claus Wehlisch

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

Argo | ShotOnWhat?

Compositing Supervisor

Argo (2012)

Directed by: Ben Affleck

Cinematography by: Rodrigo Prieto

Edited by: William Goldenberg

Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, Bolex H16 RX5 Camera, Canon Cameras

Lenses: Angenieux Optimo Zoom Lenses, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Kern-Paillard Switar Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Lenses

I Am Number Four | ShotOnWhat?

Inhouse Digital Compositor

I Am Number Four (2011)

Directed by: D.J. Caruso

Cinematography by: Guillermo Navarro

Edited by: Vince Filippone, Jim Page

Cameras: ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Moviecam Compact Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Fast Five | ShotOnWhat?

In-house Compositing Supervisor

Fast Five (2011)

Directed by: Justin Lin

Cinematography by: Stephen F. Windon

Edited by: Kelly Matsumoto, Fred Raskin, Christian Wagner

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision Primo Anamorphic Lenses

Mission: Impossible - Ghost Protocol | ShotOnWhat?

In-house Lead Compositor

Mission: Impossible - Ghost Protocol (2011)

Directed by: Brad Bird

Cinematography by: Robert Elswit

Edited by: Paul Hirsch

Cameras: ARRIFLEX 435 Xtreme Camera, IMAX MSM 9802 Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

Editing System: Avid Editing System

Iron Man 2 | ShotOnWhat?

Digital Compositor

Iron Man 2 (2010)

Directed by: Jon Favreau

Cinematography by: Matthew Libatique

Edited by: Dan Lebental, Richard Pearson

Cameras: Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL Camera

Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

Flipped | ShotOnWhat?

Digital Compositor

Flipped (2010)

Directed by: Rob Reiner

Cinematography by: Thomas Del Ruth

Edited by: Robert Leighton

Cameras: Panavision Panaflex Millennium Camera

Lenses: Panavision Primo Classic Spherical Lenses

The Warrior's Way | ShotOnWhat?

Compositing Supervisor

The Warrior's Way (2010)

Directed by: Sngmoo Lee

Cinematography by: Woo-hyung Kim

Edited by: Jonathan Woodford-Robinson

Watchmen | ShotOnWhat?

Visual Effects

Watchmen (2009)

Directed by: Zack Snyder

Cinematography by: Larry Fong

Edited by: William Hoy

Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Lenses, Panavision Primo Primes Spherical Lenses

Speed Racer | ShotOnWhat?

Digital Compositor

Speed Racer (2008)

Directed by: Lana Wachowski, Lilly Wachowski

Cinematography by: David Tattersall

Edited by: Roger Barton, Zach Staenberg

Cameras: Phantom HD Camera, Phantom V Series Camera, Sony CineAlta F23 Camera

Lenses: Zeiss DigiPrime Lenses

Live Free or Die Hard | ShotOnWhat?

Digital Compositor: Digital Dimension

Live Free or Die Hard (2007)

Directed by: Len Wiseman

Cinematography by: Simon Duggan

Edited by: Nicolas De Toth

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0

Editing System: Avid Editing System

Norbit | ShotOnWhat?

Digital Compositor: Digital Dimension

Norbit (2007)

Directed by: Brian Robbins

Cinematography by: Clark Mathis

Edited by: Ned Bastille

Cameras: Panavision Cameras

Lenses: Panavision Lenses

The Bucket List | ShotOnWhat?

Lead Compositor

The Bucket List (2007)

Directed by: Rob Reiner

Cinematography by: John Schwartzman

Edited by: Robert Leighton

Cameras: Panavision Cameras

The Lake House | ShotOnWhat?

Visual Effects Compositing Supervisor: WBA Visual Effects

The Lake House (2006)

Directed by: Alejandro Agresti

Cinematography by: Alar Kivilo

Edited by: Alejandro Brodersohn, Lynzee Klingman

Eragon | ShotOnWhat?

Digital Compositor: CIS Hollywood

Eragon (2006)

Directed by: Stefen Fangmeier

Cinematography by: Hugh Johnson

Edited by: Roger Barton, Masahiro Hirakubo, Chris Lebenzon

300 | ShotOnWhat?

Digital Compositor

300 (2006)

Directed by: Zack Snyder

Cinematography by: Larry Fong

Edited by: William Hoy

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera

Editing System: Final Cut Pro Editing System

Smokin' Aces | ShotOnWhat?

Compositor: CIS Hollywood

Smokin' Aces (2006)

Directed by: Joe Carnahan

Cinematography by: Mauro Fiore

Edited by: Robert Frazen

Rumor Has It... | ShotOnWhat?

Digital Effects: Warner Bros, Animation VFX

Rumor Has It... (2005)

Directed by: Rob Reiner

Cinematography by: Peter Deming

Edited by: Robert Leighton

The Dukes of Hazzard | ShotOnWhat?

Visual Effects

The Dukes of Hazzard (2005)

Directed by: Jay Chandrasekhar

Cinematography by: Lawrence Sher

Edited by: Jay Chandrasekhar, Lee Haxall, Myron Kerstein

Four Brothers | ShotOnWhat?

Digital Compositor: WBA VFX

Four Brothers (2005)

Directed by: John Singleton

Cinematography by: Peter Menzies Jr.

Edited by: Bruce Cannon, Billy Fox

Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera

Mean Girls | ShotOnWhat?

Digital Compositing Supervisor: CIS Hollywood

Mean Girls (2004)

Directed by: Mark Waters

Cinematography by: Daryn Okada

Edited by: Wendy Greene Bricmont

Cameras: Panavision Cameras

The Chronicles of Riddick | ShotOnWhat?

Compositor: CIS Hollywood

The Chronicles of Riddick (2004)

Directed by: David Twohy

Cinematography by: Hugh Johnson

Edited by: Tracy Adams, Martin Hunter, Dennis Virkler

Van Helsing | ShotOnWhat?

Digital Compositor: CIS Hollywood

Van Helsing (2004)

Directed by: Stephen Sommers

Cinematography by: Allen Daviau

Edited by: Bob Ducsay, Kelly Matsumoto, Jim May

Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

View from the Top | ShotOnWhat?

Compositing Supervisor: MetroLight Studios

View from the Top (2003)

Directed by: Bruno Barreto

Cinematography by: Affonso Beato

Edited by: Christopher Greenbury, Ray Hubley, Charles Ireland

Looney Tunes: Back in Action | ShotOnWhat?

Digital Compositor

Looney Tunes: Back in Action (2003)

Directed by: Joe Dante

Cinematography by: Dean Cundey

Edited by: Rick Finney, Marshall Harvey

X2 | ShotOnWhat?

Digital Compositor: CIS

X2: X-Men United (2003)

Directed by: Bryan Singer

Cinematography by: Newton Thomas Sigel

Edited by: Elliot Graham, John Ottman

Gods and Generals | ShotOnWhat?

Compositing Supervisor: MetroLight Studios

Gods and Generals (2003)

Directed by: Ron Maxwell

Cinematography by: Kees Van Oostrum

Edited by: Corky Ehlers

Cameras: Mitchell Cameras, Pan-Arri 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Close Focus Spherical Lenses

Paycheck | ShotOnWhat?

Digital Compositor: CIS Hollywood

Paycheck (2003)

Directed by: John Woo

Cinematography by: Jeffrey L. Kimball

Edited by: Christopher Rouse, Kevin Stitt

Scooby-Doo | ShotOnWhat?

Compositor: Warner Bros.

Scooby-Doo (2002)

Directed by: Raja Gosnell

Cinematography by: David Eggby

Edited by: Kent Beyda

Cameras: Panavision Cameras

Driven | ShotOnWhat?

Digital Effects Supervisor

Driven (2001)

Directed by: Renny Harlin

Cinematography by: Mauro Fiore

Edited by: Steve Gilson, Stuart Levy

Jay and Silent Bob Strike Back | ShotOnWhat?

Lead Compositor: MetroLight Studios

Jay and Silent Bob Strike Back (2001)

Directed by: Kevin Smith

Cinematography by: Jamie Anderson

Edited by: Scott Mosier, Kevin Smith

©2012 - 2024 ShotOnWhat?

20254.20