Compositor: Double Negative
First Man (2018)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
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
Compositor: Sony Pictures Imageworks
Ghostbusters (2016)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
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 15-40mm T2.6 Lens, Angenieux Optimo 28-340mm T2.9 Lens, Angenieux Optimo 28-76mm T2.6 Lens, Fujinon Alura Zoom 15.5-45mm T2.8 Lens, Fujinon Alura Zoom 30-80mm 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: LOOK Effects
The Interview (2014)
Cinematography by: Brandon Trost
Cameras: ARRI ALEXA Plus 4:3 Camera
Digital Compositor
Fury (2014)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C1000 1000 mm T5.6 Lens, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Compositor: MPC
Seventh Son (2014)
Directed by: Sergei Bodrov
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA Camera
Compositor: LOOK! Effects
Noah (2014)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera
Editing System: Avid Editing System
Compositor: Sony Pictures Imageworks
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Digital Compositor: Image Engine
Lone Survivor (2013)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Colby Parker Jr.
Cameras: Phantom Flex Camera, Red Epic Camera
Digital Compositor
Warm Bodies (2013)
Directed by: Jonathan Levine
Cinematography by: Javier Aguirresarobe
Edited by: Nancy Richardson
Editing System: Avid Editing System
Compositor: The Embassy
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 28-76mm 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
Digital Compositor
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Digital Compositor: Prime Focus
Final Destination 5 (2011)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Digital Compositor
Mardi Gras: Spring Break (2011)
Directed by: Phil Dornfeld
Cinematography by: Thomas E. Ackerman
Edited by: Mark Scheib
Compositor: Tinderbox
30 Days of Night: Dark Days (2010)
Directed by: Ben Ketai
Cinematography by: Eric Maddison
Edited by: Darrin Navarro
Cameras: Sony CineAlta F35 Camera
Digital Compositor
RED (2010)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lenses
Digital Compositor
The Crazies (2010)
Directed by: Breck Eisner
Cinematography by: Maxime Alexandre
Edited by: Billy Fox
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Digital Compositor: CIS Vancouver
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Digital Compositor
Paul Blart: Mall Cop (2009)
Directed by: Steve Carr
Cinematography by: Russ T. Alsobrook
Edited by: Jeff Freeman
Cameras: Panavision Genesis Camera
Digital Compositor
Dragonball Evolution (2009)
Directed by: James Wong
Cinematography by: Robert McLachlan
Digital Compositor
Sorority Row (2009)
Directed by: Stewart Hendler
Cinematography by: Ken Seng
Edited by: Elliot Greenberg
Digital Compositor
Book of Blood (2009)
Directed by: John Harrison
Cinematography by: Philip Robertson
Edited by: Harry B. Miller III
Compositing And Roto Artist: CIS Vancouver
Invictus (2009)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Compositor: Rainmaker
Case 39 (2009)
Directed by: Christian Alvart
Cinematography by: Hagen Bogdanski
Edited by: Mark Goldblatt
Digital Compositor
Armored (2009)
Directed by: Nimród Antal
Cinematography by: Andrzej Sekula
Edited by: Armen Minasian
Digital Compositor
The Sisterhood of the Traveling Pants 2 (2008)
Directed by: Sanaa Hamri
Cinematography by: Jim Denault
Edited by: Melissa Kent
Compositor: Rainmaker
Vantage Point (2008)
Directed by: Pete Travis
Cinematography by: Amir Mokri
Edited by: Stuart Baird
Digital Compositor
Step Brothers (2008)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Edited by: Brent White
Cameras: Panavision Cameras
Digital Compositor
Superhero Movie (2008)
Directed by: Craig Mazin
Cinematography by: Thomas E. Ackerman
Cameras: ARRI Cameras
Digital Compositor: Rainmaker
Tropic Thunder (2008)
Directed by: Ben Stiller
Cinematography by: John Toll
Edited by: Greg Hayden
Digital Compositor
Blades of Glory (2007)
Cinematography by: Stefan Czapsky
Edited by: Richard Pearson
Digital Compositing Artist: Intelligent Creatures Inc.
The Game Plan (2007)
Directed by: Andy Fickman
Cinematography by: Greg Gardiner
Edited by: Michael Jablow
Cameras: Panavision Cameras
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
Compositing Assistant: Mr. X Inc.
Assault on Precinct 13 (2005)
Directed by: Jean-François Richet
Cinematography by: Robert Gantz
Edited by: Bill Pankow
Tape Operator
A History of Violence (2005)
Directed by: David Cronenberg
Cinematography by: Peter Suschitzky
Edited by: Ronald Sanders
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Roto Artist: Mr. X Inc.
Four Brothers (2005)
Directed by: John Singleton
Cinematography by: Peter Menzies Jr.
Compositing Assistant: Mr. X Inc.
Ice Princess (2005)
Directed by: Tim Fywell
Cinematography by: David Hennings
Edited by: Janice Hampton