Digital Compositor
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Digital Compositor
Thor: Ragnarok (2017)
Directed by: Taika Waititi
Cinematography by: Javier Aguirresarobe
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
Digital Compositor
X-Men: Apocalypse (2016)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Digital Compositor: Artemple Hollywood
Entourage (2015)
Directed by: Doug Ellin
Cinematography by: Steven Fierberg
Edited by: Jeff Groth
Cameras: ARRICAM Lite (LT) Camera
Digital Compositor
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
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT 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
Jack the Giant Slayer (2013)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Digital Compositor
Ender's Game (2013)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Cameras: Red Epic Camera
Digital Compositor
The Girl with the Dragon Tattoo (2011)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System, Sony Vegas Editing System
Compositor: Digital Domain
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Compositor
Real Steel (2011)
Directed by: Shawn Levy
Cinematography by: Mauro Fiore
Edited by: Dean Zimmerman
Cameras: Sony CineAlta F35 Camera
Lenses: Cooke Lenses, Cooke S4 Lenses
Editing System: Avid Editing System
Digital Compositor
Tron (2010)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: James Haygood
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Editing System: Avid Editing System
Digital Compositor
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Digital Compositor
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Digital Compositor
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Digital Compositor
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Digital Compositor
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Digital Compositor: Digital Domain
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Digital Compositor
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Senior Compositor: Identity Studios Inc.
Peaceful Warrior (2006)
Directed by: Victor Salva
Cinematography by: Sharone Meir
Edited by: Ed Marx
Digital Compositor
The Texas Chainsaw Massacre: The Beginning (2006)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Digital Artist: Identity Studios, Inc.
Sam's Lake (2006)
Directed by: Andrew C. Erin
Cinematography by: David A. Armstrong
Edited by: Miklos Wright
Digital Compositor
Be Cool (2005)
Directed by: F. Gary Gray
Cinematography by: Jeffrey L. Kimball
Edited by: Sheldon Kahn
Titles And Effects
Coach Carter (2005)
Directed by: Thomas Carter
Cinematography by: Sharone Meir
Edited by: Peter E. Berger
Visual Effects Compositing Artist
Into the Blue (2005)
Directed by: John Stockwell
Cinematography by: Shane Hurlbut
Digital Compositor
The Russian Specialist (2005)
Directed by: Dolph Lundgren
Cinematography by: Ross W. Clarkson
Edited by: Joe Plenys
Cameras: ARRI Cameras
Title Artist
A Sound of Thunder (2005)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Edited by: Sylvie Landra
Visual Effects
50 First Dates (2004)
Directed by: Peter Segal
Cinematography by: Jack N. Green
Edited by: Jeff Gourson
Cameras: Panavision Cameras
Digital Compositing Artist
Hidalgo (2004)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Visual Effects Compositing Artist
Mean Girls (2004)
Directed by: Mark Waters
Cinematography by: Daryn Okada
Edited by: Wendy Greene Bricmont
Cameras: Panavision Cameras
Digital Compositor: Howard Anderson Company
Team America: World Police (2004)
Directed by: Trey Parker
Cinematography by: Bill Pope
Edited by: Thomas M. Vogt
Cameras: ARRIFLEX 435 Camera, Pan-Arri 435 Camera
Digital Compositor
Christmas with the Kranks (2004)
Directed by: Joe Roth
Cinematography by: Don Burgess
Edited by: Nick Moore
Digital Compositor
Collateral (2004)
Directed by: Michael Mann
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Sony HDC-F950 Camera, Sony HDW-F900 Camera, Thomson Viper Camera
Editing System: Avid Editing System
Digital Compositor
Against the Ropes (2004)
Directed by: Charles S. Dutton
Cinematography by: Jack N. Green
Edited by: Eric L. Beason
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositing Artist
Paparazzi (2004)
Directed by: Paul Abascal
Cinematography by: Daryn Okada
Edited by: Robin Russell
Compositing Artist: Howard Anderson Company
I Heart Huckabees (2004)
Directed by: David O. Russell
Cinematography by: Peter Deming
Edited by: Robert K. Lambert
Compositing Artist: Howard Anderson Company
The Punisher (2004)
Directed by: Jonathan Hensleigh
Cinematography by: Conrad W. Hall
Digital Compositor
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Compositing Artist: Howard Anderson Company
Man on Fire (2004)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor
Radio (2003)
Directed by: Michael Tollin
Cinematography by: Don Burgess
Cameras: Panavision Cameras
Visual Effects
Bad Santa (2003)
Directed by: Terry Zwigoff
Cinematography by: Jamie Anderson
Edited by: Robert Hoffman
Visual Effects Compositing Artist
Cradle 2 the Grave (2003)
Directed by: Andrzej Bartkowiak
Cinematography by: Daryn Okada
Edited by: Derek Brechin
Cameras: Panavision Cameras
Visual Effects
Hulk (2003)
Directed by: Ang Lee
Cinematography by: Frederick Elmes
Edited by: Tim Squyres
Cameras: ARRIFLEX 535 B Camera
Visual Effects
Bulletproof Monk (2003)
Directed by: Paul Hunter
Cinematography by: Stefan Czapsky
Edited by: Robert K. Lambert
Visual Effects Compositing Artist
Runaway Jury (2003)
Directed by: Gary Fleder
Cinematography by: Robert Elswit
Edited by: William Steinkamp
Digital Compositor: Howard Anderson Company
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor
Two Soldiers (2003)
Directed by: Aaron Schneider
Cinematography by: David Boyd
Cameras: Panavision Panaflex Gold II Camera
Visual Effects
Gothika (2003)
Directed by: Mathieu Kassovitz
Cinematography by: Matthew Libatique
Edited by: Yannick Kergoat
Digital Compositor
The Fighting Temptations (2003)
Directed by: Jonathan Lynn
Cinematography by: Affonso Beato
Edited by: Paul Hirsch
Visual Effects Compositing Artist
Basic (2003)
Directed by: John McTiernan
Cinematography by: Steve Mason
Edited by: George Folsey Jr.
Cameras: Panavision Panaflex Camera
Visual Effects
The Bourne Identity (2002)
Directed by: Doug Liman
Cinematography by: Oliver Wood
Edited by: Saar Klein
Visual Effects Compositing Artist
The Master of Disguise (2002)
Directed by: Perry Andelin Blake
Cinematography by: Peter Lyons Collister
Cameras: Panavision Cameras
Visual Effects Compositing Artist
Swimfan (2002)
Directed by: John Polson
Cinematography by: Giles Nuttgens
Edited by: Sarah Flack
Titles And Effects
Tortilla Soup (2001)
Directed by: Maria Ripoll
Cinematography by: Xavier Grobet
Edited by: Andy Blumenthal
Visual Effects Compositing Artist
Pitch Black (2000)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Rick Shaine
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Artist
Cookie's Fortune (1999)
Directed by: Robert Altman
Cinematography by: Toyomichi Kurita
Edited by: Abraham Lim
Digital Compositor
Desperate Measures (1998)
Directed by: Barbet Schroeder
Cinematography by: Luciano Tovoli
Edited by: Lee Percy
Cameras: Panavision Panaflex Platinum Camera
Effects Crew: Optical Illusions, Inc.
Susan's Plan (1998)
Directed by: John Landis
Cinematography by: Ken Kelsch
Edited by: Nancy Morrison
Technical Assistant: Process Photography
The Terminator (1984)
Directed by: James Cameron
Cinematography by: Adam Greenberg
Edited by: Mark Goldblatt
Cameras: ARRIFLEX 35 BL Camera, ARRIFLEX 35 III Camera
Lenses: Zeiss Super Speed Lenses