Additional Visual Effects Supervisor: Scanline VFX
The Batman (2022)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Fx Lead: ScanlineVFX Munich
'Stranger Things' Chapter Five: The Source (2019)
Directed by: Uta Briesewitz
Fx Lead: ScanlineVFX Munich
'Stranger Things' Chapter Six: The Birthday (2019)
Directed by: Uta Briesewitz
Fx Lead: ScanlineVFX Munich
'Stranger Things' Chapter Eight: The Battle of Starcourt (2019)
Cinematography by: Lachlan Milne
Visual Effects Crew: Scanline VFX
The Meg (2018)
Directed by: Jon Turteltaub
Cinematography by: Tom Stern
Visual Effects Supervisor: ScanlineVFX Munich
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
Effects Artist: ScanlineVFX - 2 Episodes, 2019, Fx Lead: ScanlineVFX Munich - 3 Episodes, 2019
Stranger Things (2016)
Directed by: Matt Duffer, Ross Duffer, Shawn Levy, Andrew Stanton, Uta Briesewitz, Nimród Antal, Rebecca Thomas, Dan Trachtenberg
Cinematography by: Tim Ives, Caleb Heymann, Tod Campbell, Lachlan Milne, Brett Jutkiewicz, David Franco
Cameras: ARRI ALEXA LF Camera, Red Epic Dragon Camera, Red Helium (Weapon) 8K, Red Monstro 8K Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: ScanlineVFX Munich
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
Visual Effects Supervisor: Scanline VFX
Divergent (2014)
Directed by: Neil Burger
Cinematography by: Alwin H. Küchler
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Senior Fx Artist: ScanlineVFX
Big Game (2014)
Directed by: Jalmari Helander
Cinematography by: Mika Orasmaa
Edited by: Iikka Hesse
Cameras: ARRI ALEXA Camera, Blackmagic Cinema Camera, Canon EOS-C300 Camera, Phantom Flex Camera, Red Epic Camera
Lenses: Hawk Anamorphic Lenses
Fx Supervisor: ScanlineVFX
White House Down (2013)
Directed by: Roland Emmerich
Cinematography by: Anna Foerster
Edited by: Adam Wolfe
Fx Supervisor: ScanlineVFX
Snowpiercer (2013)
Directed by: Joon-ho Bong
Cinematography by: Kyung-pyo Hong
Effects Senior Artist: Scanline VFX
Looper (2012)
Directed by: Rian Johnson
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Effects Artist: ScanlineVFX
Cloud Atlas (2012)
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
Editing System: Avid Editing System
Lead Digital Special Effects Artist: SCANLINE
(T)Raumschiff Surprise - Periode 1 (2004)
Directed by: Michael Herbig
Cinematography by: Stephan Schuh
Edited by: Alexander Dittner
Cameras: ARRIFLEX Camera
3D Animator And Compositor: CA Scanline Production GmbH
Luther (2003)
Directed by: Eric Till
Cinematography by: Robert Fraisse
Edited by: Clive Barrett
Cameras: ARRIFLEX 535 Camera
Lenses: Cooke S4 Lenses
