Morning Star Schott

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Blood Father | ShotOnWhat?

Digital Intermediate Producer

Blood Father (2016)

Directed by: Jean-François Richet

Cinematography by: Robert Gantz

Edited by: Steven Rosenblum

The Ridiculous 6 | ShotOnWhat?

Digital Intermediate Producer

The Ridiculous 6 (2015)

Directed by: Frank Coraci

Cinematography by: Dean Semler

Edited by: Tom Costain

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Ted 2 | ShotOnWhat?

Digital Intermediate Producer

Ted 2 (2015)

Directed by: Seth MacFarlane

Cinematography by: Michael Barrett

Edited by: Jeff Freeman

Cameras: Sony CineAlta F65 Camera

Lenses: Panavision Primo Primes Spherical Lenses

A Million Ways to Die in the West | ShotOnWhat?

Digital Intermediate Producer: ColorWorks

A Million Ways to Die in the West (2014)

Directed by: Seth MacFarlane

Cinematography by: Michael Barrett

Edited by: Jeff Freeman

Cameras: Sony PMW-F55 Camera

Lenses: Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

The Interview | ShotOnWhat?

Digital Intermediate Producer

The Interview (2014)

Directed by: Evan Goldberg, Seth Rogen

Cinematography by: Brandon Trost

Edited by: Zene Baker, Evan Henke

Cameras: ARRI ALEXA Plus 4:3 Camera

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses

The Equalizer | ShotOnWhat?

Digital Intermediate Producer

The Equalizer (2014)

Directed by: Antoine Fuqua

Cinematography by: Mauro Fiore

Edited by: John Refoua

Cameras: ARRI ALEXA Plus 4:3 Camera

Lenses: Angenieux Optimo Anamorphic 56-152 mm A2S T4.0 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

Fury | ShotOnWhat?

Digital Intermediate Producer

Fury (2014)

Directed by: David Ayer

Cinematography by: Roman Vasyanov

Edited by: Jay Cassidy, Dody Dorn

Cameras: Panavision Panaflex Millennium XL2 Camera

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

Sex Tape | ShotOnWhat?

Digital Intermediate Producer

Sex Tape (2014)

Directed by: Jake Kasdan

Cinematography by: Tim Suhrstedt

Edited by: Steve Edwards, Tara Timpone

Cameras: ARRI ALEXA XT Camera

Neighbors | ShotOnWhat?

Digital Intermediate Producer

Neighbors (2014)

Directed by: Nicholas Stoller

Cinematography by: Brandon Trost

Edited by: Zene Baker

Cameras: ARRI ALEXA Camera, Red Epic Camera

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

The Amazing Spider-Man 2 | ShotOnWhat?

Digital Intermediate Producer

The Amazing Spider-Man 2 (2014)

Directed by: Marc Webb

Cinematography by: Dan Mindel

Edited by: Pietro Scalia

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

After Earth | ShotOnWhat?

Digital Intermediate Producer

After Earth (2013)

Directed by: M. Night Shyamalan

Cinematography by: Peter Suschitzky

Edited by: Steven Rosenblum

Cameras: Canon EOS-C500 Camera, Sony CineAlta F65 Camera

Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Cooke S4 Lenses

Grown Ups 2 | ShotOnWhat?

Digital Intermediate Producer

Grown Ups 2 (2013)

Directed by: Dennis Dugan

Cinematography by: Theo van de Sande

Edited by: Tom Costain

Cameras: Red Epic Camera

Lenses: Panavision Primo Primes Spherical Lenses

This Is the End | ShotOnWhat?

Digital Intermediate Producer

This Is the End (2013)

Directed by: Evan Goldberg, Seth Rogen

Cinematography by: Brandon Trost

Edited by: Zene Baker

Cameras: Panavision Cameras, Red Epic Camera

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses

Here Comes the Boom | ShotOnWhat?

Digital Intermediate Producer

Here Comes the Boom (2012)

Directed by: Frank Coraci

Cinematography by: Phil Meheux

Edited by: Scott Hill

Cameras: ARRI ALEXA Camera, Sony CineAlta F35 Camera

Lenses: Panavision Primo Primes Spherical Lenses

That's My Boy | ShotOnWhat?

Digital Intermediate Producer

That's My Boy (2012)

Directed by: Sean Anders

Cinematography by: Brandon Trost

Edited by: Tom Costain

Sparkle | ShotOnWhat?

Digital Intermediate Producer

Sparkle (2012)

Directed by: Salim Akil

Cinematography by: Anastas N. Michos

Edited by: Terilyn A. Shropshire

Cameras: ARRI ALEXA Plus Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

The Baytown Outlaws | ShotOnWhat?

Digital Intermediate Producer

The Baytown Outlaws (2012)

Directed by: Barry Battles

Cinematography by: David McFarland

Edited by: Sean Valla

Cameras: Red One Camera

Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens

The Amazing Spider-Man | ShotOnWhat?

Digital Intermediate Producer

The Amazing Spider-Man (2012)

Directed by: Marc Webb

Cinematography by: John Schwartzman

Edited by: Alan Edward Bell, Michael McCusker, Pietro Scalia

Cameras: Red Epic Camera

Lenses: Panavision Primo Primes Spherical Lenses

Jumping the Broom | ShotOnWhat?

Digital Intermediate Producer

Jumping the Broom (2011)

Directed by: Salim Akil

Cinematography by: Anastas N. Michos

Edited by: Terilyn A. Shropshire

Cameras: Sony CineAlta F35 Camera

Jack and Jill | ShotOnWhat?

Digital Intermediate Producer

Jack and Jill (2011)

Directed by: Dennis Dugan

Cinematography by: Dean Cundey

Edited by: Tom Costain

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

London Boulevard | ShotOnWhat?

Digital Intermediate Project Manager

London Boulevard (2010)

Directed by: William Monahan

Cinematography by: Chris Menges

Edited by: Dody Dorn, Robb Sullivan

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

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

The Other Guys | ShotOnWhat?

Digital Intermediate Producer

The Other Guys (2010)

Directed by: Adam McKay

Cinematography by: Oliver Wood

Edited by: Brent White

Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

The Karate Kid | ShotOnWhat?

Digital Intermediate Producer

The Karate Kid (2010)

Directed by: Harald Zwart

Cinematography by: Roger Pratt

Edited by: Joel Negron

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

Lenses: Cooke S4 Lenses

30 Days of Night: Dark Days | ShotOnWhat?

Project Manager

30 Days of Night: Dark Days (2010)

Direct to Video

Directed by: Ben Ketai

Cinematography by: Eric Maddison

Edited by: Darrin Navarro

Cameras: Sony CineAlta F35 Camera

Image Processing: Lowry Digital

Avatar (2009)

Directed by: James Cameron

Cinematography by: Mauro Fiore

Edited by: James Cameron, John Refoua, Stephen E. Rivkin

Cameras: Sony CineAlta F23 Camera, Sony HDC-1500 Camera, Sony HDC-F950 Camera

Lenses: Canon Lenses, Fujinon HA16x6.3BE 6.3-101 mm T1.8 Lens, Fujinon HA5x7B-W50 7-35 mm Lens, Fujinon Lenses

Editing System: Adobe Premiere Editing System, Autodesk Smoke Editing System, Avid Editing System

Public Enemies | ShotOnWhat?

Internal Producer: Lowry Digital

Public Enemies (2009)

Directed by: Michael Mann

Cinematography by: Dante Spinotti

Edited by: Jeffrey Ford, Paul Rubell

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Sony CineAlta F23 Camera, Sony HDC-F950 Camera, Sony PMW-EX1 Camera

Lenses: Cooke S4 Lenses, Fujinon E Series Lenses, Zeiss DigiPrime Lenses

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