Vfx Executive Producer: Cinesite
Assassin's Creed (2016)
Directed by: Justin Kurzel
Cinematography by: Adam Arkapaw
Edited by: Christopher Tellefsen
Cameras: ARRI ALEXA 65 Camera
Visual Effects Executive Producer: Cinesite
Gods of Egypt (2016)
Directed by: Alex Proyas
Cinematography by: Peter Menzies Jr.
Edited by: Richard Learoyd
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Production Support: Cinesite
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
Production Support: Cinesite
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Executive Producer: Cinesite
The Man from U.N.C.L.E. (2015)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Production Support: Cinesite
Spectre (2015)
Directed by: Sam Mendes
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E100 100 mm T2.3 Lens, Panavision Primo 70 Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Visual Effects Executive Producer: Cinesite
Maggie (2015)
Directed by: Henry Hobson
Cinematography by: Lukas Ettlin
Edited by: Jane Rizzo
Vfx Executive Producer: Cinesite
San Andreas (2015)
Directed by: Brad Peyton
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Visual Effects Executive Producer: Cinesite
The Monuments Men (2014)
Directed by: George Clooney
Cinematography by: Phedon Papamichael
Edited by: Stephen Mirrione
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens
Editing System: Avid Editing System
Executive Producer: Cinesite
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Vfx Executive Producer: Cinesite
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Visual Effects Executive Producer: Cinesite
Edge of Tomorrow (2014)
Directed by: Doug Liman
Cinematography by: Dion Beebe
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 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 E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Production Support: Cinesite
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
Executive Producer: Cinesite
Jack Ryan: Shadow Recruit (2014)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Martin Walsh
Editing System: Avid Editing System
Vfx Executive Producer: Cinesite
Hercules (2014)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Cameras: ARRI ALEXA XT Camera
Executive Producer: Cinesite
Skyfall (2012)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Executive Visual Effects Producer: Cinesite
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Production Support: Cinesite
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Production Management: Cinesite
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Visual Effects Executive Producer: Cinesite
Battle Los Angeles (2011)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Edited by: Christian Wagner
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Sony PMW-EX3 Camera
Lenses: Panavision Compact Zoom Lenses, Panavision Lightweight Zoom Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Executive Producer: Cinesite
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Visual Effects Executive Producer: Cinesite
Leap Year (2010)
Directed by: Anand Tucker
Cinematography by: Newton Thomas Sigel
Edited by: Nick Moore
Executive Producer: Cinesite
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Executive Producer: Cinesite
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Visual Effects Executive Producer: Cinesite
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Executive Producer: Cinesite
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Visual Effects Executive Producer: Cinesite
Moon (2009)
Directed by: Duncan Jones
Cinematography by: Gary Shaw
Edited by: Nicolas Gaster
Executive Producer: Cinesite
Bedtime Stories (2008)
Directed by: Adam Shankman
Cinematography by: Michael Barrett
Executive Producer: Cinesite
Underdog (2007)
Directed by: Frederik Du Chau
Cinematography by: David Eggby
Edited by: Tom Finan
Visual Effects Producer: Cinesite
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Executive Producer: Cinesite
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Production: Cinesite
The Omen (2006)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Cameras: Panavision Cameras
Head Of Production: Cinesite
Miss Potter (2006)
Directed by: Chris Noonan
Cinematography by: Andrew Dunn
Edited by: Robin Sales
Executive Producer: Cinesite
X-Men: The Last Stand (2006)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Executive Producer: Cinesite
Alex Rider: Operation Stormbreaker (2006)
Directed by: Geoffrey Sax
Cinematography by: Chris Seager
Edited by: Andrew MacRitchie
Cameras: ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, ARRI / Zeiss Lenses
Executive Producer: Cinesite
The Hitchhiker's Guide to the Galaxy (2005)
Directed by: Garth Jennings
Cinematography by: Igor Jadue-Lillo
Edited by: Niven Howie
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Lightworks Editing System
Executive Producer: Cinesite
V for Vendetta (2005)
Directed by: James McTeigue
Cinematography by: Adrian Biddle
Edited by: Martin Walsh
Executive Producer: Cinesite
Sahara (2005)
Directed by: Breck Eisner
Cinematography by: Seamus McGarvey
Edited by: Andrew MacRitchie
Head Of Production: Cinesite
Around the World in 80 Days (2004)
Directed by: Frank Coraci
Cinematography by: Phil Meheux
Edited by: Tom Lewis
Cameras: Panavision Panaflex Gold II Camera
Production Executive: Cinesite
Alfie (2004)
Directed by: Charles Shyer
Cinematography by: Ashley Rowe
Edited by: Padraic McKinley
Cameras: ARRIFLEX 535 B Camera, Moviecam Compact Camera
Head Of Production: Cinesite
Troy (2004)
Directed by: Wolfgang Petersen
Cinematography by: Roger Pratt
Edited by: Peter Honess
Lenses: Cooke S4 Lenses
Head Of Production: Cinesite
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Executive Producer: Cinesite
King Arthur (2004)
Directed by: Antoine Fuqua
Cinematography by: Slawomir Idziak
Head Of Production: Cinesite
Shanghai Knights (2003)
Directed by: David Dobkin
Cinematography by: Adrian Biddle
Edited by: Malcolm Campbell
Production Development: Cinesite
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Head Of Production: Cinesite
Girl with a Pearl Earring (2003)
Directed by: Peter Webber
Cinematography by: Eduardo Serra
Edited by: Kate Evans
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Head Of Production: Cinesite
Lara Croft Tomb Raider: The Cradle of Life (2003)
Directed by: Jan de Bont
Cinematography by: David Tattersall
Edited by: Michael Kahn
Head Of Production: Cinesite
The Gathering Storm (2002)
Directed by: Richard Loncraine
Cinematography by: Peter Hannan
Edited by: Jim Clark
Head Of Production: Cinesite
24 Hour Party People (2002)
Directed by: Michael Winterbottom
Cinematography by: Robby Müller
Cameras: Sony DSR-PD150 Camera
Head Of Production: Cinesite
Feardotcom (2002)
Directed by: William Malone
Cinematography by: Christian Sebaldt
Edited by: Alan Strachan
Head Of Production: Cinesite
Die Another Day (2002)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Head Of Production: Cinesite
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
Head Of Production: Cinesite
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
Head Of Production: Cinesite
Buffalo Soldiers (2001)
Directed by: Gregor Jordan
Cinematography by: Oliver Stapleton
Edited by: Lee Smith
Cameras: Panavision Cameras
Head Of Production: Cinesite Europe
Lara Croft: Tomb Raider (2001)
Directed by: Simon West
Cinematography by: Peter Menzies Jr.
Head Of Production: Cinesite Europe
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Head Of Production: Cinesite
The World Is Not Enough (1999)
Directed by: Michael Apted
Cinematography by: Adrian Biddle
Edited by: Jim Clark
Head Of Production: Cinesite
Animal Farm (1999)
Directed by: John Stephenson
Cinematography by: Mike Brewster
Edited by: Colin Green
Head Of Production: Cinesite Digital Studios
Entrapment (1999)
Directed by: Jon Amiel
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Head Of Production: Cinesite
The Avengers (1998)
Directed by: Jeremiah S. Chechik
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Production Manager: Cinesite
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Head Of Production: Cinesite
Lock, Stock and Two Smoking Barrels (1998)
Directed by: Guy Ritchie
Cinematography by: Tim Maurice-Jones
Edited by: Niven Howie
Cameras: ARRIFLEX 16SR2 Camera, Photo-Sonics Cameras
Editing System: Lightworks Editing System
Production Manager: Cinesite
The Man Who Knew Too Little (1997)
Directed by: Jon Amiel
Cinematography by: Robert M. Stevens
Cameras: Panavision Cameras
Head Of Production: Cinesite
Spawn (1997)
Directed by: Mark A.Z. Dippé
Cinematography by: Guillermo Navarro
Production Manager: Cinesite
The Saint (1997)
Directed by: Phillip Noyce
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: Panavision Panaflex Gold II Camera
Head Of Production: Cinesite
Tomorrow Never Dies (1997)
Directed by: Roger Spottiswoode
Cinematography by: Robert Elswit
Cameras: Panavision Panaflex Gold II Camera
Visual Effects Production Manager: Cinesite Europe
Event Horizon (1997)
Directed by: Paul W.S. Anderson
Cinematography by: Adrian Biddle
Edited by: Martin Hunter
Cameras: Panavision Panaflex Platinum Camera
Head Of Production: Cinesite
Smilla's Sense of Snow (1997)
Directed by: Bille August
Cinematography by: Jörgen Persson
Edited by: Janus Billeskov Jansen
Head Of Production: Cinesite
Space Jam (1996)
Directed by: Joe Pytka
Cinematography by: Michael Chapman
Edited by: Sheldon Kahn
Head Of Production: Cinesite
Lawnmower Man 2: Beyond Cyberspace (1996)
Directed by: Farhad Mann
Cinematography by: Ward Russell
Head Of Production: Cinesite
The Adventures of Pinocchio (1996)
Directed by: Steve Barron
Cinematography by: Juan Ruiz Anchía
Edited by: Sean Barton
Head Of Production: Cinesite
Restoration (1995)
Directed by: Michael Hoffman
Cinematography by: Oliver Stapleton
Edited by: Garth Craven
Head Of Production: Cinesite
GoldenEye (1995)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 35 IIIC Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Head Of Production: Cinesite
First Knight (1995)
Directed by: Jerry Zucker
Cinematography by: Adam Greenberg
Edited by: Walter Murch
