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Us | ShotOnWhat?

Visual Effects Supervisor: ILM

Us (2019)

Directed by: Jordan Peele

Cinematography by: Mike Gioulakis

Edited by: Nicholas Monsour

Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras

Lenses: Fujinon Alura Lenses, Zeiss Master Prime Lenses

Ready Player One | ShotOnWhat?

Visual Effects Supervisor: ILM

Ready Player One (2018)

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Sarah Broshar, Michael Kahn

Cameras: ARRI ALEXA Plus 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, Panavision PVintage Prime Lenses, Panavision T Series Anamorphic Lenses

Mission: Impossible - Rogue Nation | ShotOnWhat?

Visual Effects Supervisor: ILM

Mission: Impossible - Rogue Nation (2015)

Directed by: Christopher McQuarrie

Cinematography by: Robert Elswit

Edited by: Eddie Hamilton

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Fujinon Premier Lenses, Panavision B Series Anamorphic Lenses

Editing System: Avid Editing System

Terminator Genisys | ShotOnWhat?

Visual Effects Supervisor: ILM

Terminator Genisys (2015)

Directed by: Alan Taylor

Cinematography by: Kramer Morgenthau

Edited by: Roger Barton

Cameras: ARRI ALEXA XT Plus Camera

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

Selma | ShotOnWhat?

Visual Effects Supervisor: ILM

Selma (2014)

Directed by: Ava DuVernay

Cinematography by: Bradford Young

Edited by: Spencer Averick

Cameras: ARRI ALEXA XT Plus Camera

Lenses: Hawk V-Plus Lenses, Hawk V-Series Lenses

Noah | ShotOnWhat?

Visual Effects Supervisor

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

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk 150-450 mm T2.8 Lens, Zeiss Ultra Prime Lenses

Editing System: Avid Editing System

Now You See Me | ShotOnWhat?

Digital Artist: ILM

Now You See Me (2013)

Directed by: Louis Leterrier

Cinematography by: Mitchell Amundsen, Larry Fong

Edited by: Robert Leighton, Vincent Tabaillon

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision G Series Anamorphic Lenses

Elysium | ShotOnWhat?

Visual Effects Supervisor: ILM

Elysium (2013)

Directed by: Neill Blomkamp

Cinematography by: Trent Opaloch

Edited by: Julian Clarke, Lee Smith

Cameras: Canon EOS-5D Mark II Camera, Red Epic Camera

Lenses: Canon L Series Lenses, Nikon - Nikkor Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

Editing System: Avid Editing System

RED 2 | ShotOnWhat?

Visual Effects Supervisor: ILM

RED 2 (2013)

Directed by: Dean Parisot

Cinematography by: Enrique Chediak

Edited by: Don Zimmerman

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Hawk V-Lite Lenses

Lone Survivor | ShotOnWhat?

Visual Effects Supervisor: ILM

Lone Survivor (2013)

Directed by: Peter Berg

Cinematography by: Tobias A. Schliessler

Edited by: Colby Parker Jr.

Cameras: Phantom Flex Camera, Red Epic Camera

Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo 45-120 mm T2.8 Lens, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens

Battleship | ShotOnWhat?

Visual Effects Supervisor

Battleship (2012)

Directed by: Peter Berg

Cinematography by: Tobias A. Schliessler

Edited by: Colby Parker Jr., Billy Rich, Paul Rubell

Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Lightweight 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 E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Digital Artist: ILM

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

Star Trek | ShotOnWhat?

Sequence Supervisor: ILM

Star Trek (2009)

Directed by: J.J. Abrams

Cinematography by: Dan Mindel

Edited by: Maryann Brandon, Mary Jo Markey

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

Miracle at St. Anna | ShotOnWhat?

Visual Effects Supervisor: ILM

Miracle at St. Anna (2008)

Directed by: Spike Lee

Cinematography by: Matthew Libatique

Edited by: Barry Alexander Brown

Indiana Jones and the Kingdom of the Crystal Skull | ShotOnWhat?

Digital Artist: ILM

Indiana Jones and the Kingdom of the Crystal Skull (2008)

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Michael Kahn

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Pirates of the Caribbean: At World's End | ShotOnWhat?

Sequence Supervisor: ILM

Pirates of the Caribbean: At World's End (2007)

Directed by: Gore Verbinski

Cinematography by: Dariusz Wolski

Edited by: Stephen E. Rivkin, Craig Wood

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

There Will Be Blood | ShotOnWhat?

Visual Effects Supervisor: Industrial Light & Magic

There Will Be Blood (2007)

Directed by: Paul Thomas Anderson

Cinematography by: Robert Elswit

Edited by: Dylan Tichenor

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Pathé 43 mm (Modified by Dan Sasaki) Lens

Lions for Lambs | ShotOnWhat?

Visual Effects Supervisor: ILM

Lions for Lambs (2007)

Directed by: Robert Redford

Cinematography by: Philippe Rousselot

Edited by: Joe Hutshing

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Lady in the Water | ShotOnWhat?

Lead Inferno Artist

Lady in the Water (2006)

Directed by: M. Night Shyamalan

Cinematography by: Christopher Doyle

Edited by: Barbara Tulliver

Eragon | ShotOnWhat?

Digital Artist: ILM

Eragon (2006)

Directed by: Stefen Fangmeier

Cinematography by: Hugh Johnson

Edited by: Roger Barton, Masahiro Hirakubo, Chris Lebenzon

Star Wars: Episode III - Revenge of the Sith | ShotOnWhat?

Inferno Supervisor

Star Wars: Episode III - Revenge of the Sith (2005)

Directed by: George Lucas

Cinematography by: David Tattersall

Edited by: Roger Barton, Ben Burtt

Cameras: Sony HDC-F950 Camera

Lenses: Fujinon C Series Lenses, Fujinon E Series Lenses

Munich | ShotOnWhat?

Associate Visual Effects Supervisor

Munich (2005)

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Michael Kahn

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Cooke Cine Varotal Mark II 25-250mm T3.9 Lens, Cooke S4/i Prime 100mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 16mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0

Editing System: Moviola Editing System

Jarhead | ShotOnWhat?

Digital Production Supervisor

Jarhead (2005)

Directed by: Sam Mendes

Cinematography by: Roger Deakins

Edited by: Walter Murch

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 35 IIIC Camera

Lenses: Cooke S4 Lenses

Editing System: Final Cut Pro Editing System

Van Helsing | ShotOnWhat?

Inferno Supervisor

Van Helsing (2004)

Directed by: Stephen Sommers

Cinematography by: Allen Daviau

Edited by: Bob Ducsay, Kelly Matsumoto, Jim May

Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

Master and Commander: The Far Side of the World | ShotOnWhat?

Lead Sabre Artist

Master and Commander: The Far Side of the World (2003)

Directed by: Peter Weir

Cinematography by: Russell Boyd

Edited by: Lee Smith

Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

Terminator 3: Rise of the Machines | ShotOnWhat?

Inferno Supervisor

Terminator 3: Rise of the Machines (2003)

Directed by: Jonathan Mostow

Cinematography by: Don Burgess

Edited by: Nicolas De Toth, Neil Travis

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

Pirates of the Caribbean: The Curse of the Black Pearl | ShotOnWhat?

Lead Sabre Artist

Pirates of the Caribbean: The Curse of the Black Pearl (2003)

Directed by: Gore Verbinski

Cinematography by: Dariusz Wolski

Edited by: Stephen E. Rivkin, Arthur Schmidt, Craig Wood

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

The Hunted | ShotOnWhat?

Digital Compositor

The Hunted (2003)

Directed by: William Friedkin

Cinematography by: Caleb Deschanel

Edited by: Augie Hess

Star Wars: Episode II - Attack of the Clones | ShotOnWhat?

Sequence Supervisor And Development Lead: ILM

Star Wars: Episode II - Attack of the Clones (2002)

Directed by: George Lucas

Cinematography by: David Tattersall

Edited by: Ben Burtt, George Lucas

Cameras: Sony HDW-F900 Camera

Lenses: Panavision Primo Anamorphic Lenses

Gangs of New York | ShotOnWhat?

Sabre Artist

Gangs of New York (2002)

Directed by: Martin Scorsese

Cinematography by: Michael Ballhaus

Edited by: Thelma Schoonmaker

Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, ARRIFLEX 535 Camera

Lenses: Angenieux Lenses, Cooke Lenses, Zeiss Ultra Prime Lenses, Zeiss Variable Prime Lenses

Editing System: Lightworks Editing System

The Mummy Returns | ShotOnWhat?

Visual Effects Compositor: Digiscope

The Mummy Returns (2001)

Directed by: Stephen Sommers

Cinematography by: Adrian Biddle

Edited by: Bob Ducsay, Kelly Matsumoto

Cameras: Panavision Panaflex Millennium XL Camera

Lenses: Panavision C Series Anamorphic Lenses

Spy Kids | ShotOnWhat?

Compositing Artist: Digiscope

Spy Kids (2001)

Directed by: Robert Rodriguez

Cinematography by: Guillermo Navarro

Edited by: Robert Rodriguez

Scary Movie 2 | ShotOnWhat?

2d Artist: Digiscope

Scary Movie 2 (2001)

Directed by: Keenen Ivory Wayans

Cinematography by: Steven Bernstein

Edited by: Thomas J. Nordberg, Richard Pearson, Peter Teschner

Planet of the Apes | ShotOnWhat?

Computer Graphics Artist: Sabre, ILM

Planet of the Apes (2001)

Directed by: Tim Burton

Cinematography by: Philippe Rousselot

Edited by: Chris Lebenzon

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Scary Movie | ShotOnWhat?

Composite Artist: Digiscope

Scary Movie (2000)

Directed by: Keenen Ivory Wayans

Cinematography by: Francis Kenny

Edited by: Mark Helfrich

Vertical Limit | ShotOnWhat?

Inferno Supervisor: Digiscope / Compositing Supervisor: Digiscope

Vertical Limit (2000)

Directed by: Martin Campbell

Cinematography by: David Tattersall

Edited by: Thom Noble

Reindeer Games | ShotOnWhat?

Digital Artist: Digiscope

Reindeer Games (2000)

Directed by: John Frankenheimer

Cinematography by: Alan Caso

Edited by: Antony Gibbs, Michael Kahn

Cameras: Panavision Cameras, Spacecam Aerial Cameras

Mission to Mars | ShotOnWhat?

Sabre CG Artist: ILM

Mission to Mars (2000)

Directed by: Brian De Palma

Cinematography by: Stephen H. Burum

Edited by: Paul Hirsch

Scream 3 | ShotOnWhat?

Title Designer: Main Titles

Scream 3 (2000)

Directed by: Wes Craven

Cinematography by: Peter Deming

Edited by: Patrick Lussier

Mission: Impossible II | ShotOnWhat?

Digital Artist

Mission: Impossible II (2000)

Directed by: John Woo

Cinematography by: Jeffrey L. Kimball

Edited by: Steven Kemper, Christian Wagner

Cameras: Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

Tarzan | ShotOnWhat?

Title Designer

Tarzan (1999)

Directed by: Chris Buck, Kevin Lima

Edited by: Gregory Perler

Wild Wild West | ShotOnWhat?

Sabre Artist

Wild Wild West (1999)

Directed by: Barry Sonnenfeld

Cinematography by: Michael Ballhaus

Edited by: Jim Miller

Cameras: ARRIFLEX 435 ES Camera, ARRIFLEX 535 B Camera, VistaVision Cameras

Lenses: Zeiss Variable Prime VP1 16-30 mm T2.2 Lens, Zeiss Variable Prime VP2 29-60 mm T2.2 Lens, Zeiss Variable Prime VP3 55-150 mm T2.2 Lens

Mystery Men | ShotOnWhat?

Digital Artist: Digiscope

Mystery Men (1999)

Directed by: Kinka Usher

Cinematography by: Stephen H. Burum

Edited by: Conrad Buff IV

Sleepy Hollow | ShotOnWhat?

Digital Artist

Sleepy Hollow (1999)

Directed by: Tim Burton

Cinematography by: Emmanuel Lubezki

Edited by: Chris Lebenzon, Joel Negron

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

Austin Powers: The Spy Who Shagged Me | ShotOnWhat?

Digital Artist: Digiscope

Austin Powers: The Spy Who Shagged Me (1999)

Directed by: Jay Roach

Cinematography by: Ueli Steiger

Edited by: Debra Neil-Fisher, Jon Poll

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Blade | ShotOnWhat?

Digital Artist

Blade (1998)

Directed by: Stephen Norrington

Cinematography by: Theo van de Sande

Edited by: Paul Rubell

Cameras: Moviecam Compact Camera

Lenses: Clairmont Anamorphic Lenses, Hawk C-Series 100 mm T3.0 Lens

Enemy of the State | ShotOnWhat?

Digital Artist: Digiscope

Enemy of the State (1998)

Directed by: Tony Scott

Cinematography by: Dan Mindel

Edited by: Chris Lebenzon

Godzilla | ShotOnWhat?

Inferno Artist / Supervising Digital Artist: Digiscope

Godzilla (1998)

Directed by: Roland Emmerich

Cinematography by: Ueli Steiger

Edited by: Peter Amundson, David Siegel

Playing by Heart | ShotOnWhat?

Digital Artist: Digiscope

Playing by Heart (1998)

Directed by: Willard Carroll

Cinematography by: Vilmos Zsigmond

Edited by: Pietro Scalia

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses

Most Wanted | ShotOnWhat?

Digital Artist

Most Wanted (1997)

Directed by: David Hogan

Cinematography by: Marc Reshovsky

Edited by: Michael J. Duthie, Mark Helfrich

Cameras: Panavision Cameras

Volcano | ShotOnWhat?

Digital Artist: Digiscope

Volcano (1997)

Directed by: Mick Jackson

Cinematography by: Theo van de Sande

Edited by: Don Brochu, Michael Tronick

Alien: Resurrection | ShotOnWhat?

Inferno Artist

Alien Resurrection (1997)

Directed by: Jean-Pierre Jeunet

Cinematography by: Darius Khondji

Edited by: Hervé Schneid

Cameras: Aaton 35-III Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

8 Heads in a Duffel Bag | ShotOnWhat?

Digital Artist: Digiscope

8 Heads in a Duffel Bag (1997)

Directed by: Tom Schulman

Cinematography by: Adam Holender

Edited by: David Holden

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Titanic | ShotOnWhat?

Inferno Artist

Titanic (1997)

Directed by: James Cameron

Cinematography by: Russell Carpenter

Edited by: Conrad Buff IV, James Cameron, Richard A. Harris

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

The Long Kiss Goodnight | ShotOnWhat?

Digital Artist: Digiscope

The Long Kiss Goodnight (1996)

Directed by: Renny Harlin

Cinematography by: Guillermo Navarro

Edited by: William Goldenberg

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