Compositing Supervisor: DNEG
Dune (2021)
Directed by: Denis Villeneuve
Cinematography by: Greig Fraser
Edited by: Joe Walker
Compositing Supervisor: Double Negative
First Man (2018)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Compositing Sequence Supervisor: DNEG
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Digital Compositor: Double Negative
Blade Runner 2049 (2017)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera
Lenses: ARRI / Zeiss Zoom Lenses, 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Compositing Sequence Supervisor: Double Negative
Fantastic Beasts and Where to Find Them (2016)
Directed by: David Yates
Cinematography by: Philippe Rousselot
Edited by: Mark Day
Cameras: ARRI ALEXA XT Camera
Compositing Sequence Supervisor: Double Negative
The Huntsman: Winter's War (2016)
Directed by: Cedric Nicolas-Troyan
Cinematography by: Phedon Papamichael
Edited by: Conrad Buff IV
Lead Digital Compositor: Double Negative London
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Lead Digital Artist: Double Negative
Interstellar (2014)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Hasselblad Lenses, Leitz Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Digital Compositor: Double Negative London
Exodus: Gods and Kings (2014)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Digital Compositor: Double Negative
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Compositor: Double Negative London
Rush (2013)
Directed by: Ron Howard
Cinematography by: Anthony Dod Mantle
Digital Compositor: 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
Digital Compositor: Double Negative
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Digital Compositor: Double Negative
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Digital Compositor: Baseblack
Dredd (2012)
Directed by: Pete Travis
Cinematography by: Anthony Dod Mantle
Edited by: Mark Eckersley
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor: Baseblack
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
Digital Compositor: Baseblack
Johnny English Reborn (2011)
Directed by: Oliver Parker
Cinematography by: Danny Cohen
Edited by: Guy Bensley
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Phantom Flex Camera, Phantom HD Gold Camera
Lenses: Zeiss Master Prime Lenses
Compositor: Digital Apes
'Going Postal' Episode #1.2 (2010)
Directed by: Jon Jones
Cinematography by: Gavin Finney
Edited by: Alex Mackie
Compositor: Digital Apes
'Going Postal' Episode #1.1 (2010)
Directed by: Jon Jones
Cinematography by: Gavin Finney
Edited by: Alex Mackie
Compositor: Digital Apes - 2 Episodes, 2010
Going Postal (2010)
Directed by: Jon Jones
Cinematography by: Gavin Finney
Edited by: Alex Mackie
Cameras: ARRIFLEX D-21 Camera
Digital Compositor: MPC
Robin Hood (2010)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Panavision Genesis Camera
Lenses: Angenieux Optimo Zoom Lenses, Optica Elite Lenses, Panavision Compact Zoom Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Roto Supervisor: Cube Effects
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
Compositor: Cube Effects
Green Zone (2010)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Digital Compositor: MPC
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Digital Compositor: Baseblack
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Rotoscope Supervisor: Cube Effects
Baarìa (2009)
Directed by: Giuseppe Tornatore
Cinematography by: Enrico Lucidi
Edited by: Massimo Quaglia
Lead Rotoscope Artist/compositor: Cube Effects
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Lead Roto Artist: Cube Effects
Quantum of Solace (2008)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R 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, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Lead Roto Artist: Cube Effects
Franklyn (2008)
Directed by: Gerald McMorrow
Cinematography by: Ben Davis
Edited by: Peter Christelis
Lead Rotoscope Artist: Cube Effects
10,000 BC (2008)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: Alexander Berner
Cameras: ARRI Cameras, Moviecam Cameras
Lenses: Angenieux Lenses, Zeiss Lenses
Digital Compositor: Cube Effects
In Bruges (2008)
Directed by: Martin McDonagh
Cinematography by: Eigil Bryld
Edited by: Jon Gregory
Lead Digital Compositor: Cube Effects
The Edge of Love (2008)
Directed by: John Maybury
Cinematography by: Jonathan Freeman
Edited by: Emma E. Hickox
Digital Compositor: Cube Effects
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor: Cube Effects
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Lead Roto Artist/compositor: Cube Effects
Hot Fuzz (2007)
Directed by: Edgar Wright
Cinematography by: Jess Hall
Edited by: Chris Dickens
