Head Of Digital Matte Painting
Tenet (2020)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Jennifer Lame
Cameras: ARRIFLEX 765 Camera, IMAX MKIII Reflex Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision System 65 Camera
Editing System: Avid Editing System
Head Of Digital Matte Painting
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Head Of Digital Matte Painting: DNEG
Mission: Impossible - Fallout (2018)
Directed by: Christopher McQuarrie
Cinematography by: Rob Hardy
Edited by: Eddie Hamilton
Head Of Digital Matte Painting
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Head Of Digital Environments
Paddington 2 (2017)
Directed by: Paul King
Cinematography by: Erik Wilson
Cameras: ARRI ALEXA Series Cameras
Head Of Environments
Alien: Covenant (2017)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Environment Td
Beauty and the Beast (2017)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Digital Matte Painter: Double Negative
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Digital Matte Painter
The Danish Girl (2015)
Directed by: Tom Hooper
Cinematography by: Danny Cohen
Edited by: Melanie Oliver
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Lead Environment Artist: Double Negative
Exodus: Gods and Kings (2014)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Environment Supervisor: Double Negative
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Lead Digital Matte Painter
Dredd (2012)
Directed by: Pete Travis
Cinematography by: Anthony Dod Mantle
Edited by: Mark Eckersley
Lenses: Zeiss Ultra Prime Lenses
Matte Painting Supervisor: Double Negative
Les Misérables (2012)
Directed by: Tom Hooper
Cinematography by: Danny Cohen
Digital Matte Painter: Double Negative
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Digital Artist: Double Negative
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Matte Painter
Unknown (2011)
Directed by: Jaume Collet-Serra
Cinematography by: Flavio Martínez Labiano
Edited by: Timothy Alverson
Matte Painter
The Last Airbender (2010)
Directed by: M. Night Shyamalan
Cinematography by: Andrew Lesnie
Edited by: Conrad Buff IV
Concept Artist: Double Negative
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
Matte Painter: Rodeo FX
Resident Evil: Afterlife (2010)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Niven Howie
Editing System: Avid Editing System
Digital Matte Painter
Micmacs à tire-larigot (2009)
Directed by: Jean-Pierre Jeunet
Cinematography by: Tetsuo Nagata
Edited by: Hervé Schneid
Digital Matte Painter
District 13: Ultimatum (2009)
Directed by: Patrick Alessandrin
Cinematography by: Jean-François Hensgens
Digital Matte Painter
One for the Road (2009)
Directed by: Philippe Godeau
Cinematography by: Jean-Marc Fabre
Digital Matte Painter: Double Negative
Doomsday (2008)
Directed by: Neil Marshall
Cinematography by: Sam McCurdy
Concept Artist: Double Negative
Franklyn (2008)
Directed by: Gerald McMorrow
Cinematography by: Ben Davis
Edited by: Peter Christelis
Matte Painter: Double Negative
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 Artist: Double Negative
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
Matte Painter: Mac Guff
The Heir Apparent: Largo Winch (2008)
Directed by: Jérôme Salle
Cinematography by: Denis Rouden
Edited by: Richard Marizy
Digital Matte Painter: Double Negative
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
3D Artist: Double Negative
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
Digital Matte Painter: Double Negative
Love in the Time of Cholera (2007)
Directed by: Mike Newell
Cinematography by: Affonso Beato
Edited by: Mick Audsley
Matte Painter: Double Negative
The Bourne Ultimatum (2007)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
Matte Painter
Priceless (2006)
Directed by: Pierre Salvadori
Cinematography by: Gilles Henry
Edited by: Isabelle Devinck
