Yvan Lucas

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Barbie | ShotOnWhat?

Digital Intermediate Colorist: Company 3 New York

Barbie (2023)

Directed by: Greta Gerwig

Cinematography by: Rodrigo Prieto

Edited by: Nick Houy

Cameras: ARRI ALEXA 65 Camera

Lenses: Panavision Lenses, Panavision System 65 Lenses

Monarch: Legacy of Monsters | ShotOnWhat?

Finishing Colorist - 1 Episode, 2023

Monarch: Legacy of Monsters (2023)

TV Series

Directed by: Mairzee Almas, Julian Holmes, Hiromi Kamata, Matt Shakman, Andy Goddard

Cinematography by: Daryl Hartwell, Chris Seager, Jean-Philippe Gossart, Jess Hall, Sam McCurdy

Edited by: Joe Talbot Hall, Mark Hartzell, Nona Khodai, Emily Streetz

"Monarch: Legacy of Monsters" Departure | ShotOnWhat?

Finishing Colorist

'Monarch: Legacy of Monsters' Departure (2023)

Television Episode

Directed by: Matt Shakman

Cinematography by: Jess Hall

Edited by: Nona Khodai

Killers of the Flower Moon | ShotOnWhat?

Finishing Colorist

Killers of the Flower Moon (2023)

Directed by: Martin Scorsese

Cinematography by: Rodrigo Prieto

Edited by: Thelma Schoonmaker

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Bell & Howell 2709 Camera, Phantom Flex4K Camera, Sony CineAlta VENICE Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Cooke Speed Panchro Lenses, Panavision T Series Anamorphic Lenses

Editing System: Lightworks Editing System

Once Upon a Time... in Hollywood | ShotOnWhat?

Color Supervisor, Color Supervisor / Digital Intermediate Colorist, Dailies And Digital Intermediate Colorist

Once Upon a Time in Hollywood (2019)

Directed by: Quentin Tarantino

Cinematography by: Robert Richardson

Edited by: Fred Raskin

Cameras: Aaton A-Minima Camera, ARRIFLEX Camera, Bolex Cameras, Panavision Panaflex Millennium XL2 Camera

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

Editing System: Avid Editing System

The Irishman | ShotOnWhat?

Digital Intermediate Colorist

The Irishman (2019)

Directed by: Martin Scorsese

Cinematography by: Rodrigo Prieto

Edited by: Thelma Schoonmaker

Cameras: ARRI ALEXA Mini Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Red Digital Cinema Cameras

Editing System: Lightworks Editing System

Bright | ShotOnWhat?

Digital Intermediate Colorist

Bright (2017)

Directed by: David Ayer

Cinematography by: Roman Vasyanov

Edited by: Aaron Brock, Geoffrey O'Brien, Michael Tronick

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Series Cameras, ARRI Cameras

Lenses: Panavision Lenses

Suicide Squad | ShotOnWhat?

Digital Intermediate Colorist

Suicide Squad (2016)

Directed by: David Ayer

Cinematography by: Roman Vasyanov

Edited by: John Gilroy

Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera

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

Live by Night | ShotOnWhat?

Digital Intermediate Colorist

Live by Night (2016)

Directed by: Ben Affleck

Cinematography by: Robert Richardson

Edited by: William Goldenberg

Cameras: ARRI ALEXA 65 Camera

Lenses: Panavision Sphero 65 Series Lenses, Panavision Super Panavision 70 Series Lenses

The Lost City of Z | ShotOnWhat?

Digital Intermediate Colorist

The Lost City of Z (2016)

Directed by: James Gray

Cinematography by: Darius Khondji

Edited by: John Axelrad, Lee Haugen

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Advanced Camera

Lenses: Angenieux HR Zoom Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Anamorphic Flare Lenses, Panavision E Series Anamorphic Lenses

Child 44 | ShotOnWhat?

Digital Intermediate Colorist

Child 44 (2015)

Directed by: Daniel Espinosa

Cinematography by: Oliver Wood

Edited by: Pietro Scalia, Dylan Tichenor

Cameras: ARRICAM Lite (LT) Camera

Lenses: Hawk Anamorphic Lenses

The Hateful Eight | ShotOnWhat?

Digital Intermediate Colorist

The Hateful Eight (2015)

Directed by: Quentin Tarantino

Cinematography by: Robert Richardson

Edited by: Fred Raskin

Cameras: ARRIFLEX 765 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera

Lenses: Panavision APO Panatar 100mm T2.8 Lens, Panavision APO Panatar 135mm T3.0 Lens, Panavision APO Panatar 35mm T2.8 Lens, Panavision APO Panatar 50mm T2.8 Lens, Panavision APO Panatar 75mm T2.8 Lens, Panavision APO Panatar Prism 150mm T3.6 Lens, Panavision APO Panatar Prism 57mm T4.0 Lens, Panavision APO Panatar Prism 75mm T3.5 Lens, Panavision Variable APO Panatar 135mm T3.2 Lens

Editing System: Avid Editing System

Jane Got a Gun | ShotOnWhat?

Supervising Dailies Colorist

Jane Got a Gun (2015)

Directed by: Gavin O'Connor

Cinematography by: Mandy Walker

Edited by: Alan Cody

Cameras: 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 B Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

Maleficent | ShotOnWhat?

Digital Intermediate Colorist

Maleficent (2014)

Directed by: Robert Stromberg

Cinematography by: Dean Semler

Edited by: Chris Lebenzon, Richard Pearson

Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera

The Hunger Games: Mockingjay - Part 1 | ShotOnWhat?

Digital Intermediate Colorist

The Hunger Games: Mockingjay - Part 1 (2014)

Directed by: Francis Lawrence

Cinematography by: Jo Willems

Edited by: Alan Edward Bell, Mark Yoshikawa

Cameras: ARRI ALEXA XT 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, Panavision Primo Anamorphic Lenses

Fury | ShotOnWhat?

Supervising Digital Colorist

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

The Homesman | ShotOnWhat?

Digital Intermediate Colorist

The Homesman (2014)

Directed by: Tommy Lee Jones

Cinematography by: Rodrigo Prieto

Edited by: Roberto Silvi

Cameras: ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Zeiss Master Prime Lenses

The Maze Runner | ShotOnWhat?

Digital Intermediate Colorist

The Maze Runner (2014)

Directed by: Wes Ball

Cinematography by: Enrique Chediak

Edited by: Dan Zimmerman

Cameras: ARRI ALEXA Camera, Red Epic Camera, Silicon Imaging SI-2K Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

The Hunger Games: Catching Fire | ShotOnWhat?

Digital Intermediate Colorist

The Hunger Games: Catching Fire (2013)

Directed by: Francis Lawrence

Cinematography by: Jo Willems

Edited by: Alan Edward Bell

Cameras: ARRIFLEX 435 Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, 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 Primo Primes Spherical Lenses

Editing System: Avid Editing System

Beautiful Creatures | ShotOnWhat?

Digital Intermediate Colorist

Beautiful Creatures (2013)

Directed by: Richard LaGravenese

Cinematography by: Philippe Rousselot

Edited by: David Moritz

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

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

Now You See Me | ShotOnWhat?

Digital Intermediate Colorist

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

The Wolf of Wall Street | ShotOnWhat?

Digital Intermediate Colorist

The Wolf of Wall Street (2013)

Directed by: Martin Scorsese

Cinematography by: Rodrigo Prieto

Edited by: Thelma Schoonmaker

Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Plus 135 mm T3.0 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens, Zeiss Master Prime Lenses

Editing System: Lightworks Editing System

American Hustle | ShotOnWhat?

Digital Intermediate Colorist

American Hustle (2013)

Directed by: David O. Russell

Cinematography by: Linus Sandgren

Edited by: Alan Baumgarten, Jay Cassidy, Crispin Struthers

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

Lenses: Canon K35 Prime Lenses, Zeiss Standard Speed Prime Lenses

Snowpiercer | ShotOnWhat?

Digital Intermediate Colorist

Snowpiercer (2013)

Directed by: Joon-ho Bong

Cinematography by: Kyung-pyo Hong

Edited by: Steve M. Choe, Changju Kim

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

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

To the Wonder | ShotOnWhat?

Digital Intermediate Colorist

To the Wonder (2012)

Directed by: Terrence Malick

Cinematography by: Emmanuel Lubezki

Edited by: A.J. Edwards, Keith Fraase, Shane Hazen, Christopher Roldan, Mark Yoshikawa

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, Panavision Cameras, Red One MX Camera

Lenses: Zeiss Master Prime Lenses

Editing System: Avid Editing System

Snow White and the Huntsman | ShotOnWhat?

Digital Intermediate Colorist

Snow White and the Huntsman (2012)

Directed by: Rupert Sanders

Cinematography by: Greig Fraser

Edited by: Conrad Buff IV, Neil Smith

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Camera

Lenses: Panavision 65mm Prime Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Argo | ShotOnWhat?

Digital Intermediate Colorist

Argo (2012)

Directed by: Ben Affleck

Cinematography by: Rodrigo Prieto

Edited by: William Goldenberg

Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, Bolex H16 RX5 Camera, Canon Cameras

Lenses: Angenieux Optimo Zoom Lenses, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Kern-Paillard Switar Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Lenses

People Like Us | ShotOnWhat?

Digital Film Colorist

People Like Us (2012)

Directed by: Alex Kurtzman

Cinematography by: Salvatore Totino

Edited by: Robert Leighton

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

Lenses: Cooke S4 Lenses

Editing System: Avid Editing System

The Twilight Saga: Breaking Dawn - Part 2 | ShotOnWhat?

Digital Intermediate Colorist

The Twilight Saga: Breaking Dawn - Part 2 (2012)

Directed by: Bill Condon

Cinematography by: Guillermo Navarro

Edited by: Virginia Katz, Ian Slater

Cameras: ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Editing System: Adobe Premiere Editing System, Avid Editing System

Django Unchained | ShotOnWhat?

Digital Intermediate Colorist: EFilm

Django Unchained (2012)

Directed by: Quentin Tarantino

Cinematography by: Robert Richardson

Edited by: Fred Raskin

Cameras: Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

X: First Class | ShotOnWhat?

Digital Intermediate Colorist

X: First Class (2011)

Directed by: Matthew Vaughn

Cinematography by: John Mathieson

Edited by: Eddie Hamilton, Lee Smith

Cameras: 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 G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

We Bought a Zoo | ShotOnWhat?

Digital Intermediate Colorist

We Bought a Zoo (2011)

Directed by: Cameron Crowe

Cinematography by: Rodrigo Prieto

Edited by: Mark Livolsi

Cameras: ARRICAM Lite (LT) Camera

Lenses: Zeiss Ultra Prime Lenses

Fast Five | ShotOnWhat?

D.i. Colorist

Fast Five (2011)

Directed by: Justin Lin

Cinematography by: Stephen F. Windon

Edited by: Kelly Matsumoto, Fred Raskin, Christian Wagner

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

Lenses: Panavision Primo Anamorphic Lenses

In the Land of Blood and Honey | ShotOnWhat?

Digital Intermediate Colorist

In the Land of Blood and Honey (2011)

Directed by: Angelina Jolie

Cinematography by: Dean Semler

Edited by: Patricia Rommel

Water for Elephants | ShotOnWhat?

Digital Intermediate Colorist

Water for Elephants (2011)

Directed by: Francis Lawrence

Cinematography by: Rodrigo Prieto

Edited by: Alan Edward Bell

Cameras: Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

Rise of the Planet of the Apes | ShotOnWhat?

Digital Intermediate Colorist

Rise of the Planet of the Apes (2011)

Directed by: Rupert Wyatt

Cinematography by: Andrew Lesnie

Edited by: Conrad Buff IV, Mark Goldblatt

Cameras: ARRICAM Lite (LT) Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

War Horse | ShotOnWhat?

Digital Intermediate Colorist

War Horse (2011)

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: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

The Twilight Saga: Breaking Dawn - Part 1 | ShotOnWhat?

Film Colorist

The Twilight Saga: Breaking Dawn - Part 1 (2011)

Directed by: Bill Condon

Cinematography by: Guillermo Navarro

Edited by: Virginia Katz

Cameras: ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Editing System: Avid Editing System

The Runaways | ShotOnWhat?

Colorist

The Runaways (2010)

Directed by: Floria Sigismondi

Cinematography by: Benoît Debie

Edited by: Richard Chew

Cameras: ARRIFLEX 416 Camera

Lenses: Zeiss Master Prime Lenses

The Company Men | ShotOnWhat?

Digital Colorist

The Company Men (2010)

Directed by: John Wells

Cinematography by: Roger Deakins

Edited by: Robert Frazen

Eat Pray Love | ShotOnWhat?

Digital Intermediate Colorist

Eat Pray Love (2010)

Directed by: Ryan Murphy

Cinematography by: Robert Richardson

Edited by: Bradley Buecker

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

Lenses: Panavision Primo Primes Spherical Lenses

Editing System: Final Cut Pro Editing System

The Next Three Days | ShotOnWhat?

Supervising Colorist

The Next Three Days (2010)

Directed by: Paul Haggis

Cinematography by: Stéphane Fontaine

Edited by: Jo Francis

Cameras: Aaton Penelope Camera, ARRICAM Lite (LT) Camera

Date Night | ShotOnWhat?

Colorist

Date Night (2010)

Directed by: Shawn Levy

Cinematography by: Dean Semler

Edited by: Dean Zimmerman

Cameras: Panavision Genesis Camera

The Last Airbender | ShotOnWhat?

Digital Intermediate Colorist

The Last Airbender (2010)

Directed by: M. Night Shyamalan

Cinematography by: Andrew Lesnie

Edited by: Conrad Buff IV

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

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Marmaduke | ShotOnWhat?

Colorist

Marmaduke (2010)

Directed by: Tom Dey

Cinematography by: Greg Gardiner

Edited by: Don Zimmerman

Repo Men | ShotOnWhat?

Colorist

Repo Men (2010)

Directed by: Miguel Sapochnik

Cinematography by: Enrique Chediak

Edited by: Richard Francis-Bruce

The A-Team | ShotOnWhat?

Digital Film Colorist

The A-Team (2010)

Directed by: Joe Carnahan

Cinematography by: Mauro Fiore

Edited by: Roger Barton, Jim May

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

Charlie St. Cloud | ShotOnWhat?

Digital Intermediate Colorist

Charlie St. Cloud (2010)

Directed by: Burr Steers

Cinematography by: Enrique Chediak

Edited by: Padraic McKinley

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

Lenses: Hawk V-Series Lenses

Shutter Island | ShotOnWhat?

Digital Intermediate Colorist: EFilm

Shutter Island (2010)

Directed by: Martin Scorsese

Cinematography by: Robert Richardson

Edited by: Thelma Schoonmaker

Cameras: ARRIFLEX 765 Camera, ARRIFLEX D-21 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera

Lenses: Panavision Primo Anamorphic Lenses, Panavision System 65 Lenses

Editing System: Lightworks Editing System

The Tempest | ShotOnWhat?

Digital Intermediate Colorist

The Tempest (2010)

Directed by: Julie Taymor

Cinematography by: Stuart Dryburgh

Edited by: Françoise Bonnot

Cameras: ARRICAM Lite (LT) Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Wall Street: Money Never Sleeps | ShotOnWhat?

Digital Intermediate Colorist

Wall Street: Money Never Sleeps (2010)

Directed by: Oliver Stone

Cinematography by: Rodrigo Prieto

Edited by: David Brenner, Julie Monroe

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

Lenses: Zeiss Master Prime Lenses

Dinner for Schmucks | ShotOnWhat?

Supervising Digital Intermediate Colorist

Dinner for Schmucks (2010)

Directed by: Jay Roach

Cinematography by: Jim Denault

Edited by: Alan Baumgarten, Jon Poll

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

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Editing System: Avid Editing System

State of Play | ShotOnWhat?

Digital Intermediate Colorist

State of Play (2009)

Directed by: Kevin Macdonald

Cinematography by: Rodrigo Prieto

Edited by: Justine Wright

Cameras: Pan-Arri 235 Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera

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

Inglourious Basterds | ShotOnWhat?

Colorist

Inglourious Basterds (2009)

Directed by: Quentin Tarantino

Cinematography by: Robert Richardson

Edited by: Sally Menke

Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera

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

The Soloist | ShotOnWhat?

Supervising Colorist

The Soloist (2009)

Directed by: Joe Wright

Cinematography by: Seamus McGarvey

Edited by: Paul Tothill

Cameras: 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

Editing System: Lightworks Editing System

2012 | ShotOnWhat?

Colorist

2012 (2009)

Directed by: Roland Emmerich

Cinematography by: Dean Semler

Edited by: David Brenner, Peter S. Elliot

Cameras: Panavision Cameras, Panavision Genesis Camera

Lenses: Panavision Lenses, Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

The Ruins | ShotOnWhat?

Colorist

The Ruins (2008)

Directed by: Carter Smith

Cinematography by: Darius Khondji

Edited by: Jeff Betancourt

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

Lenses: Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

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

Digital Intermediate Colorist

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

Nim's Island | ShotOnWhat?

Digital Intermediate Colorist

Nim's Island (2008)

Directed by: Jennifer Flackett, Mark Levin

Cinematography by: Stuart Dryburgh

Edited by: Stuart Levy

Cameras: Panavision Cameras

Nights in Rodanthe | ShotOnWhat?

Colorist

Nights in Rodanthe (2008)

Directed by: George C. Wolfe

Cinematography by: Affonso Beato

Edited by: Brian A. Kates

The Great Debaters | ShotOnWhat?

Colorist

The Great Debaters (2007)

Directed by: Denzel Washington

Cinematography by: Philippe Rousselot

Edited by: John Breinholt, Hughes Winborne

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

Lenses: Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Across the Universe | ShotOnWhat?

Colorist

Across the Universe (2007)

Directed by: Julie Taymor

Cinematography by: Bruno Delbonnel

Edited by: Françoise Bonnot

Cameras: ARRI Cameras, Panavision Cameras

Lenses: Panavision Lenses

The Brave One | ShotOnWhat?

Colorist

The Brave One (2007)

Directed by: Neil Jordan

Cinematography by: Philippe Rousselot

Edited by: Tony Lawson

Cameras: Panavision Panaflex Camera

Lenses: Panavision Primo Anamorphic Lenses

I Am Legend | ShotOnWhat?

Digital Intermediate Colorist

I Am Legend (2007)

Directed by: Francis Lawrence

Cinematography by: Andrew Lesnie

Edited by: Wayne Wahrman

Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Lenses

Lions for Lambs | ShotOnWhat?

Colorist

Lions for Lambs (2007)

Directed by: Robert Redford

Cinematography by: Philippe Rousselot

Edited by: Joe Hutshing

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Lust, Caution | ShotOnWhat?

Colorist

Lust, Caution (2007)

Directed by: Ang Lee

Cinematography by: Rodrigo Prieto

Edited by: Tim Squyres

Babel | ShotOnWhat?

Digital Intermediate Colorist

Babel (2006)

Directed by: Alejandro G. Iñárritu

Cinematography by: Rodrigo Prieto

Edited by: Douglas Crise, Stephen Mirrione

Cameras: ARRICAM Lite (LT) Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

Marie Antoinette | ShotOnWhat?

Dailies Timer

Marie Antoinette (2006)

Directed by: Sofia Coppola

Cinematography by: Lance Acord

Edited by: Sarah Flack

Cameras: Aaton 35-III Camera, ARRICAM Studio (ST) Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Ultra Prime Lenses

Angel-A | ShotOnWhat?

Color Timer / Colorist

Angel-A (2005)

Directed by: Luc Besson

Cinematography by: Thierry Arbogast

Edited by: Christine Lucas Navarro, Frédéric Thoraval

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

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

Munich | ShotOnWhat?

Dailies Timer

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

Oliver Twist | ShotOnWhat?

Digital Intermediate Colorist

Oliver Twist (2005)

Directed by: Roman Polanski

Cinematography by: Pawel Edelman

Edited by: Hervé de Luze

Alexander | ShotOnWhat?

Colorist

Alexander (2004)

Directed by: Oliver Stone

Cinematography by: Rodrigo Prieto

Edited by: Yann Hervé, Gladys Joujou, Alex Marquez, Thomas J. Nordberg

Two Brothers | ShotOnWhat?

Colorist

Two Brothers (2004)

Directed by: Jean-Jacques Annaud

Cinematography by: Jean-Marie Dreujou

Edited by: Noëlle Boisson

Cameras: ARRIFLEX 435 Camera, Sony HDC-F950 Camera, Sony HDW-F900 Camera

Lenses: Panavision Primo Classic Spherical Lenses

Renegade | ShotOnWhat?

Colorist: Eclair

Renegade (2004)

Directed by: Jan Kounen

Cinematography by: Tetsuo Nagata

Edited by: Jennifer Augé, Bénédicte Brunet, Joël Jacovella

A Very Long Engagement | ShotOnWhat?

Colorist

A Very Long Engagement (2004)

Directed by: Jean-Pierre Jeunet

Cinematography by: Bruno Delbonnel

Edited by: Hervé Schneid

Cameras: Aaton 35-III Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 16mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens

The Dreamers | ShotOnWhat?

Digital Intermediate Colorist

The Dreamers (2003)

Directed by: Bernardo Bertolucci

Cinematography by: Fabio Cianchetti

Edited by: Jacopo Quadri

Bon voyage | ShotOnWhat?

Color Timer

Bon voyage (2003)

Directed by: Jean-Paul Rappeneau

Cinematography by: Thierry Arbogast

Edited by: Maryline Monthieux

Cameras: Panavision Cameras

Monsieur N. | ShotOnWhat?

Colorist

Monsieur N. (2003)

Directed by: Antoine de Caunes

Cinematography by: Pierre Aïm

Edited by: Joële Van Effenterre

Cameras: ARRIFLEX 535 B Camera

Lenses: Cooke S4 Lenses

La sirène rouge | ShotOnWhat?

Color Timer

The Red Siren (2002)

Directed by: Olivier Megaton

Cinematography by: Denis Rouden

Edited by: Stéphanie Gaurier, Yann Hervé

The Four Feathers | ShotOnWhat?

Color Timer

The Four Feathers (2002)

Directed by: Shekhar Kapur

Cinematography by: Robert Richardson

Edited by: Steven Rosenblum

Cameras: Panavision Panaflex Platinum Camera, Panavision Panastar Camera

Lenses: Panavision E Series Anamorphic Lenses

The Pianist | ShotOnWhat?

Grader: Eclair Numerique

The Pianist (2002)

Directed by: Roman Polanski

Cinematography by: Pawel Edelman

Edited by: Hervé de Luze

Cameras: Moviecam Compact Camera, Moviecam Superlight Camera

Amélie | ShotOnWhat?

Color Supervisor

Amélie (2001)

Directed by: Jean-Pierre Jeunet

Cinematography by: Bruno Delbonnel

Edited by: Hervé Schneid

Cameras: ARRIFLEX 435 ES Camera, ARRIFLEX 535 Camera, Iwerks Cameras

Lenses: Zeiss Ultra Prime Lenses

Brotherhood of the Wolf | ShotOnWhat?

Color Timer

Brotherhood of the Wolf (2001)

Directed by: Christophe Gans

Cinematography by: Dan Laustsen

Edited by: Xavier Loutreuil, Sébastien Prangère, David Wu

The Crimson Rivers | ShotOnWhat?

Color Timer

The Crimson Rivers (2000)

Directed by: Mathieu Kassovitz

Cinematography by: Thierry Arbogast

Edited by: Maryline Monthieux

Les acteurs | ShotOnWhat?

Color Timer

Les acteurs (2000)

Directed by: Bertrand Blier

Cinematography by: François Catonné

Edited by: Claudine Merlin

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

Dancer in the Dark | ShotOnWhat?

Color Timer

Dancer in the Dark (2000)

Directed by: Lars von Trier

Cinematography by: Robby Müller

Edited by: François Gédigier, Molly Malene Stensgaard

Cameras: Sony DSR-PD100 Camera, Sony DSR-PD150 Camera

The Beach | ShotOnWhat?

Color Timer

The Beach (2000)

Directed by: Danny Boyle

Cinematography by: Darius Khondji

Edited by: Masahiro Hirakubo

Cameras: Panavision Cameras, Panavision Panaflex Gold II Camera

Lenses: Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision Lenses

La fille sur le pont | ShotOnWhat?

Color Timer

La fille sur le pont (1999)

Directed by: Patrice Leconte

Cinematography by: Jean-Marie Dreujou

Edited by: Joëlle Hache

The Ninth Gate | ShotOnWhat?

Color Supervisor

The Ninth Gate (1999)

Directed by: Roman Polanski

Cinematography by: Darius Khondji

Edited by: Hervé de Luze

The Messenger: The Story of Joan of Arc | ShotOnWhat?

Color Timer

The Messenger: The Story of Joan of Arc (1999)

Directed by: Luc Besson

Cinematography by: Thierry Arbogast

Edited by: Sylvie Landra

In Dreams | ShotOnWhat?

Color Consultant

In Dreams (1999)

Directed by: Neil Jordan

Cinematography by: Darius Khondji

Edited by: Tony Lawson

The Horse Whisperer | ShotOnWhat?

Color Consultant

The Horse Whisperer (1998)

Directed by: Robert Redford

Cinematography by: Robert Richardson

Edited by: Hank Corwin, Freeman A. Davies, Tom Rolf

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision E Series Anamorphic Lenses

Editing System: Lightworks Editing System

Those Who Love Me Can Take the Train | ShotOnWhat?

Color Timer

Those Who Love Me Can Take the Train (1998)

Directed by: Patrice Chéreau

Cinematography by: Eric Gautier

Edited by: François Gédigier

Central Station | ShotOnWhat?

Color Timer

Central Station (1998)

Directed by: Walter Salles

Cinematography by: Walter Carvalho

Edited by: Felipe Lacerda, Isabelle Rathery

Cameras: Moviecam Cameras, Panavision Panaflex Series Cameras

The Game | ShotOnWhat?

Color Consultant

The Game (1997)

Directed by: David Fincher

Cinematography by: Harris Savides

Edited by: James Haygood

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

Lenses: Panavision SL27 27 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL75 75 mm T1.9 Lens

Alien: Resurrection | ShotOnWhat?

Color Consultant

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

She's So Lovely | ShotOnWhat?

Color Consultant

She's So Lovely (1997)

Directed by: Nick Cassavetes

Cinematography by: Thierry Arbogast

Edited by: Petra von Oelffen

Dobermann | ShotOnWhat?

Color Timer

Dobermann (1997)

Directed by: Jan Kounen

Cinematography by: Michel Amathieu

Edited by: Bénédicte Brunet, Eric Carlier

Stealing Beauty | ShotOnWhat?

Color Timer

Stealing Beauty (1996)

Directed by: Bernardo Bertolucci

Cinematography by: Darius Khondji

Edited by: Pietro Scalia

Ridicule | ShotOnWhat?

Color Timer

Ridicule (1996)

Directed by: Patrice Leconte

Cinematography by: Thierry Arbogast

Edited by: Joëlle Hache

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

Lenses: Panavision Primo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses

The City of Lost Children | ShotOnWhat?

Color Timer

The City of Lost Children (1995)

Directed by: Marc Caro, Jean-Pierre Jeunet

Cinematography by: Darius Khondji

Edited by: Hervé Schneid

French Kiss | ShotOnWhat?

Color Grader

French Kiss (1995)

Directed by: Lawrence Kasdan

Cinematography by: Owen Roizman

Edited by: Joe Hutshing

Cameras: Panavision Panaflex Camera

Lenses: Panavision E Series Anamorphic Lenses

Se7en | ShotOnWhat?

Special Color Consultant

Se7en (1995)

Directed by: David Fincher

Cinematography by: Darius Khondji

Edited by: Richard Francis-Bruce

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

Lenses: Panavision Primo Primes Spherical Lenses

Death and the Maiden | ShotOnWhat?

Color Timer

Death and the Maiden (1994)

Directed by: Roman Polanski

Cinematography by: Tonino Delli Colli

Edited by: Hervé de Luze

Tombés du ciel | ShotOnWhat?

Color Timer

Tombés du ciel (1993)

Directed by: Philippe Lioret

Cinematography by: Thierry Arbogast

Edited by: Laurent Quaglio

Arizona Dream | ShotOnWhat?

Color Timer

Arizona Dream (1993)

Directed by: Emir Kusturica

Cinematography by: Vilko Filac

Edited by: Rached M'Dini, Andrija Zafranovic

Cameras: Panavision Cameras

Bitter Moon | ShotOnWhat?

Color Grader

Bitter Moon (1992)

Directed by: Roman Polanski

Cinematography by: Tonino Delli Colli

Edited by: Hervé de Luze

Delicatessen | ShotOnWhat?

Color Timer

Delicatessen (1991)

Directed by: Marc Caro, Jean-Pierre Jeunet

Cinematography by: Darius Khondji

Edited by: Hervé Schneid

Le petit criminel | ShotOnWhat?

Color Timer

Le petit criminel (1990)

Directed by: Jacques Doillon

Cinematography by: William Lubtchansky

Edited by: Catherine Quesemand

Dangerous Liaisons | ShotOnWhat?

Dailies Timer

Dangerous Liaisons (1988)

Directed by: Stephen Frears

Cinematography by: Philippe Rousselot

Edited by: Mick Audsley

Cameras: Moviecam 3N Camera

Lenses: Angenieux Lenses, Zeiss Super Speed Lenses

The Bear | ShotOnWhat?

Color Timer

The Bear (1988)

Directed by: Jean-Jacques Annaud

Cinematography by: Philippe Rousselot

Edited by: Noëlle Boisson

The Big Blue | ShotOnWhat?

Color Timer

The Big Blue (1988)

Directed by: Luc Besson

Cinematography by: Carlo Varini

Edited by: Olivier Mauffroy

Frantic | ShotOnWhat?

Color Timer

Frantic (1988)

Directed by: Roman Polanski

Cinematography by: Witold Sobocinski

Edited by: Sam O'Steen

Cameras: Moviecam Cameras

La femme de ma vie | ShotOnWhat?

Color Timer

La femme de ma vie (1986)

Directed by: Régis Wargnier

Cinematography by: François Catonné

Edited by: Noëlle Boisson

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