Head Of 2D Department: UPP
Barbie (2023)
Directed by: Greta Gerwig
Cinematography by: Rodrigo Prieto
Edited by: Nick Houy
Cameras: ARRI ALEXA 65 Camera
Head Of 2D Department: UPP
All Quiet on the Western Front (2022)
Directed by: Edward Berger
Cinematography by: James Friend
Edited by: Sven Budelmann
Head Of 2D: UPP
Terminator: Dark Fate (2019)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA LF Camera, ARRI ALEXA Mini Camera
Head Of 2D: UPP
Gemini Man (2019)
Directed by: Ang Lee
Cinematography by: Dion Beebe
Edited by: Tim Squyres
Cameras: ARRI ALEXA XT M Camera, Phantom Flex4K Camera
Lenses: Leitz Summilux-C Series Lenses
Compositing Supervisor: UPP
The Painted Bird (2019)
Directed by: Václav Marhoul
Cinematography by: Vladimír Smutný
Edited by: Ludek Hudec
Lenses: Hawk V-Lite Lenses
Head Of 2D: UPP
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
Head Of 2d Department: UPP
London Has Fallen (2016)
Directed by: Babak Najafi
Cinematography by: Ed Wild
Cameras: Red Epic Dragon Camera
Head Of 2d Department: UPP
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
Head Of 2d Department: UPP
'Marco Polo' The Fellowship (2016)
Directed by: Alik Sakharov
Cinematography by: Gavin Struthers
Edited by: William Henry
Head Of 2d Department: UPP
'Marco Polo' Whitehorse (2016)
Directed by: James McTeigue
Cinematography by: Romain Lacourbas
Edited by: Malcolm Jamieson
Head Of 2d Department: UPP
'Marco Polo' Serpent's Terms (2016)
Directed by: Jon Amiel
Cinematography by: Vanja Cernjul
Edited by: Erica Freed Marker
Head Of 2d Department: UPP
'Marco Polo' Lullaby (2016)
Directed by: Jon Amiel
Cinematography by: Vanja Cernjul
Edited by: Erica Freed Marker
Head Of 2d Department: UPP
'Marco Polo' Hunter and the Sable Weaver (2016)
Directed by: Daniel Minahan
Cinematography by: Romain Lacourbas
Edited by: Michael Berenbaum
Head Of 2D: UPP
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
Head Of 2d Department: UPP
'Marco Polo' Heirs (2016)
Directed by: James McTeigue
Cinematography by: Romain Lacourbas
Edited by: Malcolm Jamieson
Head Of 2d Department: UPP
'Marco Polo' Lost Crane (2016)
Directed by: Alik Sakharov
Cinematography by: Gavin Struthers
Edited by: William Henry
Head Of 2d Department: UPP
'Marco Polo' Let God's Work Begin (2016)
Directed by: David Petrarca
Cinematography by: Vanja Cernjul
Edited by: Andy Keir
Head Of 2d Department: UPP
'Marco Polo' Hug (2016)
Directed by: David Petrarca
Cinematography by: Vanja Cernjul
Edited by: Andy Keir
Head Of 2d Department: UPP
'Marco Polo' Measure Against the Linchpin (2016)
Directed by: Daniel Minahan
Cinematography by: Romain Lacourbas
Edited by: Michael Berenbaum
Head Of 2d Department: UPP
The Walk (2015)
Directed by: Robert Zemeckis
Cinematography by: Dariusz Wolski
Edited by: Jeremiah O'Driscoll
Cameras: Red Epic Dragon Camera
Head Of 2D: UPP
Warsaw '44 (2014)
Directed by: Jan Komasa
Cinematography by: Marian Prokop
Edited by: Michal Czarnecki
Cameras: ARRICAM Lite (LT) Camera
Head Of 2d Department: UPP - 10 Episodes, 2016
Marco Polo (2014)
Directed by: Daniel Minahan, David Petrarca, Alik Sakharov, John Maybury, Joachim Rønning, Espen Sandberg, Jon Amiel, James McTeigue
Edited by: Michael Berenbaum, Malcolm Jamieson, Erica Freed Marker, William Henry, Andy Keir, Allyson C. Johnson, Elizabeth Kling, Martin Nicholson, Barbara Tulliver
Cameras: Sony PMW-F55 Camera
Head Of 2D: UPP
The Giver (2014)
Directed by: Phillip Noyce
Cinematography by: Ross Emery
Edited by: Barry Alexander Brown
Cameras: ARRI ALEXA XT Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Head Of 2d Department: UPP
Snowpiercer (2013)
Directed by: Joon-ho Bong
Cinematography by: Kyung-pyo Hong
Head Of 2D: UPP
The Wolverine (2013)
Directed by: James Mangold
Cinematography by: Ross Emery
Edited by: Michael McCusker
Cameras: ARRI ALEXA Camera
Head Of 2D: UPP
A Good Day to Die Hard (2013)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Head Of 2D: UPP - 8 Episodes, 2012
World Without End (2012)
Directed by: Michael Caton-Jones
Cinematography by: Denis Crossan
Cameras: ARRI ALEXA Camera
Head Of 2D: UPP
Red Tails (2012)
Directed by: Anthony Hemingway
Cinematography by: John B. Aronson
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera
Editing System: Lightworks Editing System
Head Of 2D: UPP / Stereoscopic Compositor: UPP
The Darkest Hour (2011)
Directed by: Chris Gorak
Cinematography by: Scott Kevan
Cameras: Sony CineAlta F35 Camera, Sony HDC-P1 Camera
Department Head: 2D
Twixt (2011)
Directed by: Francis Ford Coppola
Cinematography by: Mihai Malaimare Jr.
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
2D Manager: UPP
Salt (2010)
Directed by: Phillip Noyce
Cinematography by: Robert Elswit
Senior Compositor: UPP
The Lost Future (2010)
Directed by: Mikael Salomon
Cinematography by: Paul Gilpin
Edited by: Allan Lee
Head Of 2D: UPP / Senior Compositor: UPP
Habermann (2010)
Directed by: Juraj Herz
Cinematography by: Alexander Surkala
Edited by: Melanie Werwie
Cameras: ARRI Cameras
Lead Visual Effects Compositor: UPP
The Nutcracker in 3D (2010)
Directed by: Andrey Konchalovskiy
Cinematography by: Mike Southon
Head Of 2D: UPP
3 sezóny v pekle (2009)
Directed by: Tomás Masín
Cinematography by: Karl Oskarsson
Edited by: Petr Turyna
Head Of 2D: UPP / Senior Compositor: UPP
Pandorum (2009)
Directed by: Christian Alvart
Cinematography by: Wedigo von Schultzendorff
Senior Compositor: UPP
Baarìa (2009)
Directed by: Giuseppe Tornatore
Cinematography by: Enrico Lucidi
Edited by: Massimo Quaglia
Head Of 2D: UPP / Senior Compositor: UPP
Tetro (2009)
Directed by: Francis Ford Coppola
Cinematography by: Mihai Malaimare Jr.
Edited by: Walter Murch
Cameras: Sony HDW-F900 Camera
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Digital Compositor: UPP
Youth Without Youth (2007)
Directed by: Francis Ford Coppola
Cinematography by: Mihai Malaimare Jr.
Edited by: Walter Murch
Cameras: Sony HDW-F900 Camera
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Digital Compositor: UPP
Breaking and Entering (2006)
Directed by: Anthony Minghella
Cinematography by: Benoît Delhomme
Edited by: Lisa Gunning
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor: UPP
Perfume: The Story of a Murderer (2006)
Directed by: Tom Tykwer
Cinematography by: Frank Griebe
Edited by: Alexander Berner
