Negative Line-up: ILM
Minority Report (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Negative Lineup: ILM
A.I. Artificial Intelligence (2001)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: ARRI / Zeiss Lenses
Negative Lineup
Space Cowboys (2000)
Directed by: Clint Eastwood
Cinematography by: Jack N. Green
Edited by: Joel Cox
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Negative Lineup: ILM
Mission to Mars (2000)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Film Scanning And Recording: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Negative Line-up: ILM
The Mummy (1999)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Edited by: Bob Ducsay
Cameras: Panavision Panaflex Platinum Camera
Negative Line-up: ILM
Deep Rising (1998)
Directed by: Stephen Sommers
Cinematography by: Howard Atherton
Negative Line-up: ILM
Saving Private Ryan (1998)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Aaton 35-III Camera, Moviecam Superlight Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Editing System: Moviola Editing System
Negative Line-up: Miniature Tunnel Unit
Men in Black (1997)
Directed by: Barry Sonnenfeld
Cinematography by: Donald Peterman
Edited by: Jim Miller
Negative Cutter: Industrial Light & Magic / Negative Line-up: Industrial Light & Magic
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
Negative Line Up: ILM
101 Dalmatians (1996)
Directed by: Stephen Herek
Cinematography by: Adrian Biddle
Edited by: Trudy Ship
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Negative Line-up
Star Trek: First Contact (1996)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: John W. Wheeler
Negative Line-up: ILM
Congo (1995)
Directed by: Frank Marshall
Cinematography by: Allen Daviau
Edited by: Anne V. Coates
Negative Line-up
The Indian in the Cupboard (1995)
Directed by: Frank Oz
Cinematography by: Russell Carpenter
Edited by: Ian Crafford
Optical Line Up: ILM
Forrest Gump (1994)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Cameras: Panavision Panaflex Platinum Camera
Optical Processing: ILM
Schindler's List (1993)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Moviola Editing System
Optical Processing
The Meteor Man (1993)
Directed by: Robert Townsend
Cinematography by: John A. Alonzo
Cameras: Panavision Panaflex Gold Camera
Optical Lab Technician
Jurassic Park (1993)
Directed by: Steven Spielberg
Cinematography by: Dean Cundey
Edited by: Michael Kahn
Editing System: Steenbeck Editing System
Optical Processing: ILM
Death Becomes Her (1992)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Edited by: Arthur Schmidt
Optical Department
Hook (1991)
Directed by: Steven Spielberg
Cinematography by: Dean Cundey
Edited by: Michael Kahn
Optical Processing
Back to the Future Part III (1990)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Optical Processing: ILM
Indiana Jones and the Last Crusade (1989)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Optical Processing: ILM
The Abyss (1989)
Directed by: James Cameron
Cinematography by: Mikael Salomon
Optical Processing: ILM
Back to the Future Part II (1989)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Optical Lab Technician: ILM
Willow (1988)
Directed by: Ron Howard
Cinematography by: Adrian Biddle
Cameras: Panavision Panaflex Gold Camera
Optical Processing
Who Framed Roger Rabbit (1988)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Edited by: Arthur Schmidt
Lenses: Panavision Lenses
Processing: ILM
The Witches of Eastwick (1987)
Directed by: George Miller
Cinematography by: Vilmos Zsigmond
Optical Technician: ILM
Back to the Future (1985)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Optical Technician: ILM
The Goonies (1985)
Directed by: Richard Donner
Cinematography by: Nick McLean
Cameras: ARRIFLEX 35 III Camera
Editing System: Steenbeck Editing System
Processing Technician: ILM
The NeverEnding Story (1984)
Directed by: Wolfgang Petersen
Cinematography by: Jost Vacano
Edited by: Jane Seitz
Lenses: Technovision Lenses
Lab Technician: ILM
Indiana Jones and the Temple of Doom (1984)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Panaflex Gold Camera
Lab Technician: ILM / Negative Line-up: ILM - Special Version
Star Wars: Episode VI - Return of the Jedi (1983)
Directed by: Richard Marquand
Cameras: ARRIFLEX 35 BL3 Camera, ARRIFLEX 35 IIC Camera
Optical Technician: ILM
Poltergeist (1982)
Directed by: Tobe Hooper
Cinematography by: Matthew F. Leonetti
Edited by: Michael Kahn
Cameras: Ultracam 35 Camera
Optical Technician: ILM
E.T. the Extra-Terrestrial (1982)
Directed by: Steven Spielberg
Cinematography by: Allen Daviau
Edited by: Carol Littleton
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Laboratory Technician: ILM
Star Trek II: The Wrath of Khan (1982)
Directed by: Nicholas Meyer
Cinematography by: Gayne Rescher
Edited by: William Paul Dornisch
Cameras: Dykstraflex Camera, Panavision Cameras
Laboratory Technician: ILM
Raiders of the Lost Ark (1981)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Laboratory Technician: Miniature And Optical Effects Unit / Negative Line-up: ILM - 1997 Special Version
Star Wars: Episode V - The Empire Strikes Back (1980)
Directed by: Irvin Kershner
Cinematography by: Peter Suschitzky
