Data Manager: Mammal Studios
Black Panther: Wakanda Forever (2022)
Directed by: Ryan Coogler
Cinematography by: Autumn Durald Arkapaw
Cameras: Sony CineAlta VENICE Camera
Data Manager: Mammal Studios - 6 Episodes, 2021-2022
1883 (2021)
TV Mini Series
Edited by: Chad Galster, Nathan Gunn, Brooke Rupe, Martin Nicholson, John Coniglio, Christopher Gay, Ryan Malanaphy
Data Manager: Mammal Studios
Promising Young Woman (2020)
Directed by: Emerald Fennell
Cinematography by: Benjamin Kracun
Edited by: Frédéric Thoraval
Cameras: ARRI ALEXA Mini Camera
Data Manager: Mammal Studios
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
Editing System: Adobe Premiere Editing System
Data Manager: Mammal Studios
Bird Box (2018)
Directed by: Susanne Bier
Cinematography by: Salvatore Totino
Edited by: Ben Lester
Cameras: Red Helium (Weapon) 8K
Lenses: Zeiss Master Prime Lenses
Data Manager: Mammal Studios
Bad Times at the El Royale (2018)
Directed by: Drew Goddard
Cinematography by: Seamus McGarvey
Edited by: Lisa Lassek
Data Manager: Mammal Studios
Bright (2017)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision Lenses
Data Manager: Mammal Studios
Battle of the Sexes (2017)
Cinematography by: Linus Sandgren
Edited by: Pamela Martin
Data Manager: Mammal Studios
The 5th Wave (2016)
Directed by: J Blakeson
Cinematography by: Enrique Chediak
Edited by: Paul Rubell
Cameras: ARRI ALEXA XT Plus Camera
Data Manager: Mammal Studios
Suicide Squad (2016)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: John Gilroy
Data Operations Manager: Method Studios
Mad Max: Fury Road (2015)
Directed by: George Miller
Cinematography by: John Seale
Edited by: Margaret Sixel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Blackmagic Cinema Camera, Canon EOS-5D Mark II Camera, Nikon D800 Camera, Olympus E-P5 Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses, Panavision Ultra Speed MKII Lenses
Editing System: Avid Editing System
Data Manager: Mammal Studios
Joy (2015)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Lenses: Zeiss Ultra Prime Lenses
Data Operations Manager: Method Studios
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Data Operations Manager: Method Studios
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Data Operations Manager: Method Studios
Seventh Son (2014)
Directed by: Sergei Bodrov
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA Camera
Data Operations Manager: Method Studios
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Data Operations Manager: Method Studios
Transformers: Age of Extinction (2014)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera
Editing System: Avid Editing System
Data Operations Manager: Method Studios
Divergent (2014)
Directed by: Neil Burger
Cinematography by: Alwin H. Küchler
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Data Operations Manager: Method Studios
The Monuments Men (2014)
Directed by: George Clooney
Cinematography by: Phedon Papamichael
Edited by: Stephen Mirrione
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens
Editing System: Avid Editing System
Data Manager: Mammal Studios
Fury (2014)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
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
Data Operations Manager: Method Studios
Non-Stop (2014)
Directed by: Jaume Collet-Serra
Cinematography by: Flavio Martínez Labiano
Edited by: Jim May
Data Manager: Mammal Studios
The Interview (2014)
Cinematography by: Brandon Trost
Cameras: ARRI ALEXA Plus 4:3 Camera
Data Operations Manager: Method Studios
The Maze Runner (2014)
Directed by: Wes Ball
Cinematography by: Enrique Chediak
Edited by: Dan Zimmerman
Data Operations Manager: Method Studios
The Last Stand (2013)
Directed by: Jee-woon Kim
Cinematography by: Ji-yong Kim
Edited by: Steven Kemper
Cameras: ARRI ALEXA Plus Camera
Data Operations Manager: Method Studios
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Data Operations Manager: Method Studios
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
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
Data Operations Manager: Method Studios
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Data Operations Manager: Method Studios
G.I. Joe: Retaliation (2013)
Directed by: Jon M. Chu
Cinematography by: Stephen F. Windon
Data Operations Manager: Method Studios
Beautiful Creatures (2013)
Directed by: Richard LaGravenese
Cinematography by: Philippe Rousselot
Edited by: David Moritz
Data Operations Manager: Method Studios
Oz the Great and Powerful (2013)
Directed by: Sam Raimi
Cinematography by: Peter Deming
Edited by: Bob Murawski
Cameras: Red Epic Camera
Editing System: Avid Editing System
Digital Intermediate Data Technician: Company 3
Jack the Giant Slayer (2013)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Data Operations Manager: Method Studios
Riddick (2013)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Tracy Adams
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Data Operations Manager: Method Studios
The Great Gatsby (2013)
Directed by: Baz Luhrmann
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Data Operations Manager: Method Studios
The Wolverine (2013)
Directed by: James Mangold
Cinematography by: Ross Emery
Edited by: Michael McCusker
Cameras: ARRI ALEXA Camera
Data Operations Manager: Method Studios
Percy Jackson: Sea of Monsters (2013)
Directed by: Thor Freudenthal
Cinematography by: Shelly Johnson
Edited by: Mark Goldblatt
Data Operations Manager: Method Studios
RED 2 (2013)
Directed by: Dean Parisot
Cinematography by: Enrique Chediak
Edited by: Don Zimmerman
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk V-Lite Lenses
Data Operations Manager: Method Studios
White House Down (2013)
Directed by: Roland Emmerich
Cinematography by: Anna Foerster
Edited by: Adam Wolfe
Data Operations Manager: Method Studios
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
Data Technician: Method Studios
The Purge (2013)
Directed by: James DeMonaco
Cinematography by: Jacques Jouffret
Edited by: Peter Gvozdas
Cameras: ARRI ALEXA Plus Camera
Editing System: Avid Editing System
Data Operations Manager: Method Studios
Last Vegas (2013)
Directed by: Jon Turteltaub
Cinematography by: David Hennings
Edited by: David Rennie
Cameras: ARRI ALEXA Camera
Data Operations Manager: Method Studios
Snowpiercer (2013)
Directed by: Joon-ho Bong
Cinematography by: Kyung-pyo Hong
Data Technician: Method Studios
This Means War (2012)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Nicolas De Toth
Data Operations Manager: Method Studios
The Apparition (2012)
Directed by: Todd Lincoln
Cinematography by: Daniel Pearl
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision Cooke Xtal Xpress (Joe Dunton Camera Millenium Anamorphic) Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Data Operations Manager: Method Studios
The Sapphires (2012)
Directed by: Wayne Blair
Cinematography by: Warwick Thornton
Edited by: Dany Cooper
Data Technician: Method Studios
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Data Technician: Method Studios
Mud (2012)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Digital Intermediate Data Technician: Company 3
Prometheus (2012)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Cameras: ARRI ALEXA Camera, Red Epic Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Digital Intermediate Data Technician: Company 3
Underworld Awakening (2012)
Cinematography by: Scott Kevan
Edited by: Jeff McEvoy
Cameras: Red Epic Camera
Data Technician: Method Studios
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Data Technician: Method Studios
Man on a Ledge (2012)
Directed by: Asger Leth
Cinematography by: Paul Cameron
Edited by: Kevin Stitt
Data Technician: Method Studios
Wrath of the Titans (2012)
Directed by: Jonathan Liebesman
Cinematography by: Ben Davis
Edited by: Martin Walsh
Data Technician: Method Studios
The Odd Life of Timothy Green (2012)
Directed by: Peter Hedges
Cinematography by: John Toll
Edited by: Andrew Mondshein
Data Technician: Method Studios
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Data Technician: Method Studios
The Master (2012)
Directed by: Paul Thomas Anderson
Cinematography by: Mihai Malaimare Jr.
Cameras: Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision 65mm Prime Lenses
Editing System: Avid Editing System
Data Technician: Method Studios
Cloud Atlas (2012)
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
Editing System: Avid Editing System
Data Technician: Method Studios
Abraham Lincoln: Vampire Hunter (2012)
Directed by: Timur Bekmambetov
Cinematography by: Caleb Deschanel
Edited by: William Hoy
Data Operations Manager: Method Studios
The Place Beyond the Pines (2012)
Directed by: Derek Cianfrance
Cinematography by: Sean Bobbitt
Data Technician: Method Studios
Seven Psychopaths (2012)
Directed by: Martin McDonagh
Cinematography by: Ben Davis
Edited by: Lisa Gunning
Data Operations Manager: Method Studios
Promised Land (2012)
Directed by: Gus Van Sant
Cinematography by: Linus Sandgren
Edited by: Billy Rich
Lenses: Hawk V-Lite Lenses
Data Operations Manager: Method Studios
For Greater Glory: The True Story of Cristiada (2012)
Directed by: Dean Wright
Cinematography by: Eduardo Martínez Solares
Cameras: ARRIFLEX 435 Camera
Lenses: Zeiss Lenses
Data Technician: Method Studios
Bullet to the Head (2012)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Timothy Alverson
Data Technician: Method Studios
Project X (2012)
Directed by: Nima Nourizadeh
Cinematography by: Ken Seng
Edited by: Jeff Groth
Cameras: Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F23 Camera, Sony PMW-EX3 Camera
Lenses: Canon Lenses
Digital Intermediate Data Technician: Company 3
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Data Technician: Method Studios
New Year's Eve (2011)
Directed by: Garry Marshall
Cinematography by: Charles Minsky
Edited by: Michael Tronick
Cameras: ARRI ALEXA Camera
Data Technician: Method Studios
Tower Heist (2011)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Edited by: Mark Helfrich
Digital Intermediate Data Technician: Company 3
The Green Hornet (2011)
Directed by: Michel Gondry
Cinematography by: John Schwartzman
Edited by: Michael Tronick
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom HD Camera, Red One MX Camera
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, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Data Technician: Method Studios
Fast Five (2011)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Data Technician: Method Studios
Contagion (2011)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Stephen Mirrione
Cameras: Red One MX Camera
Lenses: Red Pro Prime Lenses
Digital Intermediate Data Technician: Company 3
Fright Night (2011)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Digital Intermediate Data Technician: Company 3
The Mechanic (2011)
Directed by: Simon West
Cinematography by: Eric Schmidt
Data Technician: Method Studios
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
Digital Intermediate Data Technician: Company 3
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Data Technician: Method Studios
Captain America: The First Avenger (2011)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera
Editing System: Avid Editing System
Data Technician: Method Studios
The Change-Up (2011)
Directed by: David Dobkin
Cinematography by: Eric Alan Edwards
Lenses: Cooke S4 Lenses
Data Technician: Method Studios
Jack and Jill (2011)
Directed by: Dennis Dugan
Cinematography by: Dean Cundey
Edited by: Tom Costain
Cameras: ARRI ALEXA Camera
Data Technician: Method Studios
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Data Technician: Method
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Digital Intermediate Data Technician: Company 3
Just Wright (2010)
Directed by: Sanaa Hamri
Cinematography by: Terry Stacey
Edited by: Melissa Kent
Digital Intermediate Data Technician: Company 3
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Data Technician: Method Studios
A Nightmare on Elm Street (2010)
Directed by: Samuel Bayer
Cinematography by: Jeff Cutter
Edited by: Glen Scantlebury
Data Technician: Method Studios
Let Me In (2010)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Edited by: Stan Salfas
Data Technician: Method Studios
Life as We Know It (2010)
Directed by: Greg Berlanti
Cinematography by: Andrew Dunn
Edited by: Jim Page
Digital Intermediate Data Technician: Company 3
Faster (2010)
Directed by: George Tillman Jr.
Cinematography by: Michael Grady
Edited by: Dirk Westervelt
Digital Intermediate Data Technician: Company 3
Tooth Fairy (2010)
Directed by: Michael Lembeck
Cinematography by: David Tattersall
Edited by: David Finfer
Digital Intermediate Data Technician: Company 3
Underworld: Rise of the Lycans (2009)
Directed by: Patrick Tatopoulos
Cinematography by: Ross Emery
Cameras: Panavision Genesis Camera, Red One Camera
Digital Intermediate Data Technician: Company 3
Brooklyn's Finest (2009)
Directed by: Antoine Fuqua
Cinematography by: Patrick Murguia
Edited by: Barbara Tulliver
Render I/o Administrator: Digital Domain
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Data Technician: Method Studios
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Digital Intermediate Data Technician: Company 3
Gamer (2009)
Cinematography by: Ekkehart Pollack
Cameras: ARRIFLEX 435 Camera, Red One Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Data Technician: Company 3
Law Abiding Citizen (2009)
Directed by: F. Gary Gray
Cinematography by: Jonathan Sela
Edited by: Tariq Anwar
Lenses: Cooke S4 Lenses
Digital Intermediate Data Technician: Company 3
G-Force (2009)
Directed by: Hoyt Yeatman
Cinematography by: Bojan Bazelli
Digital Intermediate Data Technician: Company 3
Crank: High Voltage (2009)
Cinematography by: Brandon Trost
Render I/o Administrator: Digital Domain
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES Camera, 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 Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Digital Intermediate Data Technician: Company 3
Leaves of Grass (2009)
Directed by: Tim Blake Nelson
Cinematography by: Roberto Schaefer
Edited by: Michelle Botticelli
Cameras: Red One Camera
Render I/o Administrator: Digital Domain
Transformers: Revenge of the Fallen (2009)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Iwerks IW5A Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Render I/o Administrator: Digital Domain
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Scanning And Recording Operator: Digital Domain
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Render I/o Administrator: Digital Domain
Gran Torino (2008)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Editing System: Avid Editing System
Scanning And Recording Operator: Digital Domain
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Scanning And Recording Operator: Digital Domain
The Curious Case of Benjamin Button (2008)
Directed by: David Fincher
Cinematography by: Claudio Miranda
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Scan Record Technician: Digital Domain
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Scanning And Recording Operator: Digital Domain
The Hitcher (2007)
Directed by: Dave Meyers
Cinematography by: James Hawkinson
Edited by: Jim May
Scanning And Recording Operator: Digital Domain
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Scanning And Recording Operator: Digital Domain
Transformers (2007)
Directed by: Michael Bay
Cinematography by: Mitchell Amundsen
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
Editing System: Avid Editing System, Final Cut Pro Editing System
Scanning And Recording Operator: Digital Domain
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Scanning And Recording Operator: Digital Domain
The Seeker: The Dark Is Rising (2007)
Directed by: David L. Cunningham
Cinematography by: Joel Ransom
Cameras: Panavision Cameras
Scanning And Recording Operator: Digital Domain
Letters from Iwo Jima (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Scanning And Recording Operator: Digital Domain
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Scanning And Recording Operator: Digital Domain
The Texas Chainsaw Massacre: The Beginning (2006)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Scanning And Recording Operator: Digital Domain
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Scanning And Recording Operator: Digital Domain
Dark Water (2005)
Directed by: Walter Salles
Cinematography by: Affonso Beato
Edited by: Daniel Rezende
Scanning And Recording Operator: Digital Domain
Cinderella Man (2005)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Scanning And Recording Operator: Digital Domain
Æon Flux (2005)
Directed by: Karyn Kusama
Cinematography by: Stuart Dryburgh
Scanning And Recording Operator: Digital Domain
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Scanning And Recording Operator: Digital Domain
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Scanning And Recording Operator: Digital Domain
Flight of the Phoenix (2004)
Directed by: John Moore
Cinematography by: Brendan Galvin
Edited by: Don Zimmerman
Scan/record Technician: Digital Domain
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Scanning And Recording Operator: Digital Domain
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
Scanning And Recording Operator: Digital Domain
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Scanning And Recording Operator: Digital Domain
Daredevil (2003)
Directed by: Mark Steven Johnson
Cinematography by: Ericson Core
Scanning And Recording Operator: Digital Domain
Looney Tunes: Back in Action (2003)
Directed by: Joe Dante
Cinematography by: Dean Cundey
Scanning And Recording Operator: Digital Domain
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Scanning And Recording Operator: Digital Domain
Adaptation. (2002)
Directed by: Spike Jonze
Cinematography by: Lance Acord
Edited by: Eric Zumbrunnen
Scanning And Recording Operator: Digital Domain
xXx (2002)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Scanning And Recording Operator: Digital Domain
We Were Soldiers (2002)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: William Hoy
Cameras: Panavision Panaflex Camera
Scanning And Recording Operator: Digital Domain
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
Scanning And Recording Operator: Digital Domain
Vanilla Sky (2001)
Directed by: Cameron Crowe
Cinematography by: John Toll
Cameras: Panavision Panaflex Gold Camera
Scanning And Recording Operator: Digital Domain
A Beautiful Mind (2001)
Directed by: Ron Howard
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 435 ES Camera, ARRIFLEX 535 B Camera
Editing System: Avid Editing System
Scanning And Recording Operator: Digital Domain
The Lord of the Rings: The Fellowship of the Ring (2001)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: John Gilbert
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Scanning And Recording Operator: Digital Domain
Red Planet (2000)
Directed by: Antony Hoffman
Cinematography by: Peter Suschitzky
Scanning And Recording Operator: Digital Domain
O Brother, Where Art Thou? (2000)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Scanning And Recording Operator: Digital Domain
X-Men (2000)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Scanning And Recording Operator: Digital Domain
How the Grinch Stole Christmas (2000)
Directed by: Ron Howard
Cinematography by: Donald Peterman
Scanning And Recording Operator: Digital Domain
Fight Club (1999)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Edited by: James Haygood
Cameras: Panavision Panaflex Platinum Camera
Scanning And Recording Operator: Digital Domain
Edtv (1999)
Directed by: Ron Howard
Cinematography by: John Schwartzman
Technical Assistant: Digital Domain
What Dreams May Come (1998)
Directed by: Vincent Ward
Cinematography by: Eduardo Serra
Scanning And Recording Operator: Digital Domain
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Scanning And Recording Operator: Digiscope
Blade (1998)
Directed by: Stephen Norrington
Cinematography by: Theo van de Sande
Edited by: Paul Rubell
Cameras: Moviecam Compact Camera
Scanning And Recording Operator: Digital Domain
Dante's Peak (1997)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Scanning And Recording Operator: Digital Domain
The Fifth Element (1997)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Sylvie Landra
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
Lenses: Zeiss Lenses
Scanning And Recording Operator: Digital Domain
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Scan Record Operator: Digital Domain
Red Corner (1997)
Directed by: Jon Avnet
Cinematography by: Karl Walter Lindenlaub
Edited by: Peter E. Berger