Leeza Diott

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Maestro | ShotOnWhat?

Dailies Manager: Company 3 Los Angeles

Maestro (2023)

Directed by: Bradley Cooper

Cinematography by: Matthew Libatique

Edited by: Michelle Tesoro

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

Lenses: Panavision PVintage Prime Lenses

Killers of the Flower Moon | ShotOnWhat?

Dailies Manager: Company 3

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

Flamin' Hot | ShotOnWhat?

Dailies Manager

Flamin' Hot (2023)

Movie

Directed by: Eva Longoria

Cinematography by: Federico Cantini

Edited by: Kayla Emter, Liza D. Espinas

Cameras: Sony CineAlta VENICE Camera

Lenses: Canon K35 Prime Lenses, Cooke Xtal Express Lenses, Laowa Lenses, Panavision Panaspeed Series Lenses, Panavision Primo Anamorphic Lenses

Ambulance | ShotOnWhat?

Dailies Manager: Company 3

Ambulance (2022)

Directed by: Michael Bay

Cinematography by: Roberto De Angelis

Edited by: Doug Brandt, Pietro Scalia, Calvin Wimmer

Cameras: Red Epic Helium Camera, Red Komodo Camera

Lenses: Panavision H Series Lenses, Panavision T Series Anamorphic Lenses

Top Gun: Maverick | ShotOnWhat?

Dailies Manager: Company 3

Top Gun: Maverick (2022)

Directed by: Joseph Kosinski

Cinematography by: Claudio Miranda

Edited by: Eddie Hamilton

Cameras: Sony CineAlta VENICE Camera

Lenses: Sigma Lenses, Voigtländer Lenses, Zeiss Master Prime Lenses

Blonde | ShotOnWhat?

Dailies Manager: Post-production

Blonde (2022)

Directed by: Andrew Dominik

Cinematography by: Chayse Irvin

Edited by: Adam Robinson

Cameras: ARRI ALEXA XT Monochrome Camera, Sony CineAlta VENICE Camera

Lenses: ARRI Rental HEROES LOOK Lens, Panavision PVintage Prime Lenses, Panavision Ultra Speed MKII Lenses

Babylon | ShotOnWhat?

Dailies Manager: Company 3

Babylon (2022)

Directed by: Damien Chazelle

Cinematography by: Linus Sandgren

Edited by: Tom Cross

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera, Bell & Howell 2709 Camera

Lenses: Atlas Orion Anamorphic Series Lenses, Cooke Anamorphic/i Zoom Lenses, Zeiss Super Speed Lenses

Ford v Ferrari | ShotOnWhat?

Dailies Manager: Post Production

Ford v Ferrari (2019)

Directed by: James Mangold

Cinematography by: Phedon Papamichael

Edited by: Andrew Buckland, Michael McCusker, Dirk Westervelt

Cameras: ARRI ALEXA LF Camera

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

6 Underground | ShotOnWhat?

Dailies Manager: Company 3

6 Underground (2019)

Directed by: Michael Bay

Cinematography by: Bojan Bazelli

Edited by: Roger Barton, William Goldenberg, Calvin Wimmer

Cameras: Apple iPhone Camera, ARRIFLEX 35 IIC Camera, GoPro HD Hero Camera, Red Epic Helium Camera, Red Monstro 8K Camera, Red Raven Camera, Sony CineAlta VENICE Camera

Lenses: Panavision T Series Anamorphic Lenses

A Beautiful Day in the Neighborhood | ShotOnWhat?

Dailies Manager: Post Production

A Beautiful Day in the Neighborhood (2019)

Directed by: Marielle Heller

Cinematography by: Jody Lee Lipes

Edited by: Anne McCabe

Cameras: ARRI ALEXA Mini Camera, ARRIFLEX 416 Camera, Ikegami Cameras, Ikegami HL-79EAL Camera

Lenses: Angenieux Optimo Anamorphic Lenses, Canon Lenses, Zeiss Master Prime Lenses

Ad Astra | ShotOnWhat?

Dailies Manager: Post Production

Ad Astra (2019)

Directed by: James Gray

Cinematography by: Hoyte Van Hoytema

Edited by: John Axelrad, Lee Haugen

Cameras: Aaton Penelope Camera, ARRI ALEXA XT Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX Camera

Lenses: CamTec Astra Master Prime Series Lenses, Zeiss Master Prime Lenses

Creed II | ShotOnWhat?

Dailies Manager: Post-production

Creed II (2018)

Directed by: Steven Caple Jr.

Cinematography by: Kramer Morgenthau

Edited by: Dana E. Glauberman, Saira Haider, Paul Harb

Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera

Lenses: Panavision Lenses, Zeiss Master Prime Lenses

Bird Box | ShotOnWhat?

Dailies Manager: Post Production

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

First Man | ShotOnWhat?

Dailies Manager

First Man (2018)

Directed by: Damien Chazelle

Cinematography by: Linus Sandgren

Edited by: Tom Cross

Cameras: Aaton A-Minima Camera, Aaton Penelope Camera, Aaton Xterà Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 416 Plus Camera, ARRIFLEX 435 Camera, IMAX MSM 9802 Camera

Lenses: CamTec Vintage Series Ultra Prime Lenses, Canon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses, Hasselblad Lenses, Kowa Cine Prominar Anamorphic Lenses

Transformers: The Last Knight | ShotOnWhat?

Pirates of the Caribbean: Dead Men Tell No Tales | ShotOnWhat?

Dailies Manager: Post Production

Pirates of the Caribbean: Dead Men Tell No Tales (2017)

Directed by: Joachim Rønning, Espen Sandberg

Cinematography by: Paul Cameron

Edited by: Roger Barton, Leigh Folsom Boyd

Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera

Lenses: Panavision Primo Primes Spherical Lenses

Spider-Man: Homecoming | ShotOnWhat?

Post-production Manager: Dailies

Spider-Man: Homecoming (2017)

Directed by: Jon Watts

Cinematography by: Salvatore Totino

Edited by: Debbie Berman, Dan Lebental

Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Blackmagic Pocket Cinema Camera

Lenses: Angenieux Lenses, Cooke S4/i Lenses

Blade Runner 2049 | ShotOnWhat?

Dailies Manager

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

Fast 8 | ShotOnWhat?

Dailies Manager: Post Production

The Fate of the Furious (2017)

Directed by: F. Gary Gray

Cinematography by: Stephen F. Windon

Edited by: Paul Rubell, Christian Wagner

Cameras: ARRI ALEXA XT Camera, Red Epic Camera

Star Trek Beyond | ShotOnWhat?

Dailies Manager: Post Production

Star Trek Beyond (2016)

Directed by: Justin Lin

Cinematography by: Stephen F. Windon

Edited by: Greg D'Auria, Dylan Highsmith, Kelly Matsumoto, Steven Sprung

Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera

Lenses: ARRI / Zeiss Master Anamorphic Lenses, Zeiss Compact Prime Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

Ghostbusters | ShotOnWhat?

Dailies Manager

Ghostbusters (2016)

Directed by: Paul Feig

Cinematography by: Robert D. Yeoman

Edited by: Melissa Bretherton, Brent White

Cameras: ARRI ALEXA XT Camera

Lenses: Fujinon Premier ZK Cabrio PL Compact Lenses, Zeiss Master Prime Lenses

X-Men: Apocalypse | ShotOnWhat?

Dailies Manager: Post Production

X-Men: Apocalypse (2016)

Directed by: Bryan Singer

Cinematography by: Newton Thomas Sigel

Edited by: Michael Louis Hill, John Ottman

Cameras: Phantom Flex4K Camera, Red Epic Dragon Camera

Lenses: Leitz Summilux-C Series Lenses

Allegiant | ShotOnWhat?

Dailies Manager

Allegiant (2016)

Directed by: Robert Schwentke

Cinematography by: Florian Ballhaus

Edited by: Stuart Levy

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera

Lenses: Angenieux Optimo Zoom Lenses, ARRI / Zeiss Master Anamorphic Lenses, ARRI Anamorphic Ultra Wide Zoom 19-36mm T4.2 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Leitz Summilux-C Series Lenses

The Ridiculous 6 | ShotOnWhat?

Dailies Manager

The Ridiculous 6 (2015)

Directed by: Frank Coraci

Cinematography by: Dean Semler

Edited by: Tom Costain

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Sicario | ShotOnWhat?

Dailies Manager: Post Production

Sicario (2015)

Directed by: Denis Villeneuve

Cinematography by: Roger Deakins

Edited by: Joe Walker

Cameras: ARRI ALEXA XT M Camera, ARRI ALEXA XT Plus Camera, ARRI ALEXA XT Studio Camera

Lenses: Zeiss Master Prime Lenses

Heaven Is for Real | ShotOnWhat?

Dailies Manager: Post Production

Heaven Is for Real (2014)

Directed by: Randall Wallace

Cinematography by: Dean Semler

Edited by: John Wright

Cameras: Panavision Genesis Camera

Lenses: Panavision Primo Primes Spherical Lenses

The Maze Runner | ShotOnWhat?

Dailies Manager

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

Divergent | ShotOnWhat?

Dailies Manager: Post Production

Divergent (2014)

Directed by: Neil Burger

Cinematography by: Alwin H. Küchler

Edited by: Richard Francis-Bruce, Nancy Richardson

Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera

Lenses: Panavision E Series Anamorphic Lenses, Panavision Primo Zooms Spherical Lenses, Panavision PVintage Prime Lenses

X-Men: Days of Future Past | ShotOnWhat?

Dailies Manager: Post Production

X-Men: Days of Future Past (2014)

Directed by: Bryan Singer

Cinematography by: Newton Thomas Sigel

Edited by: Michael Louis Hill, John Ottman

Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera

Lenses: ARRI / Fujinon Lenses, Fujinon Lenses, Leitz Summilux-C Series Lenses

Lone Survivor | ShotOnWhat?

Dailies Manager: Post Production

Lone Survivor (2013)

Directed by: Peter Berg

Cinematography by: Tobias A. Schliessler

Edited by: Colby Parker Jr.

Cameras: Phantom Flex Camera, Red Epic Camera

Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo 45-120 mm T2.8 Lens, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens

Pain & Gain | ShotOnWhat?

Technical Manager

Pain & Gain (2013)

Directed by: Michael Bay

Cinematography by: Ben Seresin

Edited by: Tom Muldoon, Joel Negron

Cameras: Canon EOS-7D Camera, GoPro HD Hero3 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom HD Gold Camera, Red Epic Camera

Lenses: Panavision C Series Anamorphic Lenses

Editing System: Avid Editing System

What to Expect When You're Expecting | ShotOnWhat?

Dailies Manager

What to Expect When You're Expecting (2012)

Directed by: Kirk Jones

Cinematography by: Xavier Grobet

Edited by: Michael Berenbaum

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Skyfall | ShotOnWhat?

Technical Manager

Skyfall (2012)

Directed by: Sam Mendes

Cinematography by: Roger Deakins

Edited by: Stuart Baird

Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, Red Epic Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

Editing System: Avid Editing System

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

Technical Manager: Post Production

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

The Avengers | ShotOnWhat?

Dailies Manager: Post Production

The Avengers (2012)

Directed by: Joss Whedon

Cinematography by: Seamus McGarvey

Edited by: Jeffrey Ford, Lisa Lassek

Cameras: ARRI ALEXA Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera

Lenses: Panavision Frazier Lenses, Panavision Lenses

Editing System: Avid Editing System

The Help | ShotOnWhat?

Technical Manager: Post Production

The Help (2011)

Directed by: Tate Taylor

Cinematography by: Stephen Goldblatt

Edited by: Hughes Winborne

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

Lenses: Panavision Primo Anamorphic Lenses

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

Technical Manager: Post Production

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

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