Senior Vfx Producer: Crafty Apes
John Wick: Chapter 4 (2023)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Nathan Orloff
Visual Effects Head Of Studio: Crafty Apes
The Creator (2023)
Directed by: Gareth Edwards
Cameras: Sony ILME-FX3 Camera
Visual Effects Producer: Shade VFX
Sonic the Hedgehog (2020)
Directed by: Jeff Fowler
Cinematography by: Stephen F. Windon
Lenses: Leitz Summilux-C Series Lenses
Visual Effects Producer: Shade VFX
Doctor Sleep (2019)
Directed by: Mike Flanagan
Cinematography by: Michael Fimognari
Edited by: Mike Flanagan
Cameras: ARRI ALEXA 65 Camera
Lenses: Hasselblad Lenses
Visual Effects Producer: Shade VFX
Ad Astra (2019)
Directed by: James Gray
Cinematography by: Hoyte Van Hoytema
Visual Effects Producer: Shade VFX
Joker (2019)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Jeff Groth
Lenses: ARRI Rental Prime 65 Lenses, ARRI Rental Prime 65 S Lenses, ARRI Rental Prime DNA Lenses, Zeiss Compact Zoom CZ.2 28-80mm T2.9 Lens, Zeiss Compact Zoom CZ.2 70-200mm T2.9 Lens
Editing System: Avid Editing System
Visual Effects Producer: Shade VFX
'Westworld' Virtù e Fortuna (2018)
Directed by: Richard J. Lewis
Cinematography by: Darran Tiernan
Edited by: Anna Hauger
Visual Effects Producer: Shade VFX
'Westworld' Journey into Night (2018)
Directed by: Richard J. Lewis
Cinematography by: Darran Tiernan
Edited by: Andrew Seklir
Visual Effects Producer: Shade VFX
'Westworld' Reunion (2018)
Directed by: Vincenzo Natali
Cinematography by: John Grillo
Edited by: David Eisenberg
Visual Effects Producer: Shade VFX
'Westworld' The Riddle of the Sphinx (2018)
Directed by: Lisa Joy
Cinematography by: John Grillo
Edited by: Andrew Seklir
Visual Effects Producer: Shade VFX
'Westworld' Akane no Mai (2018)
Directed by: Craig Zobel
Cinematography by: Darran Tiernan
Edited by: David Eisenberg
Visual Effects Producer: Shade VFX
'Westworld' Phase Space (2018)
Directed by: Tarik Saleh
Cinematography by: John Grillo
Edited by: Ron Rosen
Visual Effects Producer: Shade VFX
'Westworld' The Passenger (2018)
Directed by: Frederick E.O. Toye
Cinematography by: John Grillo
Visual Effects Producer: Shade VFX
Baywatch (2017)
Directed by: Seth Gordon
Cinematography by: Eric Steelberg
Edited by: Peter S. Elliot
Cameras: ARRI ALEXA XT Plus Camera
Visual Effects Producer: Shade VFX
John Wick: Chapter 2 (2017)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Evan Schiff
Cameras: ARRI ALEXA XT Plus Camera
Visual Effects Producer: Shade VFX
'Westworld' Trompe L'Oeil (2016)
Directed by: Frederick E.O. Toye
Cinematography by: Brendan Galvin
Edited by: Andrew Seklir
Digital Effects Producer: Shade VFX
The 5th Wave (2016)
Directed by: J Blakeson
Cinematography by: Enrique Chediak
Edited by: Paul Rubell
Cameras: ARRI ALEXA XT Plus Camera
Digital Effects Producer: Shade VFX
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Visual Effects Producer: Shade VFX
Live by Night (2016)
Directed by: Ben Affleck
Cinematography by: Robert Richardson
Edited by: William Goldenberg
Cameras: ARRI ALEXA 65 Camera
Visual Effects Producer: Shade VFX - 7 Episodes, 2016-2018
Westworld (2016)
Directed by: Richard J. Lewis, Jonathan Nolan, Frederick E.O. Toye, Vincenzo Natali, Stephen Williams, Paul Cameron, Jennifer Getzinger, Craig William Macneill, Jonny Campbell, Michelle MacLaren, Neil Marshall, Uta Briesewitz, Lisa Joy, Nicole Kassell, Tarik Saleh, Craig Zobel, Anna Foerster, Amanda Marsalis, Helen Shaver, Hanelle M. Culpepper, Meera Menon, Andrew Seklir
Cinematography by: John Grillo, Darran Tiernan, Brendan Galvin, Robert McLachlan, John Conroy, Peter Flinckenberg, Paul Cameron, Jeffrey Jur, Zoë White, David Franco, M. David Mullen, Matt Flannery
Visual Effects Producer: Shade VFX
'Westworld' The Original (2016)
Directed by: Jonathan Nolan
Cinematography by: Paul Cameron
Visual Effects Producer: Shade VFX
'Westworld' Chestnut (2016)
Directed by: Richard J. Lewis
Cinematography by: Brendan Galvin
Edited by: Mark Yoshikawa
Visual Effects Producer: Shade VFX
'Westworld' Dissonance Theory (2016)
Directed by: Vincenzo Natali
Cinematography by: Brendan Galvin
Edited by: Tanya M. Swerling
Visual Effects Producer: Shade VFX
'Westworld' Contrapasso (2016)
Directed by: Jonny Campbell
Cinematography by: Robert McLachlan
Edited by: Mark Yoshikawa
Visual Effects Producer: Shade VFX
'Westworld' The Adversary (2016)
Directed by: Frederick E.O. Toye
Edited by: Tanya M. Swerling
Visual Effects Producer: Shade VFX
'Westworld' Trace Decay (2016)
Directed by: Stephen Williams
Edited by: Tanya M. Swerling
Visual Effects Producer: Shade VFX
'Westworld' The Well-Tempered Clavier (2016)
Directed by: Michelle MacLaren
Cinematography by: Jeffrey Jur
Edited by: Mark Yoshikawa
Visual Effects Producer: Shade VFX
'Westworld' The Bicameral Mind (2016)
Directed by: Jonathan Nolan
Cinematography by: David Franco
Edited by: Andrew Seklir
Digital Effects Producer: Shade VFX
'True Detective' Black Maps and Motel Rooms (2015)
Directed by: Daniel Attias
Cinematography by: Nigel Bluck
Edited by: Chris Figler
Visual Effects Producer: Shade VFX
'True Detective' Down Will Come (2015)
Directed by: Jeremy Podeswa
Cinematography by: Nigel Bluck
Digital Effects Producer: Shade VFX
'True Detective' Other Lives (2015)
Directed by: John Crowley
Cinematography by: Nigel Bluck
Edited by: Chris Figler
Visual Effects Producer: Shade VFX
'True Detective' Church in Ruins (2015)
Directed by: Miguel Sapochnik
Cinematography by: Nigel Bluck
Digital Effects Producer: Shade VFX
'True Detective' Omega Station (2015)
Directed by: John Crowley
Cinematography by: Nigel Bluck
Digital Effects Producer: Shade VFX
The Intern (2015)
Directed by: Nancy Meyers
Cinematography by: Stephen Goldblatt
Edited by: Robert Leighton
Cameras: ARRI ALEXA XT Camera
Digital Production Manager: Shade Vfx
22 Jump Street (2014)
Cinematography by: Barry Peterson
Cameras: ARRI ALEXA XT Camera
Associate Production Manager: Digital Domain
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
Digital Production Manager: Shade VFX
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Digital Production Manager
Noah (2014)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera
Editing System: Avid Editing System
Digital Effects Producer: Shade VFX / Visual Effects Producer: Shade VFX - 5 Episodes, 2015
True Detective (2014)
Directed by: Cary Joji Fukunaga, Issa López, Daniel Sackheim, John Crowley, Justin Lin, Nic Pizzolatto, Jeremy Saulnier, Daniel Attias, Janus Metz, Jeremy Podeswa, Miguel Sapochnik
Edited by: Alex Hall, Leo Trombetta, Affonso Gonçalves, Chris Figler, Byron Smith, Meg Reticker, Brenna Rangott
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Classic Spherical Lenses, Panavision Primo Primes Spherical Lenses, Panavision PVintage Prime Lenses, Panavision Ultra Speed MKII Lenses
Digital Production Manager: Shade VFX
Million Dollar Arm (2014)
Directed by: Craig Gillespie
Cinematography by: Gyula Pados
Edited by: Tatiana S. Riegel
Digital Effects Producer: Shade VFX
Teenage Mutant Ninja Turtles (2014)
Directed by: Jonathan Liebesman
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Plus 4:3 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
Editing System: Avid Editing System
Digital Production Manager
Hercules (2014)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Cameras: ARRI ALEXA XT Camera
Digital Effects Producer: Shade VFX
Selma (2014)
Directed by: Ava DuVernay
Cinematography by: Bradford Young
Edited by: Spencer Averick
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Hawk V-Plus Lenses, Hawk V-Series Lenses
Digital Production Manager
The Interview (2014)
Cinematography by: Brandon Trost
Cameras: ARRI ALEXA Plus 4:3 Camera
Digital Effects Producer: Shade Vfx
'American Horror Story' Monsters Among Us (2014)
Directed by: Ryan Murphy
Cinematography by: Michael Goi
Edited by: Adam Penn
Senior Visual Effects Coordinator: Method Studios
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Digital Production Manager: Digital Domain
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
Digital Coordinator: Rhythm & Hues Studios
Life of Pi (2012)
Directed by: Ang Lee
Cinematography by: Claudio Miranda
Edited by: Tim Squyres
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Digital Effects Producer: Shade Vfx - 1 Episode, 2014
American Horror Story (2011)
Directed by: Bradley Buecker, Alfonso Gomez-Rejon, Michael Uppendahl, Loni Peristere, Michael Goi, Gwyneth Horder-Payton, Jennifer Lynch, Ryan Murphy, Michael Lehmann, David Semel, Howard Deutch, Jeremy Podeswa, Michael Rymer, Angela Bassett, Miguel Arteta, Tim Hunter, John Scott, Craig Zisk, Anthony Hemingway, Nelson Cragg, Marita Grabiak, Elodie Keene, Alexis Ostrander, Barbara Brown, Rachel Goldberg, Liza Johnson, Maggie Kiley, Jennifer Arnold, Sheree Folkson, Sarah Paulson
Cinematography by: Michael Goi, Gavin Kelly, John B. Aronson, Tom Houghton, Nelson Cragg, Jesse M. Feldman, Christopher Baffa, Joaquin Sedillo, James Chressanthis, Chris Manley, James M. Sterba
Edited by: Fabienne Bouville, Adam Penn, Ken Ramos, Stewart Schill, Regis Kimble, Justin Krohn, Danielle Wang, Bradley Buecker, Adriaan van Zyl, Sean Aylward, Angela Jackson, Chris A. Peterson, Robert Komatsu, Micky Blythe, Kaja Fehr, Joe Leonard, John Petaja, Lizzy Calhoun, Shelly Westerman
Cameras: ARRIFLEX 16SR2 Camera, ARRIFLEX 16SR3 Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Lenses, Panavision Lenses
Visual Effects Coordinator: Rhythm & Hues
Alvin and the Chipmunks: Chipwrecked (2011)
Directed by: Mike Mitchell
Cinematography by: Thomas E. Ackerman
Edited by: Peter Amundson
Visual Effects Coordinator: Digital Domain
Real Steel (2011)
Directed by: Shawn Levy
Cinematography by: Mauro Fiore
Edited by: Dean Zimmerman
Cameras: Sony CineAlta F35 Camera
Lenses: Cooke Lenses, Cooke S4 Lenses
Editing System: Avid Editing System
Visual Effects Production Assistant: Digital Dimension
The Warrior's Way (2010)
Directed by: Sngmoo Lee
Cinematography by: Woo-hyung Kim
Edited by: Jonathan Woodford-Robinson
Visual Effects Coordinator: Prime Focus VFX
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Visual Effects Production Assistant: Digital Dimension
The Pink Panther 2 (2009)
Directed by: Harald Zwart
Cinematography by: Denis Crossan
Edited by: Julia Wong
Cameras: Moviecam Compact Camera
Visual Effects Coordinator: Prime Focus
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Digital Asset Coordinator: Yu+Co
Gamer (2009)
Cinematography by: Ekkehart Pollack
Cameras: ARRIFLEX 435 Camera, Red One Camera
Editing System: Final Cut Pro Editing System
Visual Effects Production Assistant: Digital Dimension
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Visual Effects Production Assistant: Digital Dimension
Get Smart (2008)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: Richard Pearson
Lenses: Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Visual Effects Production Assistant: Digital Dimension
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Visual Effects Production Assistant: Digital Dimension
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, 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, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Visual Effects Production Assistant: Digital Dimension
Rendition (2007)
Directed by: Gavin Hood
Cinematography by: Dion Beebe
Edited by: Megan Gill
