Gaëlle Bossis

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Ghost in the Shell | ShotOnWhat?

Lead Compositor: MPC

Ghost in the Shell (2017)

Directed by: Rupert Sanders

Cinematography by: Jess Hall

Edited by: Billy Rich, Neil Smith

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera

Lenses: Leitz Summilux-C Series Lenses, Panavision Sphero 65 65SP100 100mm T2.0 Lens, Panavision Sphero 65 65SP40 40mm T2.8 Lens, Panavision Sphero 65 65SP50 50mm T2.0 Lens, Panavision Sphero 65 65SP75 75mm T2.0 Lens

The Mummy | ShotOnWhat?

Lead Compositor: MPC

The Mummy (2017)

Directed by: Alex Kurtzman

Cinematography by: Ben Seresin

Edited by: Gina Hirsch, Paul Hirsch, Andrew Mondshein

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: ARRI Rental Prime 65 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 T Series Anamorphic Lenses

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

Lead Compositor

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

"The Returned" Les Revenants | ShotOnWhat?

Digital Compositor

'The Returned' Les Revenants (2015)

Television Episode

Directed by: Fabrice Gobert, Frédéric Goupil

Cinematography by: Patrick Blossier

Edited by: Peggy Koretzky

Les yeux jaunes des crocodiles | ShotOnWhat?

Digital Compositor

Les yeux jaunes des crocodiles (2014)

Directed by: Cécile Telerman

Cinematography by: Colin Houben, Pascal Ridao

Cameras: ARRI ALEXA Camera

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

Le crocodile du Botswanga | ShotOnWhat?

Digital Compositor

Le crocodile du Botswanga (2014)

Directed by: Lionel Steketee, Fabrice Eboué

Cinematography by: Stéphane Le Parc

Edited by: Frédérique Olszak

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, ARRI / Zeiss Master Anamorphic Lenses, Fujinon Alura Lenses

The Returned | ShotOnWhat?

Digital Compositor - 1 Episode, 2015

The Returned (2012)

Television Series

Directed by: Fabrice Gobert, Frédéric Goupil, Frédéric Mermoud

Cinematography by: Patrick Blossier

Edited by: Bertrand Nail, Peggy Koretzky, Laurence Bawedin, Mike Fromentin, Gwen Mallauran

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

L'homme qui rit | ShotOnWhat?

Digital Compositor

L'homme qui rit (2012)

Directed by: Jean-Pierre Améris

Cinematography by: Gérard Simon

Edited by: Philippe Bourgueil

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Zoom Lenses, Hawk V-Lite Lenses

Trois mondes | ShotOnWhat?

Digital Compositor

Trois mondes (2012)

Directed by: Catherine Corsini

Cinematography by: Claire Mathon

Edited by: Muriel Breton

Cameras: Aaton Penelope Camera

Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Ultra Prime Lenses

Astérix and Obélix: God Save Britannia | ShotOnWhat?

Digital Compositor

Astérix and Obélix: God Save Britannia (2012)

Directed by: Laurent Tirard

Cinematography by: Catherine Pujol, Denis Rouden

Edited by: Valérie Deseine

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens

L'enfant d'en haut | ShotOnWhat?

Digital Compositor

L'enfant d'en haut (2012)

Directed by: Ursula Meier

Cinematography by: Agnès Godard

Edited by: Nelly Quettier

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo 28-76 mm T2.6 Lens, Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Holy Motors | ShotOnWhat?

Digital Compositor

Holy Motors (2012)

Directed by: Leos Carax

Cinematography by: Yves Cape, Caroline Champetier

Edited by: Nelly Quettier

Cameras: Red Epic Camera

Lenses: Angenieux HR 25-250 mm T3.5 Lens, Zeiss Standard Speed Prime Lenses, Zeiss Super Speed Lenses

The Lorax | ShotOnWhat?

Digital Compositor

The Lorax (2012)

Directed by: Chris Renaud, Kyle Balda

Edited by: Claire Dodgson, Steven Liu, Ken Schretzmann

Rust and Bone | ShotOnWhat?

Digital Compositor

Rust and Bone (2012)

Directed by: Jacques Audiard

Cinematography by: Stéphane Fontaine

Edited by: Juliette Welfling

Cameras: Red Epic Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Cooke S4 Lenses

Requiem pour une tueuse | ShotOnWhat?

Digital Compositor

Requiem pour une tueuse (2011)

Directed by: Jérôme Le Gris

Cinematography by: Antoine Monod

Edited by: Claire Fieschi

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

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

Les hommes libres | ShotOnWhat?

Digital Compositor

Les hommes libres (2011)

Directed by: Ismaël Ferroukhi

Cinematography by: Jérôme Alméras

Edited by: Annette Dutertre

Cameras: ARRICAM Lite (LT) Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses

Americano | ShotOnWhat?

Digital Compositor

Americano (2011)

Directed by: Mathieu Demy

Cinematography by: Georges Lechaptois

Edited by: Jean-Baptiste Morin

Cameras: ARRIFLEX 416 Camera

From Paris with Love | ShotOnWhat?

Digital Compositor

From Paris with Love (2010)

Directed by: Pierre Morel

Cinematography by: Michel Abramowicz

Edited by: Frédéric Thoraval

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Panavision Primo Anamorphic Lenses

L'homme qui voulait vivre sa vie | ShotOnWhat?

Digital Compositor

L'homme qui voulait vivre sa vie (2010)

Directed by: Eric Lartigau

Cinematography by: Laurent Dailland

Edited by: Stéphane Garnier, Juliette Welfling

Vidocq | ShotOnWhat?

Digital Artist

Vidocq (2001)

Directed by: Pitof

Cinematography by: Jean-Pierre Sauvaire, Jean-Claude Thibaut

Edited by: Thierry Hoss

Cameras: Sony Cameras, Sony HDW-F900 Camera

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