Scanning Technician: Company 3 , Supervising Scanning And Recording Technician
No Time to Die (2021)
Directed by: Cary Joji Fukunaga
Cinematography by: Linus Sandgren
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, ARRIFLEX 765 Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Hasselblad Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Film Scanning And Recording Supervisor
Ad Astra (2019)
Directed by: James Gray
Cinematography by: Hoyte Van Hoytema
Cameras: Aaton Penelope Camera, ARRI ALEXA XT Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX Camera
Lenses: CamTec Lenses, Zeiss Master Prime Lenses
Supervising Color And Calibration Technician
1917 (2019)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Lee Smith
Cameras: ARRI ALEXA Mini LF Camera
Supervising Color Technician
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
Digital Workflow And Imaging Science
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera
Lenses: Panavision Primo Digital Lenses
Digital Workflow And Imaging Science
Passengers (2016)
Directed by: Morten Tyldum
Cinematography by: Rodrigo Prieto
Edited by: Maryann Brandon
Cameras: ARRI ALEXA 65 Camera
Lenses: Panavision Primo 70 Lenses
Digital Workflow And Imaging Science
X-Men: Apocalypse (2016)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Digital Workflow And Imaging Science
Straight Outta Compton (2015)
Directed by: F. Gary Gray
Cinematography by: Matthew Libatique
Cameras: Red Epic Dragon Camera
Supervising Color Technician
Sicario (2015)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Supervising Color Technician
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Digital Film Technical Supervisor
The Salvation (2014)
Directed by: Kristian Levring
Cinematography by: Jens Schlosser
Edited by: Pernille Bech Christensen
Cameras: ARRI ALEXA Plus Camera
Supervising Color Technician
The Maze Runner (2014)
Directed by: Wes Ball
Cinematography by: Enrique Chediak
Edited by: Dan Zimmerman
Digital Workflow And Imaging Science
Divergent (2014)
Directed by: Neil Burger
Cinematography by: Alwin H. Küchler
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Digital Workflow And Imaging Science
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Supervising Color Technician
Pain & Gain (2013)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: Canon EOS-7D Camera, GoPro HD Hero3 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom HD Gold Camera, Red Epic Camera
Editing System: Avid Editing System
Supervising Color Technician: EFILM
Skyfall (2012)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Color Management And Calibration
Ruby Sparks (2012)
Cinematography by: Matthew Libatique
Edited by: Pamela Martin
Lenses: Cooke Speed Panchro Lenses
Digital Workflow And Imaging Science
What to Expect When You're Expecting (2012)
Directed by: Kirk Jones
Cinematography by: Xavier Grobet
Edited by: Michael Berenbaum
Cameras: ARRI ALEXA Camera
Digital Workflow And Imaging Science
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Supervising Color Technician
In Time (2011)
Directed by: Andrew Niccol
Cinematography by: Roger Deakins
Edited by: Zach Staenberg
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Digital Workflow And Imaging Science
The Tempest (2010)
Directed by: Julie Taymor
Cinematography by: Stuart Dryburgh
Edited by: Françoise Bonnot
Cameras: ARRICAM Lite (LT) Camera
Digital Workflow And Imaging Science
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Color Management And Calibration
Australia (2008)
Directed by: Baz Luhrmann
Cinematography by: Mandy Walker
Film Scanner
The Adventures of Pinocchio (1996)
Directed by: Steve Barron
Cinematography by: Juan Ruiz Anchía
Edited by: Sean Barton