Facility Staff: Digital Domain
Black Panther: Wakanda Forever (2022)
Directed by: Ryan Coogler
Cinematography by: Autumn Durald Arkapaw
Cameras: Sony CineAlta VENICE Camera
Digital Artist: Digital Domain 3.0
'Stranger Things' Chapter One: The Hellfire Club (2022)
Cinematography by: Caleb Heymann
Edited by: Dean Zimmerman
Roto Paint Supervisor: Digital Domain
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Roto Paint Supervisor: Digital Domain
Ready Player One (2018)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Roto Paint Supervisor: Postviz - Digital Domain
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Roto Paint Supervisor: Digital Domain
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Roto Paint Supervisor: Digital Domain
Beauty and the Beast (2017)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Roto Paint Supervisor: Digital Domain, Roto/paint Supervisor: Digital Domain
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Roto Paint Supervisor: Digital Domain
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Digital Artist: Digital Domain 3.0 - 1 Episode, 2022
Stranger Things (2016)
Directed by: Matt Duffer, Ross Duffer, Shawn Levy, Andrew Stanton, Uta Briesewitz, Nimród Antal, Rebecca Thomas, Dan Trachtenberg
Cinematography by: Tim Ives, Caleb Heymann, Tod Campbell, Lachlan Milne, Brett Jutkiewicz, David Franco
Cameras: ARRI ALEXA LF Camera, Red Epic Dragon Camera, Red Helium (Weapon) 8K, Red Monstro 8K Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Avid Editing System
Roto Paint Supervisor: Digital Domain
All I See Is You (2016)
Directed by: Marc Forster
Cinematography by: Matthias Koenigswieser
Edited by: Hughes Winborne
Cameras: ARRI ALEXA XT Camera
Roto Paint Supervisor: Digital Domain
Deadpool (2016)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA XT Plus Camera
Editing System: Adobe Premiere Editing System
Roto Paint Supervisor: Digital Domain
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
Roto Paint Supervisor: Digital Domain
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, 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 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Roto Paint Supervisor: Digital Domain
Night at the Museum: Secret of the Tomb (2014)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Dean Zimmerman
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Roto/paint Lead: Digital Domain
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
Roto/paint Lead: 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
Rotoscope And Paint Lead: 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
Roto/paint Lead: Digital Domain
Jack the Giant Slayer (2013)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Roto/paint Lead: Digital Domain
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Roto Artist: Pixomondo
Red Tails (2012)
Directed by: Anthony Hemingway
Cinematography by: John B. Aronson
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera
Editing System: Lightworks Editing System
Senior Roto/paint Artist: Framestore
Contraband (2012)
Directed by: Baltasar Kormákur
Cinematography by: Barry Ackroyd
Edited by: Elísabet Ronaldsdóttir
Cameras: Aaton Penelope Camera
Senior Roto/paint Artist: Digital Domain
The Girl with the Dragon Tattoo (2011)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System, Sony Vegas Editing System
Digital Artist: ILM
Cowboys & Aliens (2011)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Digital Artist
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
Compositor
A Nightmare on Elm Street (2010)
Directed by: Samuel Bayer
Cinematography by: Jeff Cutter
Edited by: Glen Scantlebury
Digital Artist
Tron (2010)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: James Haygood
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Editing System: Avid Editing System
Digital Artist: 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
Digital Artist
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Digital Artist: 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 Artist: Digital Domain
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Digital Artist: 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
Digital Artist
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Digital Artist
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
Digital Rotoscope/paint Artist: 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
Rotoscope Artist: Digital Domain
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Rotoscope Artist
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Digital Artist
Letters from Iwo Jima (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
