Mark Hawker

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The Fabelmans | ShotOnWhat?

Special Effects Supervisor

The Fabelmans (2022)

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Sarah Broshar, Michael Kahn

Cameras: ARRI ALEXA Mini LF Camera, ARRIFLEX 16ST Camera, ARRIFLEX 416 Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision Primo Primes Spherical Lenses, Panavision PVintage Prime Lenses

Gemini Man | ShotOnWhat?

Special Effects Supervisor

Gemini Man (2019)

Directed by: Ang Lee

Cinematography by: Dion Beebe

Edited by: Tim Squyres

Cameras: ARRI ALEXA XT M Camera, Phantom Flex4K Camera

Lenses: Leitz Summilux-C Series Lenses

A Quiet Place | ShotOnWhat?

Special Effects Supervisor

A Quiet Place (2018)

Directed by: John Krasinski

Cinematography by: Charlotte Bruus Christensen

Edited by: Christopher Tellefsen

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Angenieux Optimo Anamorphic Lenses, Panavision Anamorphic Macro Panatar Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses

Ghostbusters | ShotOnWhat?

Special Effects Supervisor

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

The Finest Hours | ShotOnWhat?

Special Effects Supervisor

The Finest Hours (2016)

Directed by: Craig Gillespie

Cinematography by: Javier Aguirresarobe

Edited by: Tatiana S. Riegel

Cameras: ARRI ALEXA XT Plus Camera

Lenses: Leitz Summilux-C Series Lenses

Terminator Genisys | ShotOnWhat?

Supervising Special Effects Coordinator

Terminator Genisys (2015)

Directed by: Alan Taylor

Cinematography by: Kramer Morgenthau

Edited by: Roger Barton

Cameras: ARRI ALEXA XT Plus Camera

Lenses: Panavision Anamorphic Zoom Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

Transformers: Age of Extinction | ShotOnWhat?

Special Effects Coordinator

Transformers: Age of Extinction (2014)

Directed by: Michael Bay

Cinematography by: Amir Mokri

Edited by: Roger Barton, William Goldenberg, Paul Rubell

Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera

Lenses: Leitz Summilux-C Series Lenses, Panavision G Series Anamorphic Lenses

Editing System: Avid Editing System

The Secret Life of Walter Mitty | ShotOnWhat?

Special Effects Supervisor

The Secret Life of Walter Mitty (2013)

Directed by: Ben Stiller

Cinematography by: Stuart Dryburgh

Edited by: Greg Hayden

Cameras: ARRICAM Lite (LT) Camera

Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses

R.I.P.D. | ShotOnWhat?

Special Effects Supervisor

R.I.P.D. (2013)

Directed by: Robert Schwentke

Cinematography by: Alwin H. Küchler

Edited by: Mark Helfrich

Cameras: ARRI ALEXA Camera

Lenses: Zeiss Master Prime Lenses

Men in Black 3 | ShotOnWhat?

Special Effects Supervisor

Men in Black 3 (2012)

Directed by: Barry Sonnenfeld

Cinematography by: Bill Pope

Edited by: Don Zimmerman

Cameras: ARRI ALEXA Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Extremely Loud & Incredibly Close | ShotOnWhat?

Special Effects: "Falling Man"

Extremely Loud & Incredibly Close (2011)

Directed by: Stephen Daldry

Cinematography by: Chris Menges

Edited by: Claire Simpson

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke 5/i Lenses

Editing System: Avid Editing System, Final Cut Pro Editing System

Pirates of the Caribbean: On Stranger Tides | ShotOnWhat?

Special Effects Coordinator

Pirates of the Caribbean: On Stranger Tides (2011)

Directed by: Rob Marshall

Cinematography by: Dariusz Wolski

Edited by: David Brenner, Wyatt Smith

Cameras: Red Epic Camera, Red One MX Camera

Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Anamorphic Lenses, Zeiss Ultra Prime Lenses

The Sorcerer's Apprentice | ShotOnWhat?

Special Effects Coordinator

The Sorcerer's Apprentice (2010)

Directed by: Jon Turteltaub

Cinematography by: Bojan Bazelli

Edited by: William Goldenberg

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera

Lenses: Cooke S4 Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

The Other Guys | ShotOnWhat?

Special Effects Supervisor

The Other Guys (2010)

Directed by: Adam McKay

Cinematography by: Oliver Wood

Edited by: Brent White

Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

Jonas Brothers: The 3D Concert Experience | ShotOnWhat?

Special Effects

Jonas Brothers: The 3D Concert Experience (2009)

Directed by: Bruce Hendricks

Cinematography by: Mitchell Amundsen, Reed Smoot

Edited by: Michael Tronick

Terminator Salvation | ShotOnWhat?

Second Unit Special Effects Coordinator

Terminator Salvation (2009)

Directed by: McG

Cinematography by: Shane Hurlbut

Edited by: Conrad Buff IV

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 III Camera, Pan-Arri 435 Xtreme Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

The Taking of Pelham 1 2 3 | ShotOnWhat?

Special Effects Coordinator

The Taking of Pelham 123 (2009)

Directed by: Tony Scott

Cinematography by: Tobias A. Schliessler

Edited by: Chris Lebenzon

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

Pirates of the Caribbean: At World's End | ShotOnWhat?

Special Effects Coordinator / Special Effects Gimbal Foreman: Bahamas

Pirates of the Caribbean: At World's End (2007)

Directed by: Gore Verbinski

Cinematography by: Dariusz Wolski

Edited by: Stephen E. Rivkin, Craig Wood

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

National Treasure: Book of Secrets | ShotOnWhat?

Special Effects Co-coordinator

National Treasure: Book of Secrets (2007)

Directed by: Jon Turteltaub

Cinematography by: Amir Mokri, John Schwartzman

Edited by: William Goldenberg, David Rennie

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

Lenses: Panavision Primo Anamorphic Lenses

Poseidon | ShotOnWhat?

Special Effects Technician: Second Unit

Poseidon (2006)

Directed by: Wolfgang Petersen

Cinematography by: John Seale

Edited by: Peter Honess

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

Pirates of the Caribbean: Dead Man's Chest | ShotOnWhat?

Special Effects Gimbal Foreman

Pirates of the Caribbean: Dead Man's Chest (2006)

Directed by: Gore Verbinski

Cinematography by: Dariusz Wolski

Edited by: Stephen E. Rivkin, Craig Wood

Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

xXx: State of the Union | ShotOnWhat?

Special Effects Technician

xXx: State of the Union (2005)

Directed by: Lee Tamahori

Cinematography by: David Tattersall

Edited by: Mark Goldblatt, Todd E. Miller, Steven Rosenblum

Spanglish | ShotOnWhat?

Special Effects Foreman

Spanglish (2004)

Directed by: James L. Brooks

Cinematography by: John Seale

Edited by: Richard Marks, Tia Nolan

Spider-Man 2 | ShotOnWhat?

Special Effects Foreman

Spider-Man 2 (2004)

Directed by: Sam Raimi

Cinematography by: Bill Pope

Edited by: Bob Murawski

Cameras: ARRIFLEX 435 Camera, Beaumont Vista Vision Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision System 65 Camera

Lenses: Panavision Hylén System Lens, Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

Hulk | ShotOnWhat?

Special Effects Technician

Hulk (2003)

Directed by: Ang Lee

Cinematography by: Frederick Elmes

Edited by: Tim Squyres

Cameras: ARRIFLEX 535 B Camera

Lenses: Cooke Panchro/i Classic Lenses, Cooke S4 Lenses

2 Fast 2 Furious | ShotOnWhat?

Special Effects Technician

2 Fast 2 Furious (2003)

Directed by: John Singleton

Cinematography by: Matthew F. Leonetti

Edited by: Bruce Cannon, Dallas Puett

Cameras: ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera

Lenses: Cooke S4 Lenses

Reign of Fire | ShotOnWhat?

Special Effects Technician: The Secret Lab

Reign of Fire (2002)

Directed by: Rob Bowman

Cinematography by: Adrian Biddle

Edited by: Thom Noble, Declan McGrath

Cameras: Panavision Cameras

Spider-Man | ShotOnWhat?

Special Effects

Spider-Man (2002)

Directed by: Sam Raimi

Cinematography by: Don Burgess

Edited by: Arthur Coburn, Bob Murawski

Cameras: Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

Editing System: Avid Editing System

Minority Report | ShotOnWhat?

Effects Technician

Minority Report (2002)

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Michael Kahn

Cameras: Panavision Panaflex Camera

Lenses: Panavision Lenses

A.I. Artificial Intelligence | ShotOnWhat?

Properties Technician

A.I. Artificial Intelligence (2001)

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Michael Kahn

Cameras: Panavision Cameras

Lenses: ARRI / Zeiss Lenses

How the Grinch Stole Christmas | ShotOnWhat?

Property Shop

How the Grinch Stole Christmas (2000)

Directed by: Ron Howard

Cinematography by: Donald Peterman

Edited by: Daniel P. Hanley, Mike Hill

Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision SL10 10 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL35-CF 35 mm T1.8 Lens

Stigmata | ShotOnWhat?

Special Effects

Stigmata (1999)

Directed by: Rupert Wainwright

Cinematography by: Jeffrey L. Kimball

Edited by: Michael J. Duthie, Michael R. Miller

Godzilla | ShotOnWhat?

Special Effects

Godzilla (1998)

Directed by: Roland Emmerich

Cinematography by: Ueli Steiger

Edited by: Peter Amundson, David Siegel

Turbulence | ShotOnWhat?

Special Effects Technician

Turbulence (1997)

Directed by: Robert Butler

Cinematography by: Lloyd Ahern II

Edited by: John Duffy

Speed 2: Cruise Control | ShotOnWhat?

Special Effects

Speed 2: Cruise Control (1997)

Directed by: Jan de Bont

Cinematography by: Jack N. Green

Edited by: Alan Cody

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