Digital Artist
A Quiet Place (2018)
Directed by: John Krasinski
Cinematography by: Charlotte Bruus Christensen
Edited by: Christopher Tellefsen
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
Digital Artist
Rogue One (2016)
Directed by: Gareth Edwards
Cinematography by: Greig Fraser
Cameras: ARRI ALEXA 65 Camera
Lenses: Panavision APO Panatar Lenses
Editing System: Avid Editing System
Digital Artist
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Digital Artist: ILM
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Digital Artist
Transformers: Age of Extinction (2014)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera
Editing System: Avid Editing System
Digital Artist: ILM
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
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
Roto Lead: The Base Studio
The Green Hornet (2011)
Directed by: Michel Gondry
Cinematography by: John Schwartzman
Edited by: Michael Tronick
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom HD Camera, Red One MX Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Stereoscopic Conversion Artist
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Paint And Rotoscope Artist: Evil Eye Pictures
The Other Guys (2010)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Edited by: Brent White
Roto/paint Artist: Evil Eye Pictures
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Roto/paint Artist: Evil Eye Pictures
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Roto/paint Artist: Evil Eye Pictures
Ninja Assassin (2009)
Directed by: James McTeigue
Cinematography by: Karl Walter Lindenlaub
Lenses: Zeiss Master Prime Lenses
Roto/paint Artist: ILM
The Spiderwick Chronicles (2008)
Directed by: Mark Waters
Cinematography by: Caleb Deschanel
Edited by: Michael Kahn
Paint/roto Artist: Evil Eye Pictures
Australia (2008)
Directed by: Baz Luhrmann
Cinematography by: Mandy Walker
Digital Artist: RotoFactory
The Love Guru (2008)
Directed by: Marco Schnabel
Cinematography by: Peter Deming
Digital Artist
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
Rotoscope Artist: The Orphanage
Untraceable (2008)
Directed by: Gregory Hoblit
Cinematography by: Anastas N. Michos
Digital Artist: RotoFactory
Synecdoche, New York (2008)
Directed by: Charlie Kaufman
Cinematography by: Frederick Elmes
Edited by: Robert Frazen
Roto/paint Artist: The Orphanage
In the Name of the King: A Dungeon Siege Tale (2007)
Directed by: Uwe Boll
Cinematography by: Mathias Neumann
Edited by: David M. Richardson
Roto/paint Artist
Grindhouse (2007)
Roto Artist: ILM
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 Artist: ILM
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
Roto/paint Artist: The Orphanage
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Roto/paint Artist: The Orphanage
Superman Returns (2006)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Panavision Genesis Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Rotoscope Artist: The Orphanage
Pulse (2006)
Directed by: Jim Sonzero
Cinematography by: Mark Plummer
