Production Support: BlueBolt
Mission: Impossible - Dead Reckoning Part One (2023)
Directed by: Christopher McQuarrie
Cinematography by: Fraser Taggart
Edited by: Eddie Hamilton
Studio Manager: Double Negative - 10 Episodes, 2018
Altered Carbon (2018)
Directed by: Uta Briesewitz, Alex Graves, Peter Hoar, Nick Hurran, M.J. Bassett, Ciaran Donnelly, Jeremy Webb, Andy Goddard, Miguel Sapochnik
Edited by: Amy M. Fleming, Byron Smith, Erin Deck, Barry Alexander Brown, Jonathan Chibnall, Julian Clarke, Michael Ruscio, Geoff Ashenhurst, Stephen Philipson, Jay Prychidny
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Studio Manager: Double Negative
'Altered Carbon' The Wrong Man (2018)
Directed by: Uta Briesewitz
Cinematography by: Neville Kidd
Edited by: Jonathan Chibnall
Studio Manager: Double Negative
'Altered Carbon' Force of Evil (2018)
Directed by: Alex Graves
Cinematography by: Martin Ahlgren
Edited by: Amy M. Fleming
Studio Manager: Double Negative
'Altered Carbon' In a Lonely Place (2018)
Directed by: Nick Hurran
Cinematography by: Neville Kidd
Studio Manager: Double Negative
'Altered Carbon' Fallen Angel (2018)
Directed by: Nick Hurran
Cinematography by: Neville Kidd
Studio Manager: Double Negative
'Altered Carbon' Out of the Past (2018)
Directed by: Miguel Sapochnik
Cinematography by: Martin Ahlgren
Edited by: Barry Alexander Brown
Studio Manager: Double Negative
'Altered Carbon' Man with My Face (2018)
Directed by: Alex Graves
Cinematography by: Martin Ahlgren
Edited by: Amy M. Fleming
Studio Manager: Double Negative
'Altered Carbon' Nora Inu (2018)
Directed by: Andy Goddard
Cinematography by: Neville Kidd
Edited by: Amy M. Fleming
Studio Manager: Double Negative
'Altered Carbon' Clash by Night (2018)
Directed by: Uta Briesewitz
Cinematography by: Neville Kidd
Edited by: Julian Clarke
Studio Manager: Double Negative
'Altered Carbon' Rage in Heaven (2018)
Directed by: Peter Hoar
Cinematography by: Martin Ahlgren
Edited by: Byron Smith
Studio Manager: Double Negative
'Altered Carbon' The Killers (2018)
Directed by: Peter Hoar
Cinematography by: Martin Ahlgren
Studio Manager: Double Negative
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
Studio Manager: Double Negative
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Studio Manager: Double Negative
Bohemian Rhapsody (2018)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Edited by: John Ottman
Editing System: Avid Editing System
Studio Manager: Double Negative
Annihilation (2018)
Directed by: Alex Garland
Cinematography by: Rob Hardy
Edited by: Barney Pilling
Studio Manager: Double Negative
Red Sparrow (2018)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Studio Manager: Double Negative
The Meg (2018)
Directed by: Jon Turteltaub
Cinematography by: Tom Stern
Studio Manager: DNEG
Mission: Impossible - Fallout (2018)
Directed by: Christopher McQuarrie
Cinematography by: Rob Hardy
Edited by: Eddie Hamilton
Studio Manager: Double Negative
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Studio Manager: Double Negative
Dunkirk (2017)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Editing System: Avid Editing System
Studio Manager: Double Negative
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
Studio Manager: Double Negative
Baby Driver (2017)
Directed by: Edgar Wright
Cinematography by: Bill Pope
Studio Manager: DNEG
Thor: Ragnarok (2017)
Directed by: Taika Waititi
Cinematography by: Javier Aguirresarobe
Studio Manager: Double Negative
Wonder Woman (2017)
Directed by: Patty Jenkins
Cinematography by: Matthew Jensen
Edited by: Martin Walsh
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera
Lenses: ARRI Rental Prime 65 Lenses
Studio Manager: DNEG
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Studio Manager: Double Negative
Geostorm (2017)
Directed by: Dean Devlin
Cinematography by: Roberto Schaefer
Cameras: Red Epic Dragon Camera
Studio Manager: Double Negative
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Studio Manager: Double Negative
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Studio Manager: Double Negative
The Huntsman: Winter's War (2016)
Directed by: Cedric Nicolas-Troyan
Cinematography by: Phedon Papamichael
Edited by: Conrad Buff IV
Studio Manager: Double Negative
The Brothers Grimsby (2016)
Directed by: Louis Leterrier
Cinematography by: Oliver Wood
Studio Manager: Double Negative
Assassin's Creed (2016)
Directed by: Justin Kurzel
Cinematography by: Adam Arkapaw
Edited by: Christopher Tellefsen
Cameras: ARRI ALEXA 65 Camera
Studio Manager: Double Negative
Jason Bourne (2016)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Studio Manager: Double Negative
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
Studio Manager: Double Negative
Fantastic Beasts and Where to Find Them (2016)
Directed by: David Yates
Cinematography by: Philippe Rousselot
Edited by: Mark Day
Cameras: ARRI ALEXA XT Camera
Studio Manager: Double Negative
A Cure for Wellness (2016)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Studio Manager: Double Negative
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Studio Manager: Double Negative
The Danish Girl (2015)
Directed by: Tom Hooper
Cinematography by: Danny Cohen
Edited by: Melanie Oliver
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Studio Manager: Double Negative
Mission: Impossible - Rogue Nation (2015)
Directed by: Christopher McQuarrie
Cinematography by: Robert Elswit
Edited by: Eddie Hamilton
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera
Editing System: Avid Editing System
Studio Manager: Double Negative
Spectre (2015)
Directed by: Sam Mendes
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E100 100 mm T2.3 Lens, Panavision Primo 70 Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
Bridge of Spies (2015)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Studio Manager: Double Negative
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Studio Manager: Double Negative
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
Studio Manager: Double Negative
The Hunger Games: Mockingjay - Part 1 (2014)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Studio Manager: Double Negative
Interstellar (2014)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Hasselblad Lenses, Leitz Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
Transcendence (2014)
Directed by: Wally Pfister
Cinematography by: Jess Hall
Edited by: David Rosenbloom
Studio Manager: Double Negative
Exodus: Gods and Kings (2014)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Studio Manager: Double Negative
Hercules (2014)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Cameras: ARRI ALEXA XT Camera
Studio Manager: Double Negative
Paddington (2014)
Directed by: Paul King
Cinematography by: Erik Wilson
Edited by: Mark Everson
Cameras: ARRI ALEXA Studio Camera, ARRI ALEXA XT Camera
Lenses: Cooke S4 Lenses
Studio Manager: Double Negative
Ex Machina (2014)
Directed by: Alex Garland
Cinematography by: Rob Hardy
Edited by: Mark Day
Lenses: Angenieux Optimo Zoom Lenses, Panavision Cooke Xtal Xpress (Joe Dunton Camera Millenium Anamorphic) Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, 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 Primo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Studio Manager: Double Negative
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Studio Manager: Double Negative
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
I/o Supervisor: Double Negative
Captain Phillips (2013)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Studio: Double Negative
The World's End (2013)
Directed by: Edgar Wright
Cinematography by: Bill Pope
Edited by: Paul Machliss
Data Manager: Double Negative London
Rush (2013)
Directed by: Ron Howard
Cinematography by: Anthony Dod Mantle
Studio Manager: Double Negative
The Pirates! Band of Misfits (2012)
Cinematography by: Frank Passingham
Edited by: Justin Krish
Cameras: Canon EOS-5D Mark II Camera
Studio Manager: Double Negative
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Studio: Double Negative
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Studio Manager: Double Negative
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Studio Manager: Double Negative
The Dark Knight Rises (2012)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera, Panavision System 65 Camera
Lenses: Hasselblad Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Data Manager: Double Negative
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
Skyfall (2012)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Studio Manager: Double Negative
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Studio Manager: Double Negative
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Data Manager: Double Negative
Captain America: The First Avenger (2011)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera
Editing System: Avid Editing System
Studio: Double Negative
Attack the Block (2011)
Directed by: Joe Cornish
Cinematography by: Thomas Townend
Edited by: Jonathan Amos
Lenses: Cooke S4 Lenses
Studio Manager: Double Negative
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Studio Manager
Kick-Ass (2010)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Editing System: Avid Editing System
Data Manager: Double Negative
Scott Pilgrim vs. the World (2010)
Directed by: Edgar Wright
Cinematography by: Bill Pope
Studio Manager: Double Negative
Inception (2010)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision System 65 Camera, Phantom HD Gold Camera, Photo-Sonics 35mm-4B/4C Camera, Photo-Sonics 35mm-4ER Camera, Super Panavision-70 Camera
Lenses: Panavision 65mm Prime Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision System 65 Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
Green Zone (2010)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Studio Manager
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Studio Manager: Double Negative
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Studio Manager: Double Negative
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
The Wolfman (2010)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Studio Manager: Double Negative
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Studio Manager: Double Negative
Pirate Radio (2009)
Directed by: Richard Curtis
Cinematography by: Danny Cohen
Edited by: Emma E. Hickox
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera
Studio Manager
Sherlock Holmes (2009)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Studio Manager: Double Negative
The Soloist (2009)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Paul Tothill
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
Editing System: Lightworks Editing System
Studio Manager
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Studio Manager: Double Negative
Franklyn (2008)
Directed by: Gerald McMorrow
Cinematography by: Ben Davis
Edited by: Peter Christelis
Studio Manager: Double Negative
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Studio Manager: Double Negative
The Edge of Love (2008)
Directed by: John Maybury
Cinematography by: Jonathan Freeman
Edited by: Emma E. Hickox
Studio Manager: Double Negative
Inkheart (2008)
Directed by: Iain Softley
Cinematography by: Roger Pratt
Edited by: Martin Walsh
Cameras: Panavision Panaflex Platinum Camera
Technical Support: Double Negative
The Dark Knight (2008)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Hasselblad Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Super Speed Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
In Bruges (2008)
Directed by: Martin McDonagh
Cinematography by: Eigil Bryld
Edited by: Jon Gregory
Studio Manager: Double Negative
The Boy in the Striped Pajamas (2008)
Directed by: Mark Herman
Cinematography by: Benoît Delhomme
Edited by: Michael Ellis
Technical Support: Double Negative
10,000 BC (2008)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: Alexander Berner
Cameras: ARRI Cameras, Moviecam Cameras
Lenses: Angenieux Lenses, Zeiss Lenses
Studio Manager: Double Negative
Doomsday (2008)
Directed by: Neil Marshall
Cinematography by: Sam McCurdy
Studio Manager: Double Negative
Quantum of Solace (2008)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
Miss Pettigrew Lives for a Day (2008)
Directed by: Bharat Nalluri
Cinematography by: John de Borman
Edited by: Barney Pilling
Cameras: Panavision Cameras
Studio: Double Negative
The Duchess (2008)
Directed by: Saul Dibb
Cinematography by: Gyula Pados
Edited by: Masahiro Hirakubo
Studio Manager: Double Negative
Cloverfield (2008)
Directed by: Matt Reeves
Cinematography by: Michael Bonvillain
Edited by: Kevin Stitt
Cameras: Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses: Canon Lenses, Zeiss DigiPrime Lenses
Studio Manager: Double Negative
The Reaping (2007)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Colby Parker Jr.
Visual Effects Studio Manager: Double Negative
Love in the Time of Cholera (2007)
Directed by: Mike Newell
Cinematography by: Affonso Beato
Edited by: Mick Audsley
Studio Manager: Double Negative
Grindhouse (2007)
Studio Manager: Double Negative
Atonement (2007)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Paul Tothill
Lenses: Panavision Hylén System Lens, Panavision Primo Primes Spherical Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
Editing System: Avid Editing System
Studio Manager: Double Negative
Hot Fuzz (2007)
Directed by: Edgar Wright
Cinematography by: Jess Hall
Edited by: Chris Dickens
Studio Manager: Double Negative
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
Data Manager: Double Negative
The Bourne Ultimatum (2007)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
Studio Manager: Double Negative
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Studio Manager: Double Negative
Alex Rider: Operation Stormbreaker (2006)
Directed by: Geoffrey Sax
Cinematography by: Chris Seager
Edited by: Andrew MacRitchie
Cameras: ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, ARRI / Zeiss Lenses
Visual Effects Editorial: Double Negative
Children of Men (2006)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Studio Manager: Double Negative
The Da Vinci Code (2006)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Studio Manager: Double Negative
World Trade Center (2006)
Directed by: Oliver Stone
Cinematography by: Seamus McGarvey
Studio Manager: Double Negative
Flyboys (2006)
Directed by: Tony Bill
Cinematography by: Henry Braham
Studio Manager: Double Negative
Casino Royale (2006)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Studio Manager: Double Negative
The Magic Flute (2006)
Directed by: Kenneth Branagh
Cinematography by: Roger Lanser
Edited by: Michael Parker
Digital Artist: Double Negative
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Scan Record Manager: Double Negative
Stranger Than Fiction (2006)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Studio Manager: Double Negative
Penelope (2006)
Directed by: Mark Palansky
Cinematography by: Michel Amathieu
Edited by: Jon Gregory
Visual Effects Studio Manager: Double Negative
Batman Begins (2005)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Studio Manager
Kingdom of Heaven (2005)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Dody Dorn
Studio Manager: Double Negative
Sahara (2005)
Directed by: Breck Eisner
Cinematography by: Seamus McGarvey
Edited by: Andrew MacRitchie
Studio Manager: Double Negative
V for Vendetta (2005)
Directed by: James McTeigue
Cinematography by: Adrian Biddle
Edited by: Martin Walsh
Visual Effects: Double Negative
Harry Potter and the Goblet of Fire (2005)
Directed by: Mike Newell
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Studio Manager: Double Negative
Doom (2005)
Directed by: Andrzej Bartkowiak
Cinematography by: Tony Pierce-Roberts
Edited by: Derek Brechin
Studio Manager: Double Negative
Pride & Prejudice (2005)
Directed by: Joe Wright
Cinematography by: Roman Osin
Edited by: Paul Tothill
Lenses: Cooke S4 Lenses
Editing System: Lightworks Editing System
Studio Manager: Double Negative
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Studio Manager: Double Negative
Resident Evil: Apocalypse (2004)
Directed by: Alexander Witt
Edited by: Eddie Hamilton
Studio Manager: Double Negative
Finding Neverland (2004)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Editing System: Avid Editing System
Studio Manager
Shaun of the Dead (2004)
Directed by: Edgar Wright
Cinematography by: David M. Dunlap
Edited by: Chris Dickens
Cameras: ARRI Cameras
Studio Manager: Double Negative
Agent Cody Banks 2: Destination London (2004)
Directed by: Kevin Allen
Cinematography by: Denis Crossan
Edited by: Andrew MacRitchie
Cameras: Panavision Cameras
Studio Manager: Double Negative
Bridget Jones: The Edge of Reason (2004)
Directed by: Beeban Kidron
Cinematography by: Adrian Biddle
Edited by: Greg Hayden
Studio Manager: Double Negative
In My Country (2004)
Directed by: John Boorman
Cinematography by: Seamus Deasy
Edited by: Ron Davis
Studio Manager: Double Negative
Lara Croft Tomb Raider: The Cradle of Life (2003)
Directed by: Jan de Bont
Cinematography by: David Tattersall
Edited by: Michael Kahn
Studio Manager: Double Negative
Cold Mountain (2003)
Directed by: Anthony Minghella
Cinematography by: John Seale
Edited by: Walter Murch
Editing System: Final Cut Pro Editing System
Studio Manager: Double Negative
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Studio Manager: Double Negative
Johnny English (2003)
Directed by: Peter Howitt
Cinematography by: Remi Adefarasin
Edited by: Robin Sales
Lenses: Angenieux Lenses, Zeiss Lenses
Editing System: Lightworks Editing System
Studio Manager: Double Negative
To Kill a King (2003)
Directed by: Mike Barker
Cinematography by: Eigil Bryld
Edited by: Guy Bensley
Cameras: Panavision Cameras
Studio Manager: Double Negative
The Hours (2002)
Directed by: Stephen Daldry
Cinematography by: Seamus McGarvey
Edited by: Peter Boyle
Studio Manager: Double Negative
Dragonfly (2002)
Directed by: Tom Shadyac
Cinematography by: Dean Semler
Edited by: Don Zimmerman
Studio Manager: Double Negative
Die Another Day (2002)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Studio Manager: Double Negative
Below (2002)
Directed by: David Twohy
Cinematography by: Ian Wilson
Edited by: Martin Hunter
Studio Manager: Double Negative
The Tailor of Panama (2001)
Directed by: John Boorman
Cinematography by: Philippe Rousselot
Edited by: Ron Davis
Cameras: Panavision Panaflex Platinum Camera
Studio Manager: Double Negative Ltd
Enemy at the Gates (2001)
Directed by: Jean-Jacques Annaud
Cinematography by: Robert Fraisse
Studio Manager: Double Negative
Bridget Jones's Diary (2001)
Directed by: Sharon Maguire
Cinematography by: Stuart Dryburgh
Edited by: Martin Walsh
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Studio Manager: Double Negative
Revelation (2001)
Directed by: Stuart Urban
Cinematography by: Sam McCurdy
Edited by: Julian Rodd
Studio Manager: Double Negative Ltd
Nutty Professor II: The Klumps (2000)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: William Kerr
Studio Manager: Double Negative Ltd
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Studio Manager: Double Negative
Billy Elliot (2000)
Directed by: Stephen Daldry
Cinematography by: Brian Tufano
Edited by: John Wilson
Cameras: Aaton 35-III Camera, ARRIFLEX 35 BL4 Camera
Lenses: Zeiss Lenses
Studio Manager: Double Negative
Pitch Black (2000)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Rick Shaine
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Studio Manager: Framestore-CFC
Notting Hill (1999)
Directed by: Roger Michell
Cinematography by: Michael Coulter
Edited by: Nick Moore
Cameras: Moviecam Cameras
Editing System: Lightworks Editing System
Studio Manager: CFC
In Dreams (1999)
Directed by: Neil Jordan
Cinematography by: Darius Khondji
Edited by: Tony Lawson
Studio Manager: CFC
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Studio Manager: CFC
The Avengers (1998)
Directed by: Jeremiah S. Chechik
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Studio Manager: CFC
Snake Eyes (1998)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Bill Pankow
Lenses: Panavision C Series Anamorphic Lenses, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens
Editing System: Avid Editing System
Studio Manager: CFC
Event Horizon (1997)
Directed by: Paul W.S. Anderson
Cinematography by: Adrian Biddle
Edited by: Martin Hunter
Cameras: Panavision Panaflex Platinum Camera
Studio Manager: CFC
Tomorrow Never Dies (1997)
Directed by: Roger Spottiswoode
Cinematography by: Robert Elswit
Cameras: Panavision Panaflex Gold II Camera
Digital Effects: CFC
The Saint (1997)
Directed by: Phillip Noyce
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: Panavision Panaflex Gold II Camera
Studio Manager
Jude (1996)
Directed by: Michael Winterbottom
Cinematography by: Eduardo Serra
Edited by: Trevor Waite
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Studio Manager: CFC
Hamlet (1996)
Directed by: Kenneth Branagh
Cinematography by: Alex Thomson
Edited by: Neil Farrell
Studio Manager: CFC
Executive Decision (1996)
Directed by: Stuart Baird
Cinematography by: Alex Thomson
Studio Manager: CFC
Mission: Impossible (1996)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Cameras: Panavision Panaflex Camera, Wescam Cameras
Editing System: Lightworks Editing System
Studio Manager
Under Siege 2: Dark Territory (1995)
Directed by: Geoff Murphy
Cinematography by: Robbie Greenberg
Edited by: Michael Tronick
Studio Manager: CFC
French Kiss (1995)
Directed by: Lawrence Kasdan
Cinematography by: Owen Roizman
Edited by: Joe Hutshing
Cameras: Panavision Panaflex Camera
Studio Manager: CFC
Braveheart (1995)
Directed by: Mel Gibson
Cinematography by: John Toll
Edited by: Steven Rosenblum
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Studio Manager: CFC
The Quick and the Dead (1995)
Directed by: Sam Raimi
Cinematography by: Dante Spinotti
Edited by: Pietro Scalia
Studio Manager: CFC
Interview with the Vampire: The Vampire Chronicles (1994)
Directed by: Neil Jordan
Cinematography by: Philippe Rousselot
Cameras: Panavision Panaflex Platinum Camera
Studio Manager: CFC
No Escape (1994)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: ARRIFLEX 35 BL4 Camera
Digital Compositor: CFC
The Hudsucker Proxy (1994)
Cinematography by: Roger Deakins
Edited by: Thom Noble
Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Studio Manager: CFC
Frankenstein (1994)
Directed by: Kenneth Branagh
Cinematography by: Roger Pratt
Edited by: Andrew Marcus
Digital Special Effects: CFC
Little Buddha (1993)
Directed by: Bernardo Bertolucci
Cinematography by: Vittorio Storaro
Edited by: Pietro Scalia
Studio Manager: CFC
Last Action Hero (1993)
Directed by: John McTiernan
Cinematography by: Dean Semler
Cameras: Panavision Panaflex Gold II Camera
Studio Manager: CFC
The Young Americans (1993)
Directed by: Danny Cannon
Cinematography by: Vernon Layton
Edited by: Alex Mackie
Studio Manager: CFC
Splitting Heirs (1993)
Directed by: Robert Young
Cinematography by: Tony Pierce-Roberts
Edited by: John Jympson
Studio Manager: CFC
Much Ado About Nothing (1993)
Directed by: Kenneth Branagh
Cinematography by: Roger Lanser
Edited by: Andrew Marcus
Studio Manager: CFC
The Sandlot (1993)
Directed by: David Mickey Evans
Cinematography by: Anthony B. Richmond
Edited by: Michael A. Stevenson
Studio Manager: CFC
Arizona Dream (1993)
Directed by: Emir Kusturica
Cinematography by: Vilko Filac
Cameras: Panavision Cameras
Studio Manager: CFC
The Secret Garden (1993)
Directed by: Agnieszka Holland
Cinematography by: Roger Deakins
Edited by: Isabelle Lorente
Cameras: Panavision Cameras
Studio Manager: CFC
Map of the Human Heart (1992)
Directed by: Vincent Ward
Cinematography by: Eduardo Serra
Studio Manager: CFC
1492: Conquest of Paradise (1992)
Directed by: Ridley Scott
Cinematography by: Adrian Biddle
Studio Manager: CFC
Wuthering Heights (1992)
Directed by: Peter Kosminsky
Cinematography by: Mike Southon
Edited by: Tony Lawson
Cameras: ARRI Cameras