Digital Artist: Whiskytree
Thor: Ragnarok (2017)
Directed by: Taika Waititi
Cinematography by: Javier Aguirresarobe
Visual Effects: Atomic Fiction
'Game of Thrones' Hardhome (2015)
Directed by: Miguel Sapochnik
Cinematography by: Fabian Wagner
Edited by: Tim Porter
Visual Effects: Atomic Fiction
'Game of Thrones' Mother's Mercy (2015)
Directed by: David Nutter
Cinematography by: Robert McLachlan
Edited by: Tim Porter
Digital Artist: Industrial Light & Magic
Pacific Rim (2013)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Cameras: Red Epic Camera
Senior Compositor: WETA Digital
The Hobbit: An Unexpected Journey (2012)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Visual Effects: Atomic Fiction - 2 Episodes, 2015
Game of Thrones (2011)
Directed by: David Nutter, Alan Taylor, Alex Graves, Miguel Sapochnik, Mark Mylod, Jeremy Podeswa, Daniel Minahan, Alik Sakharov, Michelle MacLaren, Brian Kirk, David Benioff, D.B. Weiss, Timothy Van Patten, Neil Marshall, David Petrarca, Michael Slovis, Jack Bender, Daniel Sackheim, Matt Shakman
Cinematography by: Anette Haellmigk, Jonathan Freeman, Robert McLachlan, Fabian Wagner, David Franco, Gregory Middleton, P.J. Dillon, Matthew Jensen, Alik Sakharov, Martin Kenzie, Marco Pontecorvo, Kramer Morgenthau, Chris Seager, Sam McCurdy, David Katznelson
Edited by: Katie Weiland, Frances Parker, Crispin Green, Tim Porter, Oral Norrie Ottey, Martin Nicholson, Jesse Parker, Yan Miles
Editing System: Avid Editing System
Digital Artist: ILM
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: ILM
Iron Man (2008)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Edited by: Dan Lebental
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses
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
Digital Artist: ILM
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Digital Artist: ILM
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Color Timing Supervisor: ILM
Are We There Yet? (2005)
Directed by: Brian Levant
Cinematography by: Thomas E. Ackerman
Edited by: Lawrence Jordan
Digital Artist: ILM
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Color Timing Supervisor: ILM
Lemony Snicket's A Series of Unfortunate Events (2004)
Directed by: Brad Silberling
Cinematography by: Emmanuel Lubezki
Edited by: Michael Kahn
Cameras: Panavision Panaflex Platinum Camera
Color Timing Supervisor: ILM
Hidalgo (2004)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Color Timing Supervisor: Industrial Light & Magic - Segment "The Dangerous Thread Of Things"
Eros (2004)
Digital Timing Supervisor: ILM
Timeline (2003)
Directed by: Richard Donner
Cinematography by: Caleb Deschanel
Edited by: Richard Marks
Digital Color Timer: ILM
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Digital Color Timing Supervisor: ILM
Tears of the Sun (2003)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Cameras: Panavision Cameras
Color Timing Supervisor: ILM
Dreamcatcher (2003)
Directed by: Lawrence Kasdan
Cinematography by: John Seale
Color Timing Supervisor
The Hunted (2003)
Directed by: William Friedkin
Cinematography by: Caleb Deschanel
Edited by: Augie Hess
Digital Color Timing Supervisor: ILM
Blood Work (2002)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Digital Timing Supervisor: ILM
K-19: The Widowmaker (2002)
Directed by: Kathryn Bigelow
Cinematography by: Jeff Cronenweth
Edited by: Walter Murch
Digital Color Timing Supervisor: ILM
Men in Black II (2002)
Directed by: Barry Sonnenfeld
Cinematography by: Greg Gardiner
Digital Color Timing Supervisor: ILM
Jurassic Park III (2001)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Color Timing Supervisor: ILM
The Pledge (2001)
Directed by: Sean Penn
Cinematography by: Chris Menges
Edited by: Jay Cassidy
Digital Timing Supervisor: ILM
A.I. Artificial Intelligence (2001)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: ARRI / Zeiss Lenses
Digital Color Timing Supervisor: ILM
Mission to Mars (2000)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Color Timing Supervisor
Space Cowboys (2000)
Directed by: Clint Eastwood
Cinematography by: Jack N. Green
Edited by: Joel Cox
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Timing Supervisor: ILM
October Sky (1999)
Directed by: Joe Johnston
Cinematography by: Fred Murphy
Edited by: Robert Dalva
Color Timing Supervisor: ILM
Magnolia (1999)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Cameras: Panavision Cameras, Pathé Cameras
Lenses: Panavision Lenses
Digital Color Timing Supervisor: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Digital Timing Supervisor: ILM
Sleepy Hollow (1999)
Directed by: Tim Burton
Cinematography by: Emmanuel Lubezki
Cameras: Panavision Panaflex Platinum Camera
Digital Color Timing Supervisor: ILM
The Haunting (1999)
Directed by: Jan de Bont
Cinematography by: Karl Walter Lindenlaub
Edited by: Michael Kahn
Cameras: Panavision Cameras, VistaVision Cameras
Lenses: Panavision Lenses
Digital Color Timing Supervisor: ILM
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
Timing Supervisor: ILM
Celebrity (1998)
Directed by: Woody Allen
Cinematography by: Sven Nykvist
Edited by: Susan E. Morse
Digital Timing Supervisor: ILM
Contact (1997)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Digital Color Timing Supervisor: ILM
Men in Black (1997)
Directed by: Barry Sonnenfeld
Cinematography by: Donald Peterman
Edited by: Jim Miller
Digital Timing Supervisor
The Trigger Effect (1996)
Directed by: David Koepp
Cinematography by: Newton Thomas Sigel
Edited by: Jill Savitt
Digital Timing Supervisor: ILM
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
Digital Timing Supervisor: ILM
Mars Attacks! (1996)
Directed by: Tim Burton
Cinematography by: Peter Suschitzky
Edited by: Chris Lebenzon
Digital Timing Supervisor: ILM
Jumanji (1995)
Directed by: Joe Johnston
Cinematography by: Thomas E. Ackerman
Edited by: Robert Dalva
Cameras: Panavision Cameras
Digital Color Timing Supervisor
The Indian in the Cupboard (1995)
Directed by: Frank Oz
Cinematography by: Russell Carpenter
Edited by: Ian Crafford
Optical Supervisor
The American President (1995)
Directed by: Rob Reiner
Cinematography by: John Seale
Edited by: Robert Leighton
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Supervisor: ILM
Forrest Gump (1994)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Timing Supervisor: ILM
Maverick (1994)
Directed by: Richard Donner
Cinematography by: Vilmos Zsigmond
Optical Photography Supervisor
The Meteor Man (1993)
Directed by: Robert Townsend
Cinematography by: John A. Alonzo
Cameras: Panavision Panaflex Gold Camera
Digital Supervisor: Alien Sequence / Optical Supervisor: Alien Sequence
Fire in the Sky (1993)
Directed by: Robert Lieberman
Cinematography by: Bill Pope
Edited by: Steve Mirkovich
Cameras: Panavision Cameras
Optical Supervisor: ILM
Schindler's List (1993)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Moviola Editing System
Visual Effects Optical Photography Supervisor: ILM
Death Becomes Her (1992)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Edited by: Arthur Schmidt
Optical Photography Supervisor: ILM
The Doors (1991)
Directed by: Oliver Stone
Cinematography by: Robert Richardson
Optical Photography Supervisor: ILM
Terminator 2: Judgment Day (1991)
Directed by: James Cameron
Cinematography by: Adam Greenberg
Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 IIC Camera
Optical Line-up: ILM
Back to the Future Part II (1989)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Optical Supervisor: ILM
The Abyss (1989)
Directed by: James Cameron
Cinematography by: Mikael Salomon
Optical Supervisor
The 'Burbs (1989)
Directed by: Joe Dante
Cinematography by: Robert M. Stevens
Edited by: Marshall Harvey
Optical Lineup: ILM
Indiana Jones and the Last Crusade (1989)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Optical Supervisor
Always (1989)
Directed by: Steven Spielberg
Cinematography by: Mikael Salomon
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Line-up: ILM
Cocoon: The Return (1988)
Directed by: Daniel Petrie
Cinematography by: Tak Fujimoto
Edited by: Mark Warner
Optical Line-up
Who Framed Roger Rabbit (1988)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Edited by: Arthur Schmidt
Lenses: Panavision Lenses
Optical Line-up: ILM
Willow (1988)
Directed by: Ron Howard
Cinematography by: Adrian Biddle
Cameras: Panavision Panaflex Gold Camera
Optical Line-up
*batteries not included (1987)
Directed by: Matthew Robbins
Cinematography by: John McPherson
Edited by: Cynthia Scheider
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Color Timing Supervisor - Special Version
Star Wars: Episode VI - Return of the Jedi (1983)
Directed by: Richard Marquand
Color Timing Supervisor: ILM - 1997 Special Version
Star Wars: Episode V - The Empire Strikes Back (1980)
Directed by: Irvin Kershner
Cinematography by: Peter Suschitzky
Digital Color Timing Supervisor: ILM - 1997 Special Version
Star Wars: Episode IV - A New Hope (1977)
Directed by: George Lucas
Cinematography by: Gilbert Taylor
