Compositor: Digital Domain
Oblivion (2013)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Richard Francis-Bruce
Cameras: Red Epic Camera, Sony CineAlta F65 Camera
Lenses: Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Editing System: Avid Editing System
Digital Artist: Scanline VFX
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Compositor: Scanline VFX
Super 8 (2011)
Directed by: J.J. Abrams
Cinematography by: Larry Fong
Cameras: ARRIFLEX 16SR3 Camera, ARRIFLEX 435 Camera, Beaulieu 4008 ZM 4 Camera, Bell & Howell Eyemo Camera, Canon 1014XL-S Camera, Panavision Panaflex Millennium XL2 Camera, Red One MX Camera
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, Panavision Primo Anamorphic Lenses, Zeiss Super Speed Lenses
Editing System: Avid Editing System
Compositor: SPI
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Lighting And Compositing Technical Director: SPI
G-Force (2009)
Directed by: Hoyt Yeatman
Cinematography by: Bojan Bazelli
Lighting And Compositing Artist: SPI
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Digital Compositor: SPI
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Lighting And Compositing Artist: SPI
I Am Legend (2007)
Directed by: Francis Lawrence
Cinematography by: Andrew Lesnie
Edited by: Wayne Wahrman
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Lenses
Lighting And Compositing Technical Director: SPI
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
Compositor: CIS Hollywood
The Core (2003)
Directed by: Jon Amiel
Cinematography by: John Lindley
Edited by: Terry Rawlings
Digital Compositor
Big Fish (2003)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor / Visual Effects Artist: Color And Lighting, SPI
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
Digital Compositor
Spider-Man (2002)
Directed by: Sam Raimi
Cinematography by: Don Burgess
Cameras: Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Compositor
xXx (2002)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Digital Compositor
Crouching Tiger, Hidden Dragon (2000)
Directed by: Ang Lee
Cinematography by: Peter Pau
Edited by: Tim Squyres
Cameras: ARRIFLEX 435 ES Camera
Lenses: Zeiss Lenses
Compositor: MVFX
Almost Famous (2000)
Directed by: Cameron Crowe
Cinematography by: John Toll
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor
How the Grinch Stole Christmas (2000)
Directed by: Ron Howard
Cinematography by: Donald Peterman
Compositor: Bullet Time
The Matrix (1999)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
CG Supervisor: Manex Visual Effects Inc.
Deep Blue Sea (1999)
Directed by: Renny Harlin
Cinematography by: Stephen F. Windon
Digital Compositor
Six Days Seven Nights (1998)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Visual Effects Sequence Supervisor: Cinesite
Sphere (1998)
Directed by: Barry Levinson
Cinematography by: Adam Greenberg
Edited by: Stu Linder
Digital Artist: CFC
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Digital Compositor
The Fifth Element (1997)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Sylvie Landra
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
Lenses: Zeiss Lenses
Digital Compositor: Digital Domain
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Digital Roto Artist
Lawnmower Man 2: Beyond Cyberspace (1996)
Directed by: Farhad Mann
Cinematography by: Ward Russell
Digital Compositor
Space Jam (1996)
Directed by: Joe Pytka
Cinematography by: Michael Chapman
Edited by: Sheldon Kahn
Digital Artist
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
