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Black Panther: Wakanda Forever | ShotOnWhat?

Additional Supervision: Cinesite Montreal Black Panther: Wakanda Forever (2022)

Directed by: Ryan Coogler

Cinematography by: Autumn Durald Arkapaw

Edited by: Kelley Dixon, Jennifer Lame, Michael P. Shawver

Cameras: Sony CineAlta VENICE Camera

Lenses: Panavision B Series Anamorphic Lenses, Panavision Macro Anamorphic Panatar Prime Lenses, Panavision T Series Anamorphic Lenses, Panavision Ultra Panatar Anamorphic Lenses

No Time to Die | ShotOnWhat?

Head Of Matchmove And Layout: Cinesite, Supervision & Visual Effects Artist: Cinesite No Time to Die (2021)

Directed by: Cary Joji Fukunaga

Cinematography by: Linus Sandgren

Edited by: Tom Cross, Elliot Graham

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, ARRIFLEX 765 Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera

Lenses: Hasselblad Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Sphero 65 Series Lenses

Editing System: Avid Editing System

Mary Poppins Returns | ShotOnWhat?

Matchmove Artist: Cinesite Mary Poppins Returns (2018)

Directed by: Rob Marshall

Cinematography by: Dion Beebe

Edited by: Wyatt Smith

Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras

Lenses: Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo V Lenses, Panavision Primo V PV21 21mm T1.9 Lens, Panavision Primo V PV27 27mm T1.9 Lens, Panavision Primo V PV50 50mm T1.9 Lens

The Predator | ShotOnWhat?

Lead Tracking And Layout The Predator (2018)

Directed by: Shane Black

Cinematography by: Larry Fong

Edited by: Harry B. Miller III

Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Series Cameras

Lenses: Panavision Ultra Speed MKII Lenses

Assassin's Creed | ShotOnWhat?

Matchmove Artist: Cinesite Assassin's Creed (2016)

Directed by: Justin Kurzel

Cinematography by: Adam Arkapaw

Edited by: Christopher Tellefsen

Cameras: ARRI ALEXA 65 Camera

San Andreas | ShotOnWhat?

Matchmover: Cinesite San Andreas (2015)

Directed by: Brad Peyton

Cinematography by: Steve Yedlin

Edited by: Bob Ducsay

Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT Plus Camera

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

Maggie | ShotOnWhat?

Matchmove Artist: Cinesite Maggie (2015)

Directed by: Henry Hobson

Cinematography by: Lukas Ettlin

Edited by: Jane Rizzo

Cameras: ARRI ALEXA Camera, Blackmagic Design Cameras, Red Epic Camera

The Man from U.N.C.L.E. | ShotOnWhat?

Matchmover: Cinesite The Man from U.N.C.L.E. (2015)

Directed by: Guy Ritchie

Cinematography by: John Mathieson

Edited by: James Herbert

Cameras: ARRI ALEXA XT Plus Camera, Canon EOS-5D Mark II Camera, Canon EOS-C500 Camera, GoPro HD Hero3 Camera

Lenses: Cooke Varotal Lenses, Panavision E Series Anamorphic Lenses, Zeiss Super Speed Lenses

The Revenant | ShotOnWhat?

Tracking Artist: Cinesite The Revenant (2015)

Directed by: Alejandro G. Iñárritu

Cinematography by: Emmanuel Lubezki

Edited by: Stephen Mirrione

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, Red Epic Dragon Camera

Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

RoboCop | ShotOnWhat?

Layout & Tracking Artist RoboCop (2014)

Directed by: José Padilha

Cinematography by: Lula Carvalho

Edited by: Peter McNulty, Daniel Rezende

Cameras: ARRI ALEXA Camera, Red Epic Camera

X-Men: Days of Future Past | ShotOnWhat?

Digital Artist: Cinesite X-Men: Days of Future Past (2014)

Directed by: Bryan Singer

Cinematography by: Newton Thomas Sigel

Edited by: Michael Louis Hill, John Ottman

Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera

Lenses: ARRI / Fujinon Lenses, Fujinon Lenses, Leitz Summilux-C Series Lenses

Hercules | ShotOnWhat?

Matchmove Artist Hercules (2014)

Directed by: Brett Ratner

Cinematography by: Dante Spinotti

Edited by: Mark Helfrich, Julia Wong

Cameras: ARRI ALEXA XT Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Parker | ShotOnWhat?

Data Wrangler / Visual Effects Data Wrangler: Modus FX Parker (2013)

Directed by: Taylor Hackford

Cinematography by: James M. Muro

Edited by: Mark Warner

Cameras: Red Epic Camera

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

This Is the End | ShotOnWhat?

Data Wrangler / Data Wrangler: Modus FX This Is the End (2013)

Directed by: Evan Goldberg, Seth Rogen

Cinematography by: Brandon Trost

Edited by: Zene Baker

Cameras: Panavision Cameras, Red Epic Camera

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses

Now You See Me | ShotOnWhat?

Data Wrangler, Data Wrangler: Modus FX Now You See Me (2013)

Directed by: Louis Leterrier

Cinematography by: Mitchell Amundsen, Larry Fong

Edited by: Robert Leighton, Vincent Tabaillon

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Panavision G Series Anamorphic Lenses

Riddick | ShotOnWhat?

Data Wrangler: Modus FX Riddick (2013)

Directed by: David Twohy

Cinematography by: David Eggby

Edited by: Tracy Adams

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

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