Additional Film Dailies Scanner
Longlegs (2024)
Directed by: Osgood Perkins
Cinematography by: Andres Arochi
Dailies Film Scanner: Company 3 Los Angeles
Maestro (2023)
Directed by: Bradley Cooper
Cinematography by: Matthew Libatique
Edited by: Michelle Tesoro
Lenses: Panavision PVintage Prime Lenses
Dailies Film Scanner
The Iron Claw (2023)
Directed by: Sean Durkin
Cinematography by: Mátyás Erdély
Edited by: Matthew Hannam
Dailies Scanner: Company 3
Killers of the Flower Moon (2023)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Bell & Howell 2709 Camera, Phantom Flex4K Camera, Sony CineAlta VENICE Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Cooke Speed Panchro Lenses, Panavision T Series Anamorphic Lenses
Editing System: Lightworks Editing System
Dailies Film Scanner: Company 3
Babylon (2022)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Film Dailies Scanner
F9 (2021)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Lenses: Tokina Vista Cinema Prime Lenses
Dailies Film Scanner
Ad Astra (2019)
Directed by: James Gray
Cinematography by: Hoyte Van Hoytema
Additional Dailies Scanner
Pokémon: Detective Pikachu (2019)
Directed by: Rob Letterman
Cinematography by: John Mathieson
Dailies Film Scanner
Seberg (2019)
Directed by: Benedict Andrews
Cinematography by: Rachel Morrison
Edited by: Pamela Martin
Dailies Film Scanner
The Lighthouse (2019)
Directed by: Robert Eggers
Cinematography by: Jarin Blaschke
Edited by: Louise Ford
Lenses: Bausch & Lomb Lenses, Pathé Lenses
Additional Film Scanner: Dailies
Star Wars: Episode IX - The Rise of Skywalker (2019)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Digital Intermediate Film Scanner
BlacKkKlansman (2018)
Directed by: Spike Lee
Cinematography by: Chayse Irvin
Edited by: Barry Alexander Brown
Dailies Film Scanner
First Man (2018)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Digital Intermediate Film Scanner
A Quiet Place (2018)
Directed by: John Krasinski
Cinematography by: Charlotte Bruus Christensen
Edited by: Christopher Tellefsen
Lenses: Angenieux Optimo Anamorphic 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 Macro Anamorphic Panatar Prime Lenses, Panavision Primo Anamorphic Lenses, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses
Dailies Film Scanner
Boy Erased (2018)
Directed by: Joel Edgerton
Cinematography by: Eduard Grau
Edited by: Jay Rabinowitz
Lenses: Zeiss Super Speed Lenses
Dailies Film Scanner
Roman J. Israel, Esq. (2017)
Directed by: Dan Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Dailies Film Scanner
Mother! (2017)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 416 Camera
Digital Intermediate Film Scanner
I, Tonya (2017)
Directed by: Craig Gillespie
Cinematography by: Nicolas Karakatsanis
Edited by: Tatiana S. Riegel
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Leitz Summilux-C Series Lenses
Digital Intermediate Film Scanner
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Dailies Film Scanner
The Book of Henry (2017)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Lenses: Panavision Lenses
Dailies Film Scanner
Battle of the Sexes (2017)
Cinematography by: Linus Sandgren
Edited by: Pamela Martin
Dailies Film Scanner
La La Land (2016)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Dailies Scanner
Midnight Special (2016)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Dailies Scanner
Hail, Caesar! (2016)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Adobe Premiere Editing System
Dailies Scanner
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Dailies Scanner / Digital Intermediate Dailies Scanner
Entourage (2015)
Directed by: Doug Ellin
Cinematography by: Steven Fierberg
Edited by: Jeff Groth
Cameras: ARRICAM Lite (LT) Camera
Digital Scanning And Recording
Star Wars: Episode VII - The Force Awakens (2015)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRI ALEXA Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Hasselblad Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Retro C 100mm T2.8 Lens, Panavision Retro C 35mm T2.8 Lens, Panavision Retro C 40mm T2.8 Lens, Panavision Retro C 50mm T2.8 Lens, Panavision Retro C 60mm T2.8 Lens, Panavision Retro C 75mm T2.8 Lens
Editing System: Avid Editing System
Digital Scanning And Recording
Trainwreck (2015)
Directed by: Judd Apatow
Cinematography by: Jody Lee Lipes
Cameras: ARRICAM Lite (LT) Camera
Lenses: Cooke 5/i Lenses
Digital Intermediate Dailies Scanner
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Digital Intermediate Film Scanner
The Big Short (2015)
Directed by: Adam McKay
Cinematography by: Barry Ackroyd
Edited by: Hank Corwin
Dailies Scanner
Joy (2015)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Lenses: Zeiss Ultra Prime Lenses
Dailies Scanner
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 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 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Dailies Scanner
Jane Got a Gun (2015)
Directed by: Gavin O'Connor
Cinematography by: Mandy Walker
Edited by: Alan Cody
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision B Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Intermediate Dailies Scanner
The Homesman (2014)
Directed by: Tommy Lee Jones
Cinematography by: Rodrigo Prieto
Edited by: Roberto Silvi
Cameras: ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera
Digital Intermediate Dailies Scanner
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 Intermediate Scanner
This Means War (2012)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Nicolas De Toth
Digital Intermediate Scanner
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Digital Intermediate Scanner
Man on a Ledge (2012)
Directed by: Asger Leth
Cinematography by: Paul Cameron
Edited by: Kevin Stitt
Digital Intermediate Scan Operator
Savages (2012)
Directed by: Oliver Stone
Cinematography by: Dan Mindel
Digital Intermediate Scanner
Wanderlust (2012)
Directed by: David Wain
Cinematography by: Michael Bonvillain
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Intermediate Scanner
Bridesmaids (2011)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Digital Film Scanner
The Change-Up (2011)
Directed by: David Dobkin
Cinematography by: Eric Alan Edwards
Lenses: Cooke S4 Lenses
Digital Film Scanner
The Rum Diary (2011)
Directed by: Bruce Robinson
Cinematography by: Dariusz Wolski
Edited by: Carol Littleton
Lenses: Zeiss Ultra Prime Lenses
Digital Film Scanner
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
Digital Scanner
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
Digital Intermediate Scan Operator
Circumstance (2011)
Directed by: Maryam Keshavarz
Cinematography by: Brian Rigney Hubbard
Edited by: Andrea Chignoli
Digital Intermediate Scanner
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Film Scanner
Sucker Punch (2011)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: Panavision Cameras
Digital Film Scanner
Robin Hood (2010)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Panavision Genesis Camera
Lenses: Angenieux Optimo Zoom Lenses, Optica Elite Lenses, Panavision Compact Zoom Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Film Scanner
Get Him to the Greek (2010)
Directed by: Nicholas Stoller
Cinematography by: Robert D. Yeoman
Cameras: Panavision Cameras
Digital Film Scanner
Let Me In (2010)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Edited by: Stan Salfas
Scanning Operator: Company 3
The Conspirator (2010)
Directed by: Robert Redford
Cinematography by: Newton Thomas Sigel
Edited by: Craig McKay
Digital Film Scanner
The Crazies (2010)
Directed by: Breck Eisner
Cinematography by: Maxime Alexandre
Edited by: Billy Fox
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Digital Film Scanner
Just Wright (2010)
Directed by: Sanaa Hamri
Cinematography by: Terry Stacey
Edited by: Melissa Kent
Digital Film Scanner
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
DI Scanner
The Road (2009)
Directed by: John Hillcoat
Cinematography by: Javier Aguirresarobe
Edited by: Jon Gregory
Cameras: ARRICAM Lite (LT) Camera
Digital Intermediate Film Scanner
The Uninvited (2009)
Cinematography by: Daniel Landin
Cameras: Panavision Cameras
Digital Film Scanner
Brooklyn's Finest (2009)
Directed by: Antoine Fuqua
Cinematography by: Patrick Murguia
Edited by: Barbara Tulliver
DI Scanner
Transformers: Revenge of the Fallen (2009)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Iwerks IW5A Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Digital Film Scanner
A Single Man (2009)
Directed by: Tom Ford
Cinematography by: Eduard Grau
Edited by: Joan Sobel
Film Scanner
Friday the 13th (2009)
Directed by: Marcus Nispel
Cinematography by: Daniel Pearl
Edited by: Ken Blackwell
Digital Intermediate Film Scanner
The Hurt Locker (2008)
Directed by: Kathryn Bigelow
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Digital Intermediate Film Scanner
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Digital Intermediate Film Scanner
The Burning Plain (2008)
Directed by: Guillermo Arriaga
Cinematography by: Robert Elswit
Edited by: Craig Wood
Cameras: Panavision Cameras
Electrician
Saw (2004)
Directed by: James Wan
Cinematography by: David A. Armstrong
Edited by: Kevin Greutert
