Visual Effects Director Of Photography: Kerner Optical
Big Miracle (2012)
Directed by: Ken Kwapis
Cinematography by: John Bailey
Edited by: Cara Silverman
Director Of Photography: Kerner Optical
The Other Guys (2010)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Edited by: Brent White
Director Of Photography: Kerner Optical
The Last Airbender (2010)
Directed by: M. Night Shyamalan
Cinematography by: Andrew Lesnie
Edited by: Conrad Buff IV
Director Of Photography: Kerner Optical
Killers (2010)
Directed by: Robert Luketic
Cinematography by: Russell Carpenter
Cameras: ARRIFLEX D-21 Camera
Lenses: Hawk V-Series Lenses
Director Of Photography: Kerner Optical
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Visual Effects Director Of Photography: Kerner Optical
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Director Of Photography: Live Action , Director Of Photography: Live-action
WALL·E (2008)
Directed by: Andrew Stanton
Cinematography by: Martin Rosenberg
Edited by: Stephen Schaffer
Special Effects Director Of Photography: Kerner Optical
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Visual Effects Director Of Photography: Kerner Optical
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
Model Unit Director Of Photography: ILM
Poseidon (2006)
Directed by: Wolfgang Petersen
Cinematography by: John Seale
Edited by: Peter Honess
Visual Effects Director Of Photography: ILM
xXx: State of the Union (2005)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Visual Effects Director Of Photography
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Additional Visual Effects Photography
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDC-F950 Camera
Visual Effects Director Of Photography
The Pacifier (2005)
Directed by: Adam Shankman
Cinematography by: Peter James
Edited by: Christopher Greenbury
Visual Effects Director Of Photography: ILM
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Visual Effects Director Of Photography: 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
Visual Effects Director Of Photography
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Visual Effects Director Of Photography: ILM
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Director Of Photography: ILM
Hulk (2003)
Directed by: Ang Lee
Cinematography by: Frederick Elmes
Edited by: Tim Squyres
Cameras: ARRIFLEX 535 B Camera
Visual Effects Director Of Photography
The Hunted (2003)
Directed by: William Friedkin
Cinematography by: Caleb Deschanel
Edited by: Augie Hess
Director Of Photography: ILM
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Effects Director Of Photography: ILM
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
Visual Effects Director Of Photography
Jurassic Park III (2001)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Visual Effects Director Of Photography
Pearl Harbor (2001)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera, Photo-Sonics 35mm-4ML Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision Compact Zoom Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Effects Director Of Photography: ILM
Planet of the Apes (2001)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Director Of Photography: 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
Visual Effects Director Of Photography
Space Cowboys (2000)
Directed by: Clint Eastwood
Cinematography by: Jack N. Green
Edited by: Joel Cox
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Effects Director Of Photography: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Visual Effects Camera Operator: ILM
Saving Private Ryan (1998)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Aaton 35-III Camera, Moviecam Superlight Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Editing System: Moviola Editing System
Motion Control Director Of Photography: Miniature Tunnel Unit
Men in Black (1997)
Directed by: Barry Sonnenfeld
Cinematography by: Donald Peterman
Edited by: Jim Miller
Motion Control Cameraman: Industrial Light & Magic
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
Visual Effects Director Of Photography: Helicopter Crash Sequence Photography Unit
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
Director Of Miniature Photography
Star Trek: First Contact (1996)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: John W. Wheeler
Visual Effects Camera Operator: ILM
Congo (1995)
Directed by: Frank Marshall
Cinematography by: Allen Daviau
Edited by: Anne V. Coates
Visual Effects Cameraman
Radioland Murders (1994)
Directed by: Mel Smith
Cinematography by: David Tattersall
Edited by: Paul Trejo
Cameras: ARRI ARRIFLEX Series Cameras
Motion Control Supervisor: Visual Effects Unit
The Hudsucker Proxy (1994)
Cinematography by: Roger Deakins
Edited by: Thom Noble
Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Visual Effects Camera Operator
Coneheads (1993)
Directed by: Steve Barron
Cinematography by: Francis Kenny
Edited by: Paul Trejo
Key Effects Cameraman
The Meteor Man (1993)
Directed by: Robert Townsend
Cinematography by: John A. Alonzo
Cameras: Panavision Panaflex Gold Camera
Visual Effects Camera Operator: ILM
Backdraft (1991)
Directed by: Ron Howard
Cinematography by: Mikael Salomon
Visual Effects Camera: ILM
Ghost (1990)
Directed by: Jerry Zucker
Cinematography by: Adam Greenberg
Edited by: Walter Murch
Cameras: ARRI ARRIFLEX Series Cameras
Visual Effects Cameraman
Always (1989)
Directed by: Steven Spielberg
Cinematography by: Mikael Salomon
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Camera Operator: ILM
Field of Dreams (1989)
Directed by: Phil Alden Robinson
Cinematography by: John Lindley
Edited by: Ian Crafford
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Camera Operator: ILM
Back to the Future Part II (1989)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Camera Operator: Visual Effects, ILM
Willow (1988)
Directed by: Ron Howard
Cinematography by: Adrian Biddle
Cameras: Panavision Panaflex Gold Camera
Effects Camera Operator: ILM
Caddyshack II (1988)
Directed by: Allan Arkush
Cinematography by: Harry Stradling Jr.
Edited by: Bernard Gribble
Cameras: Panavision Cameras
Assistant Camera
*batteries not included (1987)
Directed by: Matthew Robbins
Cinematography by: John McPherson
Edited by: Cynthia Scheider
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Assistant Camera Operator: ILM
Back to the Future (1985)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Assistant Cameraman: ILM
The Goonies (1985)
Directed by: Richard Donner
Cinematography by: Nick McLean
Cameras: ARRIFLEX 35 III Camera
Editing System: Steenbeck Editing System
First Assistant Cameraman: USFX
The Right Stuff (1983)
Directed by: Philip Kaufman
Cinematography by: Caleb Deschanel
Director Of Photography: ILM - 2002 Special Version
E.T. the Extra-Terrestrial (1982)
Directed by: Steven Spielberg
Cinematography by: Allen Daviau
Edited by: Carol Littleton
Cameras: Panavision Cameras
Lenses: Panavision Lenses
