On-set Visual Effects Supervisor
Starbright (2019)
Directed by: Francesco Lucente
Cinematography by: Francesco Di Giacomo
Edited by: Julia Furch
Cameras: ARRI Cameras
Lenses: Zeiss Lenses
Visual Effects Supervisor: Sandman Studios
'Raising Hope' Not Indecent, But Not Quite Decent Enough Proposal (2012)
Directed by: Gregory Thomas Garcia
Cinematography by: Walt Fraser
Edited by: William Marrinson
Special Effects, Technical Advisor, Visual Effects Supervisor: Sandman Studios
An Evening with My Comatose Mother (2011)
Directed by: Jonathan Martin
Cinematography by: Devin Graham
Visual Effects Supervisor: Sandman Studios - 1 Episode, 2012
Raising Hope (2010)
Directed by: Eyal Gordin, Rebecca Asher, Mike Mariano, Michael Fresco, Gregory Thomas Garcia, Rick Kelly, Daniel Attias, Phil Traill, Lee Shallat Chemel, Jace Alexander, Randall Einhorn, Tucker Gates, Chris Koch, Jerry Levine, Troy Miller, Matt Shakman, Jaime Eliezer Karas, David Katzenberg, Ken Whittingham, Garret Dillahunt, Richie Keen, Melissa Kosar, Victor Nelli Jr., Timothy Stack, Jeffrey Walker
Edited by: Lawrence A. Maddox, William Marrinson, Dan Riddle, Tim Boettcher, Lance Luckey, Kathy Messer
Cameras: Sony CineAlta F35 Camera
Animation Production Supervisor: Sandman Studios Motion Graphics
Race to Witch Mountain (2009)
Directed by: Andy Fickman
Cinematography by: Greg Gardiner
Edited by: David Rennie
Visual Effects Supervisor: Sandman Studios
Saving Sarah Cain (2007)
Directed by: Michael Landon Jr.
Cinematography by: Matthew Williams
Edited by: Steve Haugen
Cameras: Sony HDW-F900R Camera
Visual Effects Supervisor: Sandman Studios
The Game Plan (2007)
Directed by: Andy Fickman
Cinematography by: Greg Gardiner
Edited by: Michael Jablow
Cameras: Panavision Cameras
Visual Effects Supervisor
Red Riding Hood (2006)
Directed by: Randal Kleiser
Cinematography by: David Stump
Edited by: Harry Hitner
Cameras: Thomson Viper Camera
Lenses: Canon Lenses
Visual Effects Producer: Sandman Studios
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Production Manager: Viewpoint Datalabs
The Tuxedo (2002)
Directed by: Kevin Donovan
Cinematography by: Stephen F. Windon
Edited by: Craig Herring
Interactive Design
Stuart Little 2 (2002)
Directed by: Rob Minkoff
Cinematography by: Steven Poster
Edited by: Priscilla Nedd-Friendly
Virtual Effects Project Manager
The Mexican (2001)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Edited by: Craig Wood
Cameras: Panavision Cameras
Virtual Effects Project Manager
Evolution (2001)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Cameras: Panavision Cameras
Virtual Effects Project Manager
A.I. Artificial Intelligence (2001)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: ARRI / Zeiss Lenses
Virtual Effects Project Manager
The Legend of Bagger Vance (2000)
Directed by: Robert Redford
Cinematography by: Michael Ballhaus
Edited by: Hank Corwin
Post Production Supervisor: PDI/Dreamworks
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Project Manager: Viewpoint Datalabs
Star Trek: Insurrection (1998)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: Peter E. Berger
Cameras: Panavision Cameras
Project Manager: Viewpoint Datalabs
Blade (1998)
Directed by: Stephen Norrington
Cinematography by: Theo van de Sande
Edited by: Paul Rubell
Cameras: Moviecam Compact Camera
Project Manager: Viewpoint Datalabs
The X Files (1998)
Directed by: Rob Bowman
Cinematography by: Ward Russell
Edited by: Stephen Mark
3D Modeling Producer
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Project Manager: Viewpoint Datalabs
You've Got Mail (1998)
Directed by: Nora Ephron
Cinematography by: John Lindley
Edited by: Richard Marks
3D Modeling Producer
Face/Off (1997)
Directed by: John Woo
Cinematography by: Oliver Wood
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
3D Modeling Producer
Con Air (1997)
Directed by: Simon West
Cinematography by: David Tattersall
Cameras: ARRIFLEX 35 III Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses: Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Lightworks Editing System
3D Modeling Producer
Flubber (1997)
Directed by: Les Mayfield
Cinematography by: Dean Cundey
Cameras: Panavision Cameras
Project Manager: Viewpoint Datalabs
Mimic (1997)
Directed by: Guillermo del Toro
Cinematography by: Dan Laustsen
Project Manager: Viewpoint Datalabs
A Simple Wish (1997)
Directed by: Michael Ritchie
Cinematography by: Ralf D. Bode
Edited by: William S. Scharf
3d Modeling Producer
Air Force One (1997)
Directed by: Wolfgang Petersen
Cinematography by: Michael Ballhaus
Edited by: Richard Francis-Bruce
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Variable Prime Lenses
Project Manager: Viewpoint Datalabs
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Project Manager: Viewpoint Datalabs
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
Project Manager: Viewpoint Datalabs
Dante's Peak (1997)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
3D Modeling Producer
Batman & Robin (1997)
Directed by: Joel Schumacher
Cinematography by: Stephen Goldblatt
3D Modeling Producer
The Peacemaker (1997)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Edited by: David Rosenbloom
Project Manager: Viewpoint Datalabs
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
3D Modeling Producer
The Rock (1996)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Edited by: Richard Francis-Bruce
Project Manager: Viewpoint Datalabs
Executive Decision (1996)
Directed by: Stuart Baird
Cinematography by: Alex Thomson
Project Manager: Viewpoint Datalabs
Eraser (1996)
Directed by: Chuck Russell
Cinematography by: Adam Greenberg
Edited by: Michael Tronick
Project Manager: Viewpoint Datalabs
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Project Manager: Viewpoint Datalabs
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
3D Modeling Producer
Independence Day (1996)
Directed by: Roland Emmerich
Cinematography by: Karl Walter Lindenlaub
Edited by: David Brenner
Cameras: Panavision Panaflex Platinum Camera
Lenses: Panavision Lenses
Project Manager: Viewpoint Datalabs , Visual Effects Project Manager: Viewpoint Datalabs
Apollo 13 (1995)
Directed by: Ron Howard
Cinematography by: Dean Cundey
Project Manager: Viewpoint Datalabs
Batman Forever (1995)
Directed by: Joel Schumacher
Cinematography by: Stephen Goldblatt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Production Manager: Viewpoint Datalabs
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
Project Manager: Viewpoint Datalabs
Species (1995)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Edited by: Conrad Buff IV
Project Manager: Viewpoint Datalabs
True Lies (1994)
Directed by: James Cameron
Cinematography by: Russell Carpenter
