Digital Compositor
The Nice Guys (2016)
Directed by: Shane Black
Cinematography by: Philippe Rousselot
Edited by: Joel Negron
Cameras: ARRI ALEXA XT Camera
Digital Compositor
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Digital Compositor
Kingsman: The Secret Service (2014)
Directed by: Matthew Vaughn
Cinematography by: George Richmond
Editing System: Avid Editing System
Lead Compositor: LipSync Post
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Digital Compositor: LipSync Post
Byzantium (2012)
Directed by: Neil Jordan
Cinematography by: Sean Bobbitt
Edited by: Tony Lawson
Cameras: ARRI ALEXA Plus Camera
Lenses: Zeiss Master Prime Lenses
Digital Compositor: LipSync Post
My Week with Marilyn (2011)
Directed by: Simon Curtis
Cinematography by: Ben Smithard
Edited by: Adam Recht
Lenses: Cooke 5/i Lenses, Cooke S4 Lenses
Digital Compositor: LipSync Post
W.E. (2011)
Directed by: Madonna
Cinematography by: Hagen Bogdanski
Edited by: Danny Tull
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor
The Great Ghost Rescue (2011)
Directed by: Yann Samuell
Cinematography by: Antoine Roch
Digital Compositor: LipSync Post
Shame (2011)
Directed by: Steve McQueen
Cinematography by: Sean Bobbitt
Edited by: Joe Walker
Cameras: ARRICAM Lite (LT) Camera
Lenses: Cooke S4 Lenses
Lead Compositor: Lip Sync Post
Salmon Fishing in the Yemen (2011)
Directed by: Lasse Hallström
Cinematography by: Terry Stacey
Edited by: Lisa Gunning
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Compositing Lead: Baseblack
Never Let Me Go (2010)
Directed by: Mark Romanek
Cinematography by: Adam Kimmel
Edited by: Barney Pilling
Compositor
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Visual Effects: Bluff Hampton Company
Nine (2009)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Compositor: Double Negative
The Soloist (2009)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Paul Tothill
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
Editing System: Lightworks Editing System
Senior Compositor: Double Negative
Miss Pettigrew Lives for a Day (2008)
Directed by: Bharat Nalluri
Cinematography by: John de Borman
Edited by: Barney Pilling
Cameras: Panavision Cameras
2d Supervisor: Double Negative
The Boy in the Striped Pajamas (2008)
Directed by: Mark Herman
Cinematography by: Benoît Delhomme
Edited by: Michael Ellis
Compositor: Double Negative
10,000 BC (2008)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: Alexander Berner
Cameras: ARRI Cameras, Moviecam Cameras
Lenses: Angenieux Lenses, Zeiss Lenses
Senior Compositor: Double Negative
The Edge of Love (2008)
Directed by: John Maybury
Cinematography by: Jonathan Freeman
Edited by: Emma E. Hickox
Lead Compositor: Double Negative
Love in the Time of Cholera (2007)
Directed by: Mike Newell
Cinematography by: Affonso Beato
Edited by: Mick Audsley
Lead Compositor: Double Negative
Atonement (2007)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Paul Tothill
Lenses: Panavision Hylén System Lens, Panavision Primo Primes Spherical Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
Editing System: Avid Editing System
Lead Digital Artist: Double Negative
World Trade Center (2006)
Directed by: Oliver Stone
Cinematography by: Seamus McGarvey
Visual Effects Supervisor: Double Negative
Stranger Than Fiction (2006)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Digital Compositor
The Magic Flute (2006)
Directed by: Kenneth Branagh
Cinematography by: Roger Lanser
Edited by: Michael Parker
Lead Compositor: Double Negative
Sahara (2005)
Directed by: Breck Eisner
Cinematography by: Seamus McGarvey
Edited by: Andrew MacRitchie
2D Supervisor: Double Negative / Co-supervisor: Double Negative
Kingdom of Heaven (2005)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Dody Dorn
Lead Effects Designer: Double Negative
Pride & Prejudice (2005)
Directed by: Joe Wright
Cinematography by: Roman Osin
Edited by: Paul Tothill
Lenses: Cooke S4 Lenses
Editing System: Lightworks Editing System
Digital Artist / Digital Compositor
The Life and Death of Peter Sellers (2004)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: John Smith
Digital Compositor
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor: Double Negative
Below (2002)
Directed by: David Twohy
Cinematography by: Ian Wilson
Edited by: Martin Hunter
Digital Compositor: Double Negative
Dragonfly (2002)
Directed by: Tom Shadyac
Cinematography by: Dean Semler
Edited by: Don Zimmerman
Digital Artist: Jim Henson's Creature Shop , Digital Character And Visual Effects: Jim Henson's Creature Shop
It's a Very Merry Muppet Christmas Movie (2002)
Directed by: Kirk R. Thatcher
Cinematography by: Tony Westman
Edited by: Gregg Featherman
Cameras: Panavision Cameras
Compositing Artist: Double Negative
Bridget Jones's Diary (2001)
Directed by: Sharon Maguire
Cinematography by: Stuart Dryburgh
Edited by: Martin Walsh
Cameras: Panavision Cameras
Lenses: Panavision Lenses
2D Compositor: Double Negative
Revelation (2001)
Directed by: Stuart Urban
Cinematography by: Sam McCurdy
Edited by: Julian Rodd
Lead Digital Compositing Artist: Double Negative
Enemy at the Gates (2001)
Directed by: Jean-Jacques Annaud
Cinematography by: Robert Fraisse
Compositor: Double Negative
The Tailor of Panama (2001)
Directed by: John Boorman
Cinematography by: Philippe Rousselot
Edited by: Ron Davis
Cameras: Panavision Panaflex Platinum Camera
Digital Compositor: Double Negative
Nutty Professor II: The Klumps (2000)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: William Kerr
3D Animator: The Magic Camera Company
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
