Visual Effects Supervisor: Custom Film
If I Stay (2014)
Directed by: R.J. Cutler
Cinematography by: John de Borman
Edited by: Keith Henderson
Visual Effects Supervisor: Custom Film Effects
Bullet to the Head (2012)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Timothy Alverson
Visual Effects Supervisor
Diary of a Wimpy Kid: Dog Days (2012)
Directed by: David Bowers
Cinematography by: Anthony B. Richmond
Edited by: Troy Takaki
Visual Effects Supervisor: Custom Film Effects
The Vow (2012)
Directed by: Michael Sucsy
Cinematography by: Rogier Stoffers
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Visual Effects Supervisor
The Descendants (2011)
Directed by: Alexander Payne
Cinematography by: Phedon Papamichael
Edited by: Kevin Tent
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Visual Effects Supervisor
Diary of a Wimpy Kid: Rodrick Rules (2011)
Directed by: David Bowers
Cinematography by: Jack N. Green
Edited by: Troy Takaki
Cameras: Panavision Cameras
Visual Effects Supervisor
I Don't Know How She Does It (2011)
Directed by: Douglas McGrath
Cinematography by: Stuart Dryburgh
Edited by: Camilla Toniolo
Visual Effects Supervisor: Custom Film Effects
Big Mommas: Like Father, Like Son (2011)
Directed by: John Whitesell
Cinematography by: Anthony B. Richmond
Edited by: Priscilla Nedd-Friendly
Visual Effects Supervisor
Something Borrowed (2011)
Directed by: Luke Greenfield
Cinematography by: Charles Minsky
Edited by: John Axelrad
Visual Effects Supervisor
The Back-up Plan (2010)
Directed by: Alan Poul
Cinematography by: Xavier Grobet
Edited by: Priscilla Nedd-Friendly
Visual Effects Supervisor
Diary of a Wimpy Kid (2010)
Directed by: Thor Freudenthal
Cinematography by: Jack N. Green
Edited by: Wendy Greene Bricmont
Cameras: Panavision Cameras
Visual Effects Supervisor: Custom Film Effects
Leap Year (2010)
Directed by: Anand Tucker
Cinematography by: Newton Thomas Sigel
Edited by: Nick Moore
Visual Effects Supervisor
Devil (2010)
Directed by: John Erick Dowdle
Cinematography by: Tak Fujimoto
Edited by: Elliot Greenberg
Cameras: Panavision Cameras
Visual Effects Supervisor
Case 39 (2009)
Directed by: Christian Alvart
Cinematography by: Hagen Bogdanski
Edited by: Mark Goldblatt
Visual Effects Supervisor: Custom Film Effects
Mother and Child (2009)
Directed by: Rodrigo García
Cinematography by: Xavier Grobet
Edited by: Steven Weisberg
Visual Effects Supervisor
Bride Wars (2009)
Directed by: Gary Winick
Cinematography by: Frederick Elmes
Edited by: Susan Littenberg
Cameras: ARRI Cameras
Visual Effects Supervisor
The Blind Side (2009)
Directed by: John Lee Hancock
Cinematography by: Alar Kivilo
Edited by: Mark Livolsi
Lenses: Zeiss Master Prime Lenses
Visual Effects Supervisor
Old Dogs (2009)
Directed by: Walt Becker
Cinematography by: Jeffrey L. Kimball
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor: Custom Film Effects
Halloween II (2009)
Directed by: Rob Zombie
Cinematography by: Brandon Trost
Cameras: ARRI Cameras
Visual Effects Supervisor
27 Dresses (2008)
Directed by: Anne Fletcher
Cinematography by: Peter James
Edited by: Priscilla Nedd-Friendly
Visual Effects Supervisor: Custom Film Effects
Flash of Genius (2008)
Directed by: Marc Abraham
Cinematography by: Dante Spinotti
Edited by: Jill Savitt
Visual Effects Supervisor: Custom Film Effects
Swing Vote (2008)
Directed by: Joshua Michael Stern
Cinematography by: Shane Hurlbut
Edited by: Jeff McEvoy
Visual Effects Supervisor: Custom Film Effects
The Reader (2008)
Directed by: Stephen Daldry
Edited by: Claire Simpson
Lenses: Zeiss Master Prime Lenses
Visual Effects Supervisor: Custom Film Effects
Tropic Thunder (2008)
Directed by: Ben Stiller
Cinematography by: John Toll
Edited by: Greg Hayden
Visual Effects Supervisor: Custom Film Effects
3:10 to Yuma (2007)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Edited by: Michael McCusker
Editing System: Avid Editing System
Visual Effects Supervisor
Underdog (2007)
Directed by: Frederik Du Chau
Cinematography by: David Eggby
Edited by: Tom Finan
Visual Effects Supervisor: Custom Film Effects
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Visual Effects Supervisor: Custom Film Effects
The Lookout (2007)
Directed by: Scott Frank
Cinematography by: Alar Kivilo
Edited by: Jill Savitt
Visual Effects Supervisor: Custom Film Effects
The Invisible (2007)
Directed by: David S. Goyer
Cinematography by: Gabriel Beristain
Edited by: Conrad Smart
Visual Effects Supervisor
The Black Dahlia (2006)
Directed by: Brian De Palma
Cinematography by: Vilmos Zsigmond
Edited by: Bill Pankow
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Visual Effects Supervisor
Sea of Dreams (2006)
Directed by: José Pepe Bojórquez
Cinematography by: Chris Chomyn
Edited by: Tia Nolan
Visual Effects Supervisor
Infamous (2006)
Directed by: Douglas McGrath
Cinematography by: Bruno Delbonnel
Edited by: Camilla Toniolo
Visual Effects Supervisor: Custom Film Effects
Happy Endings (2005)
Directed by: Don Roos
Cinematography by: Clark Mathis
Edited by: David Codron
Editing System: Final Cut Pro Editing System
Visual Effects Supervisor: Custom Film Effects
The Pacifier (2005)
Directed by: Adam Shankman
Cinematography by: Peter James
Edited by: Christopher Greenbury
Visual Effects Supervisor: Custom Film Effects
Are We There Yet? (2005)
Directed by: Brian Levant
Cinematography by: Thomas E. Ackerman
Edited by: Lawrence Jordan
Visual Effects Supervisor
Son of the Mask (2005)
Directed by: Lawrence Guterman
Cinematography by: Greg Gardiner
Visual Effects Supervisor
The Family Stone (2005)
Directed by: Thomas Bezucha
Cinematography by: Jonathan Brown
Edited by: Jeffrey Ford
Visual Effects Supervisor: Custom Film Effects
Casanova (2005)
Directed by: Lasse Hallström
Cinematography by: Oliver Stapleton
Edited by: Andrew Mondshein
Visual Effects Supervisor: Custom Film Effects
The Big Bounce (2004)
Directed by: George Armitage
Cinematography by: Jeffrey L. Kimball
Visual Effects Supervisor: Custom Film Effects
The Notebook (2004)
Directed by: Nick Cassavetes
Cinematography by: Robert Fraisse
Edited by: Alan Heim
Visual Effects Supervisor: Custom Film Effects
A Dirty Shame (2004)
Directed by: John Waters
Cinematography by: Steve Gainer
Edited by: Jeffrey Wolf
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Visual Effects Supervisor: Custom Film Effects
Eternal Sunshine of the Spotless Mind (2004)
Directed by: Michel Gondry
Cinematography by: Ellen Kuras
Edited by: Valdís Óskarsdóttir
Cameras: ARRICAM Lite (LT) Camera
Opticals: Custom Film Effects
Cellular (2004)
Directed by: David R. Ellis
Cinematography by: Gary Capo
Edited by: Eric A. Sears
Digital Optical Supervisor: Custom Film Effects, Optical Supervisor: Custom Film Effects
Duplex (2003)
Directed by: Danny DeVito
Cinematography by: Anastas N. Michos
Visual Effects Supervisor: Custom Film Effects
Wonderland (2003)
Directed by: James Cox
Cinematography by: Michael Grady
Edited by: Jeff McEvoy
Opticals
American Wedding (2003)
Directed by: Jesse Dylan
Cinematography by: Lloyd Ahern II
Edited by: Stuart H. Pappé
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Supervisor: Custom Film Effects
Scary Movie 3 (2003)
Directed by: David Zucker
Cinematography by: Mark Irwin
Visual Effects Supervisor
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor: Custom Film Effects
Shanghai Knights (2003)
Directed by: David Dobkin
Cinematography by: Adrian Biddle
Edited by: Malcolm Campbell
Visual Effects Supervisor: Custom Film Effects
Timeline (2003)
Directed by: Richard Donner
Cinematography by: Caleb Deschanel
Edited by: Richard Marks
Visual Effects Supervisor: Custom Film Effects
Daredevil (2003)
Directed by: Mark Steven Johnson
Cinematography by: Ericson Core
Digital Effects Opticals And End Titles: Custom Film Effects
The Shape of Things (2003)
Directed by: Neil LaBute
Cinematography by: James L. Carter
Edited by: Joel Plotch
Visual Effects Supervisor: Custom Film Effects
The Banger Sisters (2002)
Directed by: Bob Dolman
Cinematography by: Karl Walter Lindenlaub
Edited by: Aram Nigoghossian
Title Designer, Visual Effects Supervisor
A Walk to Remember (2002)
Directed by: Adam Shankman
Cinematography by: Julio Macat
Edited by: Emma E. Hickox
Cameras: ARRI Cameras
Visual Effects Supervisor: Custom Film Effects
Chicago (2002)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Martin Walsh
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System, Lightworks Editing System
Visual Effects Supervisor: Custom Film Effects
S1m0ne (2002)
Directed by: Andrew Niccol
Cinematography by: Edward Lachman
Edited by: Paul Rubell
Titles And Opticals: Custom Film Effects
Far from Heaven (2002)
Directed by: Todd Haynes
Cinematography by: Edward Lachman
Edited by: James Lyons
Cameras: Moviecam Compact Camera
Visual Effects Supervisor: Custom Film Effects
Brown Sugar (2002)
Directed by: Rick Famuyiwa
Edited by: Dirk Westervelt
Visual Effects Supervisor: Custom Film Effects
Gangs of New York (2002)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Visual Effects Supervisor: Custom Film Effects
Phone Booth (2002)
Directed by: Joel Schumacher
Cinematography by: Matthew Libatique
Edited by: Mark Stevens
Titles And Opticals: Custom Film Effects
The Caveman's Valentine (2001)
Directed by: Kasi Lemmons
Cinematography by: Amy Vincent
Edited by: Terilyn A. Shropshire
Main Titles: Custom Film Effects, Visual Effects Supervisor
Shallow Hal (2001)
Cinematography by: Russell Carpenter
Edited by: Christopher Greenbury
Opticals: Custom Film Effects
Final Destination (2000)
Directed by: James Wong
Cinematography by: Robert McLachlan
Edited by: James Coblentz
Optical Effects: Custom Film Effects
Boys Don't Cry (1999)
Directed by: Kimberly Peirce
Cinematography by: Jim Denault
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Opticals: Custom Film Effects, Titles: Custom Film Effects
Body Shots (1999)
Directed by: Michael Cristofer
Cinematography by: Rodrigo García
Edited by: Eric A. Sears
Opticals And End Titles: Custom Film Effects
Austin Powers: The Spy Who Shagged Me (1999)
Directed by: Jay Roach
Cinematography by: Ueli Steiger
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor: Buena Vista Imaging
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Visual Effects Supervisor: Buena Vista Imaging
Deep Rising (1998)
Directed by: Stephen Sommers
Cinematography by: Howard Atherton
Visual Effects Supervisor
Holy Man (1998)
Directed by: Stephen Herek
Cinematography by: Adrian Biddle
Edited by: Trudy Ship
Visual Effects Supervisor: Buena Vista Imaging
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
Digital Visual Effects: Buena Vista Imaging
As Good as It Gets (1997)
Directed by: James L. Brooks
Cinematography by: John Bailey
Edited by: Richard Marks
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Effects Supervisor
Spy Hard (1996)
Directed by: Rick Friedberg
Cinematography by: John R. Leonetti
Edited by: Eric A. Sears
Optical Effects Supervisor
The Rock (1996)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Edited by: Richard Francis-Bruce
Visual Effects Supervisor
101 Dalmatians (1996)
Directed by: Stephen Herek
Cinematography by: Adrian Biddle
Edited by: Trudy Ship
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Effects Supervisor: Buena Vista Imaging
Murder in the First (1995)
Directed by: Marc Rocco
Cinematography by: Fred Murphy
Edited by: Russell Livingstone
Optical Effects Supervision
Dead Presidents (1995)
Cinematography by: Lisa Rinzler
Edited by: Dan Lebental
Cameras: Panavision Panaflex Gold II Camera
Optical Effects Supervisor
Blood In, Blood Out (1993)
Directed by: Taylor Hackford
Cinematography by: Gabriel Beristain
Cameras: ARRIFLEX Camera
Co-visual Effects Supervisor: Buena Vista Visual Effects
Honey, I Blew Up the Kid (1992)
Directed by: Randal Kleiser
Cinematography by: John Hora
Lenses: Canon K35 Prime Lenses
Optical Supervisor
Wild Hearts Can't Be Broken (1991)
Directed by: Steve Miner
Cinematography by: Daryn Okada
Edited by: Jon Poll
Optical Line-up
Honey, I Shrunk the Kids (1989)
Directed by: Joe Johnston
Cinematography by: Hiro Narita
Edited by: Michael A. Stevenson
Matte Line-up: Los Angeles
Coming to America (1988)
Directed by: John Landis
Cinematography by: Woody Omens
Cameras: Panavision Panaflex Gold Camera
Optical Line-up: Boss Film Corporation
Vibes (1988)
Directed by: Ken Kwapis
Cinematography by: John Bailey
Edited by: Carol Littleton
Visual Effects Optical Line-up
Masters of the Universe (1987)
Directed by: Gary Goddard
Cinematography by: Hanania Baer
Edited by: Anne V. Coates