Concept Artist: Framestore
The Aeronauts (2019)
Directed by: Tom Harper
Cinematography by: George Steel
Edited by: Mark Eckersley
Cameras: Red Monstro 8K Camera
Senior Matte Painter: Double Negative
Blade Runner 2049 (2017)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera
Lenses: ARRI / Zeiss Zoom Lenses, 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Lead Matte Painter: Iloura
Gods of Egypt (2016)
Directed by: Alex Proyas
Cinematography by: Peter Menzies Jr.
Edited by: Richard Learoyd
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Lead Matte Painter: Animal Logic
Walking with Dinosaurs 3D (2013)
Cinematography by: John Brooks
Edited by: John Carnochan
Cameras: Red Epic Camera
Matte Painter: Vision Globale
Upside Down (2012)
Directed by: Juan Solanas
Cinematography by: Pierre Gill
Edited by: Paul Jutras
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Matte Painter: Method Studios
Journey 2: The Mysterious Island (2012)
Directed by: Brad Peyton
Cinematography by: David Tattersall
Edited by: David Rennie
Visual Effects: Method Studios
J. Edgar (2011)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Matte Painter: Digital Domain
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Digital Matte Painter: MPC
Source Code (2011)
Directed by: Duncan Jones
Cinematography by: Don Burgess
Edited by: Paul Hirsch
Senior Matte Painter: MPC
The Big Year (2011)
Directed by: David Frankel
Cinematography by: Lawrence Sher
Edited by: Mark Livolsi
Senior Matte Painter
Beastly (2011)
Directed by: Daniel Barnz
Cinematography by: Mandy Walker
Edited by: Thomas J. Nordberg
Senior Matte Painter: MPC
Sucker Punch (2011)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: Panavision Cameras
Matte Painter
Resident Evil: Afterlife (2010)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Niven Howie
Editing System: Avid Editing System
Senior Matte Painter
Charlie St. Cloud (2010)
Directed by: Burr Steers
Cinematography by: Enrique Chediak
Edited by: Padraic McKinley
Lenses: Hawk V-Series Lenses
Digital Matte Painter: Mr. X Inc.
Scott Pilgrim vs. the World (2010)
Directed by: Edgar Wright
Cinematography by: Bill Pope
Matte Painter
Letters to Juliet (2010)
Directed by: Gary Winick
Cinematography by: Marco Pontecorvo
Edited by: Bill Pankow
Matte Painter: Hybride / Textures & Lighting: Hybride
Shorts (2009)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Cameras: Panavision Genesis Camera
Matte Painter: Hybride
Whiteout (2009)
Directed by: Dominic Sena
Cinematography by: Christopher Soos
Edited by: Martin Hunter
Matte Painter: Hybride
The Final Destination (2009)
Directed by: David R. Ellis
Cinematography by: Glen MacPherson
Edited by: Mark Stevens
Cameras: Sony CineAlta F23 Camera, Sony HDC-F950 Camera
Matte Painter: Hybride
Dragonball Evolution (2009)
Directed by: James Wong
Cinematography by: Robert McLachlan
Conceptual Artist: Hybride / Lighting Artist: Hybride / Matte Painter: Hybride / Texture Artist: Hybride
Journey to the Center of the Earth (2008)
Directed by: Eric Brevig
Cinematography by: Chuck Shuman
