Visual Effects Supervisor: One Of Us
Anna Karenina (2012)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Melanie Oliver
Compositor: Double Negative
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Senior Digital Compositor
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Artist: Double Negative
Sherlock Holmes (2009)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Visual Effects Supervisor
Pirate Radio (2009)
Directed by: Richard Curtis
Cinematography by: Danny Cohen
Edited by: Emma E. Hickox
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera
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
Visual Effects Supervisor: Double Negative
In Bruges (2008)
Directed by: Martin McDonagh
Cinematography by: Eigil Bryld
Edited by: Jon Gregory
Visual Effects Supervisor
Franklyn (2008)
Directed by: Gerald McMorrow
Cinematography by: Ben Davis
Edited by: Peter Christelis
Digital Compositor: Double Negative
The Reaping (2007)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Colby Parker Jr.
Compositor: Double Negative
The Bourne Ultimatum (2007)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
Visual Effects Supervisor
Hot Fuzz (2007)
Directed by: Edgar Wright
Cinematography by: Jess Hall
Edited by: Chris Dickens
Visual Effects Supervisor: Double Negative
Alex Rider: Operation Stormbreaker (2006)
Directed by: Geoffrey Sax
Cinematography by: Chris Seager
Edited by: Andrew MacRitchie
Cameras: ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, ARRI / Zeiss Lenses
Digital Compositor: Double Negative
Flyboys (2006)
Directed by: Tony Bill
Cinematography by: Henry Braham
Visual Effect Supervisor: Double Negative
V for Vendetta (2005)
Directed by: James McTeigue
Cinematography by: Adrian Biddle
Edited by: Martin Walsh
Digital Compositor
Sahara (2005)
Directed by: Breck Eisner
Cinematography by: Seamus McGarvey
Edited by: Andrew MacRitchie
Senior Digital Compositor
Batman Begins (2005)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Senior Digital Compositor
Kingdom of Heaven (2005)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Dody Dorn
Visual Effects Supervisor: Double Negative
Agent Cody Banks 2: Destination London (2004)
Directed by: Kevin Allen
Cinematography by: Denis Crossan
Edited by: Andrew MacRitchie
Cameras: Panavision Cameras
Visual Effects Supervisor
Johnny English (2003)
Directed by: Peter Howitt
Cinematography by: Remi Adefarasin
Edited by: Robin Sales
Lenses: Angenieux Lenses, Zeiss Lenses
Editing System: Lightworks Editing System
Digital Compositor
To Kill a King (2003)
Directed by: Mike Barker
Cinematography by: Eigil Bryld
Edited by: Guy Bensley
Cameras: Panavision Cameras
Senior 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
Senior Digital Compositor
Cold Mountain (2003)
Directed by: Anthony Minghella
Cinematography by: John Seale
Edited by: Walter Murch
Editing System: Final Cut Pro Editing System
Senior Digital Compositor
Lara Croft Tomb Raider: The Cradle of Life (2003)
Directed by: Jan de Bont
Cinematography by: David Tattersall
Edited by: Michael Kahn
Digital Compositor
Dragonfly (2002)
Directed by: Tom Shadyac
Cinematography by: Dean Semler
Edited by: Don Zimmerman
Digital Compositor
Below (2002)
Directed by: David Twohy
Cinematography by: Ian Wilson
Edited by: Martin Hunter
Visual Effects Supervisor: Double Negative
The Hours (2002)
Directed by: Stephen Daldry
Cinematography by: Seamus McGarvey
Edited by: Peter Boyle
2D Compositor: Double Negative
Revelation (2001)
Directed by: Stuart Urban
Cinematography by: Sam McCurdy
Edited by: Julian Rodd
Lead Compositor: 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
Nutty Professor II: The Klumps (2000)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: William Kerr
Digital Compositor
Billy Elliot (2000)
Directed by: Stephen Daldry
Cinematography by: Brian Tufano
Edited by: John Wilson
Cameras: Aaton 35-III Camera, ARRIFLEX 35 BL4 Camera
Lenses: Zeiss Lenses
Digital Compositor
The World Is Not Enough (1999)
Directed by: Michael Apted
Cinematography by: Adrian Biddle
Edited by: Jim Clark
Computer Graphics Coordinator
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Computer Graphics Artist: Bionics
The Saint (1997)
Directed by: Phillip Noyce
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: Panavision Panaflex Gold II Camera
Computer Graphics Designer
The Jackal (1997)
Directed by: Michael Caton-Jones
Cinematography by: Karl Walter Lindenlaub
Edited by: Jim Clark
