Digital Artist: ILM
Indiana Jones and the Dial of Destiny (2023)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Visual Effects Layout Artist: ILM
The Creator (2023)
Directed by: Gareth Edwards
Cameras: Sony ILME-FX3 Camera
Digital Artist: Industrial Light & Magic
Black Panther: Wakanda Forever (2022)
Directed by: Ryan Coogler
Cinematography by: Autumn Durald Arkapaw
Cameras: Sony CineAlta VENICE Camera
Vfx Producer: Match The Motion
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Visual Effects Producer: Match The Motion
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
Visual Effects Producer: Match The Motion
Deadpool (2016)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA XT Plus Camera
Editing System: Adobe Premiere Editing System
Visual Effects Producer: Match The Motion
The Walk (2015)
Directed by: Robert Zemeckis
Cinematography by: Dariusz Wolski
Edited by: Jeremiah O'Driscoll
Cameras: Red Epic Dragon Camera
Visual Effects Producer: Match The Motion
Anomalisa (2015)
Cinematography by: Joe Passarelli
Edited by: Garret Elkins
Cameras: Canon EOS-7D Camera
Visual Effects Producer - Match The Motion
Need for Speed (2014)
Directed by: Scott Waugh
Cinematography by: Shane Hurlbut
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Anamorphic Lenses, Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens, Cooke S4/i Prime 12mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 180mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Leica Elmarit-R II 28 mm f2.0, Leica Super Angulon-R 21 mm f4.0, Leica Super-Elmarit-R 15 mm f2.8, Leitz Summicron-C 21 mm T2.0 Lens, Zeiss Distagon T* 15mm f2.8 ZE, Zeiss Distagon T* 18mm f3.5 ZE
Visual Effects Producer - Match The Motion
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
Visual Effects Producer: Match The Motion
The Mortal Instruments: City of Bones (2013)
Directed by: Harald Zwart
Cinematography by: Geir Hartly Andreassen
Edited by: Jacqueline Carmody
Visual Effects Producer: Match The Motion
Grown Ups 2 (2013)
Directed by: Dennis Dugan
Cinematography by: Theo van de Sande
Edited by: Tom Costain
Cameras: Red Epic Camera
Visual Effects Producer: Match The Motion
This Is the End (2013)
Cinematography by: Brandon Trost
Edited by: Zene Baker
Cameras: Panavision Cameras, Red Epic Camera
Matchmove Artist: Pixomondo
Beautiful Creatures (2013)
Directed by: Richard LaGravenese
Cinematography by: Philippe Rousselot
Edited by: David Moritz
Visual Effects Producer: Match The Motion
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Layout Artist: ILM
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Digital Artist: Industrial Light & Magic
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Matchmove Artist: Pixomondo
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Layout: ILM
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Digital Artist: Industrial Light & Magic
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Layout: ILM
Mission: Impossible - Ghost Protocol (2011)
Directed by: Brad Bird
Cinematography by: Robert Elswit
Edited by: Paul Hirsch
Cameras: ARRIFLEX 435 Xtreme Camera, IMAX MSM 9802 Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
3d Integration Manager: Prime Focus
Sucker Punch (2011)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: Panavision Cameras
Tracking Artist
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Layout: ILM
Super 8 (2011)
Directed by: J.J. Abrams
Cinematography by: Larry Fong
Cameras: ARRIFLEX 16SR3 Camera, ARRIFLEX 435 Camera, Beaulieu 4008 ZM 4 Camera, Bell & Howell Eyemo Camera, Canon 1014XL-S Camera, Panavision Panaflex Millennium XL2 Camera, Red One MX Camera
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, Panavision Primo Anamorphic Lenses, Zeiss Super Speed Lenses
Editing System: Avid Editing System
Tracking Supervisor: Prime Focus VFX
Tron (2010)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: James Haygood
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Editing System: Avid Editing System
Digital Artist: Prime Focus
The A-Team (2010)
Directed by: Joe Carnahan
Cinematography by: Mauro Fiore
Tracking Lead: Pixel Playground
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Matchmove Technical Director: Rhythm And Hues
Alvin and the Chipmunks: The Squeakquel (2009)
Directed by: Betty Thomas
Cinematography by: Anthony B. Richmond
Edited by: Matt Friedman
Lenses: Cooke S4 Lenses
Tracking: Pixel Playground
Public Enemies (2009)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Tracking Supervisor
The Twilight Saga: New Moon (2009)
Directed by: Chris Weitz
Cinematography by: Javier Aguirresarobe
Edited by: Peter Lambert
Match Move Artist: Rhythm & Hues Studios
Night at the Museum: Battle of the Smithsonian (2009)
Directed by: Shawn Levy
Cinematography by: John Schwartzman
Tracking/matchmove Artist: Rhythm And Hues
Cirque du Freak: The Vampire's Assistant (2009)
Directed by: Paul Weitz
Cinematography by: James M. Muro
Edited by: Leslie Jones
Matchmove Technical Director: Rhythm And Hues
Aliens in the Attic (2009)
Directed by: John Schultz
Cinematography by: Don Burgess
Edited by: John Pace
Tracking Lead: Prime Focus
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Tracking Lead: X1FX
The Incredible Hulk (2008)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Editing System: Avid Editing System
3D Integration Artist: Digital Domain / Digital Artist: Digital Domain
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Tracking Artist: Zoic FX
Quarantine (2008)
Directed by: John Erick Dowdle
Cinematography by: Ken Seng
Edited by: Elliot Greenberg
Tracking Artist: Pixel Playground
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Tracking Artist: X1 FX
The Chronicles of Narnia: Prince Caspian (2008)
Directed by: Andrew Adamson
Cinematography by: Karl Walter Lindenlaub
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera
Lenses: Zeiss Master Prime Lenses
Tracking Artist: Asylum FX
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
