Opticals
The Dark Knight Rises (2012)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera, Panavision System 65 Camera
Lenses: Hasselblad Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Visual Effects Photography
Bullet to the Head (2012)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Timothy Alverson
Digital Colorist
Case 39 (2009)
Directed by: Christian Alvart
Cinematography by: Hagen Bogdanski
Edited by: Mark Goldblatt
Digital Compositor: Custom Film Effects
Swing Vote (2008)
Directed by: Joshua Michael Stern
Cinematography by: Shane Hurlbut
Edited by: Jeff McEvoy
Digital Artist: Custom Film Effects
Tropic Thunder (2008)
Directed by: Ben Stiller
Cinematography by: John Toll
Edited by: Greg Hayden
Digital Compositor
Underdog (2007)
Directed by: Frederik Du Chau
Cinematography by: David Eggby
Edited by: Tom Finan
Digital Compositor: Custom Film Effects
The Invisible (2007)
Directed by: David S. Goyer
Cinematography by: Gabriel Beristain
Edited by: Conrad Smart
Digital Compositor
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Digital Compositor: 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
Digital Colorist
John Tucker Must Die (2006)
Directed by: Betty Thomas
Cinematography by: Anthony B. Richmond
Edited by: Matt Friedman
Digital Colorist / Digital Compositor
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
Digital Compositor: Custom Film Effects
Casanova (2005)
Directed by: Lasse Hallström
Cinematography by: Oliver Stapleton
Edited by: Andrew Mondshein
Digital Colorist
The Family Stone (2005)
Directed by: Thomas Bezucha
Cinematography by: Jonathan Brown
Edited by: Jeffrey Ford
Digital Colorist
The 40-Year-Old Virgin (2005)
Directed by: Judd Apatow
Cinematography by: Jack N. Green
Edited by: Brent White
Digital Colorist
The Skeleton Key (2005)
Directed by: Iain Softley
Cinematography by: Dan Mindel
Edited by: Joe Hutshing
Effects Photography
Eternal Sunshine of the Spotless Mind (2004)
Directed by: Michel Gondry
Cinematography by: Ellen Kuras
Edited by: Valdís Óskarsdóttir
Cameras: ARRICAM Lite (LT) Camera
Model Photography
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
Optical Camera
Vanity Fair (2004)
Directed by: Mira Nair
Cinematography by: Declan Quinn
Edited by: Allyson C. Johnson
Optical Camera
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Camera Operator: Custom Film Effects
Timeline (2003)
Directed by: Richard Donner
Cinematography by: Caleb Deschanel
Edited by: Richard Marks
Optical Camera: Custom Film Effects
Shanghai Knights (2003)
Directed by: David Dobkin
Cinematography by: Adrian Biddle
Edited by: Malcolm Campbell
Green Screen Photographer
Dumb and Dumberer: When Harry Met Lloyd (2003)
Directed by: Troy Miller
Cinematography by: Anthony B. Richmond
Edited by: Lawrence Jordan
Optical Camera
K-19: The Widowmaker (2002)
Directed by: Kathryn Bigelow
Cinematography by: Jeff Cronenweth
Edited by: Walter Murch
Optical Camera
Gangs of New York (2002)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Optical Camera
About Schmidt (2002)
Directed by: Alexander Payne
Cinematography by: James Glennon
Edited by: Kevin Tent
Cameras: Panavision Panaflex Gold II Camera
Optical Camera
Far from Heaven (2002)
Directed by: Todd Haynes
Cinematography by: Edward Lachman
Edited by: James Lyons
Cameras: Moviecam Compact Camera
Optical Camera: Custom Film Effects
Phone Booth (2002)
Directed by: Joel Schumacher
Cinematography by: Matthew Libatique
Edited by: Mark Stevens
Optical Camera
One Hour Photo (2002)
Directed by: Mark Romanek
Cinematography by: Jeff Cronenweth
Edited by: Jeffrey Ford
Optical Camera
Riding in Cars with Boys (2001)
Directed by: Penny Marshall
Cinematography by: Miroslav Ondrícek
Optical Camera
Shallow Hal (2001)
Cinematography by: Russell Carpenter
Edited by: Christopher Greenbury
Optical Camera
Moulin Rouge! (2001)
Directed by: Baz Luhrmann
Cinematography by: Donald McAlpine
Edited by: Jill Bilcock
Editing System: Lightworks Editing System
Optical Camera
The Caveman's Valentine (2001)
Directed by: Kasi Lemmons
Cinematography by: Amy Vincent
Edited by: Terilyn A. Shropshire
Optical Camera
Joe Somebody (2001)
Directed by: John Pasquin
Cinematography by: Daryn Okada
Edited by: David Finfer
Optical Camera
Men of Honor (2000)
Directed by: George Tillman Jr.
Cinematography by: Anthony B. Richmond
Lenses: Cooke S4 Lenses
Optical Camera
Meet the Parents (2000)
Directed by: Jay Roach
Cinematography by: Peter James
Cameras: Panavision Panaflex Platinum Camera
Optical Camera
Thirteen Days (2000)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Edited by: Conrad Buff IV
Optical Camera
Me, Myself & Irene (2000)
Cinematography by: Mark Irwin
Edited by: Christopher Greenbury
Optical Camera
Austin Powers: The Spy Who Shagged Me (1999)
Directed by: Jay Roach
Cinematography by: Ueli Steiger
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Camera
Boys Don't Cry (1999)
Directed by: Kimberly Peirce
Cinematography by: Jim Denault
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Camera
Bats (1999)
Directed by: Louis Morneau
Cinematography by: George Mooradian
Edited by: Glenn Garland
Optical Effects: Illusion Arts
The Jackal (1997)
Directed by: Michael Caton-Jones
Cinematography by: Karl Walter Lindenlaub
Edited by: Jim Clark
Camera Operator: Miniature Production Crew: Illusion Arts
Daylight (1996)
Directed by: Rob Cohen
Cinematography by: David Eggby
Edited by: Peter Amundson
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Digital Advisor
The Birdcage (1996)
Directed by: Mike Nichols
Cinematography by: Emmanuel Lubezki
Edited by: Arthur Schmidt
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Matte Photography: Illusion Arts
Courage Under Fire (1996)
Directed by: Edward Zwick
Cinematography by: Roger Deakins
Edited by: Steven Rosenblum
Matte Photography: Illusion Arts
A Walk in the Clouds (1995)
Directed by: Alfonso Arau
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Matte Photography: Illusion Arts
Speechless (1994)
Directed by: Ron Underwood
Cinematography by: Donald Peterman
Edited by: Richard Francis-Bruce
Matte Photography
The Shadow (1994)
Directed by: Russell Mulcahy
Cinematography by: Stephen H. Burum
Edited by: Peter Honess
Matte Photographer
Naked Gun 33 1/3: The Final Insult (1994)
Directed by: Peter Segal
Cinematography by: Robert M. Stevens
Edited by: James R. Symons
Cameras: Panavision Cameras
Matte Photographer: Illusion Arts Inc.
The Age of Innocence (1993)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Matte Photographer: Illusion Arts
Addams Family Values (1993)
Directed by: Barry Sonnenfeld
Cinematography by: Donald Peterman
Matte Shots
A Few Good Men (1992)
Directed by: Rob Reiner
Cinematography by: Robert Richardson
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Matte Photography
The Butcher's Wife (1991)
Directed by: Terry Hughes
Cinematography by: Frank Tidy
Edited by: Donn Cambern
Matte Photographer
Honey, I Shrunk the Kids (1989)
Directed by: Joe Johnston
Cinematography by: Hiro Narita
Edited by: Michael A. Stevenson
Matte Photography: Los Angeles
Coming to America (1988)
Directed by: John Landis
Cinematography by: Woody Omens
Cameras: Panavision Panaflex Gold Camera
Opticals: CMI, Title Opticals: CMI
Night of the Comet (1984)
Directed by: Thom Eberhardt
Cinematography by: Arthur Albert
Edited by: Fred Stafford
Special Optical Consultant: Fantasy II Film Effects
The Terminator (1984)
Directed by: James Cameron
Cinematography by: Adam Greenberg
Edited by: Mark Goldblatt
Cameras: ARRIFLEX 35 BL Camera, ARRIFLEX 35 III Camera
Lenses: Zeiss Super Speed Lenses
Graphic Animation Photography
Galaxy of Terror (1981)
Directed by: Bruce D. Clark
Cameras: ARRIFLEX Camera
Lenses: Zeiss Lenses
