Animation Supervisor: Titles
Flatliners (2017)
Directed by: Niels Arden Oplev
Cinematography by: Eric Kress
Edited by: Tom Elkins
Cameras: ARRI ALEXA XT Camera
Lenses: Panavision Lenses
Animation Director
Ride Along 2 (2016)
Directed by: Tim Story
Cinematography by: Mitchell Amundsen
Edited by: Peter S. Elliot
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Animation Director
Allegiant (2016)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Stuart Levy
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera
Animation Director
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Animation Director
Think Like a Man Too (2014)
Directed by: Tim Story
Cinematography by: Christopher Duskin
Edited by: Peter S. Elliot
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 Camera
Lenses: Panavision Super Speed Lenses
Animation Director
Annie (2014)
Directed by: Will Gluck
Cinematography by: Michael Grady
Edited by: Tia Nolan
Cameras: Sony PMW-F55 Camera
Digital Compositor: Title Design
The Covenant (2006)
Directed by: Renny Harlin
Cinematography by: Pierre Gill
Edited by: Nicolas De Toth
Lead Animator: End Title Sequence, Picture Mill , Lead Compositor: End Title Sequence, Picture Mill
Dreamgirls (2006)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Lead Compositor: Main Title Sequence
Lady in the Water (2006)
Directed by: M. Night Shyamalan
Cinematography by: Christopher Doyle
Edited by: Barbara Tulliver
Lead Compositor: Main Title Sequence
The Astronaut Farmer (2006)
Directed by: Michael Polish
Cinematography by: M. David Mullen
Edited by: James Haygood
Compositor: Title Designer
The Santa Clause 3: The Escape Clause (2006)
Directed by: Michael Lembeck
Cinematography by: Robbie Greenberg
Edited by: David Finfer
Lead Compositor: Main Title Sequence
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Lead Compositor: Main Title Sequence
Win a Date with Tad Hamilton! (2004)
Directed by: Robert Luketic
Cinematography by: Peter Lyons Collister
Edited by: Scott Hill
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Lightworks Editing System
Designer/animator: Main Title Sequence
Flight of the Phoenix (2004)
Directed by: John Moore
Cinematography by: Brendan Galvin
Edited by: Don Zimmerman
Designer/animator: Main Title Sequence
In Good Company (2004)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Edited by: Myron Kerstein
Lead Compositor: Main Title Sequence
The Grudge (2004)
Directed by: Takashi Shimizu
Cinematography by: Hideo Yamamoto
Edited by: Jeff Betancourt
Lead Compositor: Main Title Sequence
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Lead Compositor: Main Title Sequence
Torque (2004)
Directed by: Joseph Kahn
Cinematography by: Peter Levy
Lead Compositor: Main Title Sequence
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Lead Compositor: Main Title Sequence
Willard (2003)
Directed by: Glen Morgan
Cinematography by: Robert McLachlan
Edited by: James Coblentz
Lead Compositor: End Title Sequence
2 Fast 2 Furious (2003)
Directed by: John Singleton
Cinematography by: Matthew F. Leonetti
Lenses: Cooke S4 Lenses
Lead Compositor: Main Title Sequence
Freaky Friday (2003)
Directed by: Mark Waters
Cinematography by: Oliver Wood
Edited by: Bruce Green
Lead Compositor: Main Title Sequence
How to Lose a Guy in 10 Days (2003)
Directed by: Donald Petrie
Cinematography by: John Bailey
Edited by: Debra Neil-Fisher
Lead Compositor: Main Title Sequence
Signs (2002)
Directed by: M. Night Shyamalan
Cinematography by: Tak Fujimoto
Edited by: Barbara Tulliver
Lead Compositor: Main Title Sequence
Sweet Home Alabama (2002)
Directed by: Andy Tennant
Cinematography by: Andrew Dunn
Lead Compositor: Main Title Sequence
The Country Bears (2002)
Directed by: Peter Hastings
Cinematography by: Mitchell Amundsen
Lead Compositor: Main Title Sequence
Max Keeble's Big Move (2001)
Directed by: Tim Hill
Cinematography by: Arthur Albert
Cameras: Moviecam Compact Camera
Lead Compositor: Main Title Sequence
Legally Blonde (2001)
Directed by: Robert Luketic
Cinematography by: Anthony B. Richmond
Lead Compositor: Main Title Sequence
Swordfish (2001)
Directed by: Dominic Sena
Cinematography by: Paul Cameron
Edited by: Stephen E. Rivkin
