Digital Artist
Guardians of the Galaxy Vol. 2 (2017)
Directed by: James Gunn
Cinematography by: Henry Braham
Cameras: Red Weapon Dragon Camera
Lenses: Panavision Primo 70 Lenses
Digital Artist
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Digital Artist
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Digital Artist
Seventh Son (2014)
Directed by: Sergei Bodrov
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA Camera
Visual Effects Artist
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Artist: Method Studios
300: Rise of an Empire (2014)
Directed by: Noam Murro
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Digital Artist
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Matte Painter
Divergent (2014)
Directed by: Neil Burger
Cinematography by: Alwin H. Küchler
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Matte Painter
Exodus: Gods and Kings (2014)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Matte Painter
Hercules (2014)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Cameras: ARRI ALEXA XT Camera
Visual Effects Artist
White House Down (2013)
Directed by: Roland Emmerich
Cinematography by: Anna Foerster
Edited by: Adam Wolfe
Digital Artist
The Wolverine (2013)
Directed by: James Mangold
Cinematography by: Ross Emery
Edited by: Michael McCusker
Cameras: ARRI ALEXA Camera
Digital Artist
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Texture: Method Studios
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Matte Painting/texture: Method Studios
This Means War (2012)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Nicolas De Toth
Texture Artist: Method Studios LA
Cloud Atlas (2012)
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
Editing System: Avid Editing System
Digital Effects Artist / Texturer: Method Studios
Wrath of the Titans (2012)
Directed by: Jonathan Liebesman
Cinematography by: Ben Davis
Edited by: Martin Walsh
Texture Painter
Green Lantern (2011)
Directed by: Martin Campbell
Cinematography by: Dion Beebe
Edited by: Stuart Baird
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Texture Painter
Unstoppable (2010)
Directed by: Tony Scott
Cinematography by: Ben Seresin
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera
Editing System: Avid Editing System
Digital Artist
The Next Three Days (2010)
Directed by: Paul Haggis
Cinematography by: Stéphane Fontaine
Edited by: Jo Francis
Texture Artist: Asylum
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Digital Artist
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Digital Artist
The Curious Case of Benjamin Button (2008)
Directed by: David Fincher
Cinematography by: Claudio Miranda
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Digital Texture Painter
Surf's Up (2007)
Texture Artist: SPI
I Am Legend (2007)
Directed by: Francis Lawrence
Cinematography by: Andrew Lesnie
Edited by: Wayne Wahrman
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Lenses
Digital Texture Painter
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Lead Texture Painter: Digital Domain
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
Digital Matte Painter: Digital Domain
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
Digital Matte Painter: Digital Domain
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
CG Texture Painter: Cinesite
Windtalkers (2002)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
3D Artist: Cinesite
The Mothman Prophecies (2002)
Directed by: Mark Pellington
Cinematography by: Fred Murphy
Edited by: Brian Berdan
Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision Lenses
Digital Matte Painter: Digital Domain
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Digital Artist: Digital.Art.Media
Dr. Dolittle 2 (2001)
Directed by: Steve Carr
Cinematography by: Daryn Okada
Edited by: Craig Herring
Modelmaker And Painter: Digital Domain
Red Planet (2000)
Directed by: Antony Hoffman
Cinematography by: Peter Suschitzky
Lead Modelmaker: Digital Domain
O Brother, Where Art Thou? (2000)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Digital Matte Painter: Digital Domain
How the Grinch Stole Christmas (2000)
Directed by: Ron Howard
Cinematography by: Donald Peterman
Model Maker: Visual Effects & Props
Wild Wild West (1999)
Directed by: Barry Sonnenfeld
Cinematography by: Michael Ballhaus
Edited by: Jim Miller
Model Maker: Hunter Gratzner
End of Days (1999)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
Model Maker
Star Trek: Insurrection (1998)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: Peter E. Berger
Cameras: Panavision Cameras
Model Maker: Digital Domain
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Model Maker
Species II (1998)
Directed by: Peter Medak
Cinematography by: Matthew F. Leonetti
Edited by: Richard Nord
Lead Model Maker: Digital Domain
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Model Maker
The Fifth Element (1997)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Sylvie Landra
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
Lenses: Zeiss Lenses
Model Maker
Chain Reaction (1996)
Directed by: Andrew Davis
Cinematography by: Frank Tidy
Cameras: Panavision Cameras
Model Maker: Digital Domain
Sgt. Bilko (1996)
Directed by: Jonathan Lynn
Cinematography by: Peter Sova
Edited by: Tony Lombardo
Model Maker: Digital Domain
Apollo 13 (1995)
Directed by: Ron Howard
Cinematography by: Dean Cundey
Specialty Props
Strange Days (1995)
Directed by: Kathryn Bigelow
Cinematography by: Matthew F. Leonetti
Specialty Props: Global Effects
Roswell (1994)
Directed by: Jeremy Kagan
Cinematography by: Steven Poster
Cameras: Panavision Cameras
Lead Propmaker: Global Effects
Beverly Hills Cop III (1994)
Directed by: John Landis
Cinematography by: Mac Ahlberg
Edited by: Dale Beldin
Modelmaker And Painter: Digital Domain
True Lies (1994)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Propmaker: Global Effects
The Mask (1994)
Directed by: Chuck Russell
Cinematography by: John R. Leonetti
Edited by: Arthur Coburn
Cameras: Panavision Panaflex Series Cameras
Lenses: Zeiss Lenses
Miniatures Painter
Lifepod (1993)
Directed by: Ron Silver
Cinematography by: Robert Steadman
Edited by: Alan Baumgarten
Mechanical Animator: Stetson Visual Services
Toys (1992)
Directed by: Barry Levinson
Cinematography by: Adam Greenberg
Edited by: Stu Linder