Compositing Supervisor: Rodeo FX - 8 Episodes, 2022
The Sandman (2022)
Directed by: Jamie Childs, Andrés Baiz, Louise Hooper, Hisko Hulsing, Mairzee Almas, Mike Barker, Coralie Fargeat
Cameras: Red Monstro 8K Camera
Vfx Lead Compositor: MPC
The Lion King (2019)
Directed by: Jon Favreau
Cinematography by: Caleb Deschanel
Cameras: ARRI ALEXA 65 Camera
Head Of 2D
Bohemian Rhapsody (2018)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Edited by: John Ottman
Editing System: Avid Editing System
Digital Compositor - Nvizible
King Arthur: Legend of the Sword (2017)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Cameras: ARRI ALEXA XT Camera
Digital Compositor - Baseblack
Anthropoid (2016)
Directed by: Sean Ellis
Cinematography by: Sean Ellis
Edited by: Richard Mettler
Cameras: ARRIFLEX 416 Camera
Lenses: Hawk V-Lite 16 Lens
Digital Compositor: Nvizible
Jason Bourne (2016)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Lead Compositor: Baseblack
London Has Fallen (2016)
Directed by: Babak Najafi
Cinematography by: Ed Wild
Cameras: Red Epic Dragon Camera
Digital Compositor: Method Studios
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Digital Compositor: Method Studios
The Purge: Anarchy (2014)
Directed by: James DeMonaco
Cinematography by: Jacques Jouffret
Cameras: ARRI ALEXA XT Camera
Editing System: Avid Editing System
Digital Dompotisor: Baseblack
Kingsman: The Secret Service (2014)
Directed by: Matthew Vaughn
Cinematography by: George Richmond
Editing System: Avid Editing System
Digital Compositor
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, 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, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Compositor: Prime Focus London
The Last Stand (2013)
Directed by: Jee-woon Kim
Cinematography by: Ji-yong Kim
Edited by: Steven Kemper
Cameras: ARRI ALEXA Plus Camera
Compositor: Cinesite
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Compositor: WETA Digital
The Hobbit: An Unexpected Journey (2012)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Digital Compositor: Prime Focus London
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Compositor: Prime Focus Film London
Mirror Mirror (2012)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Cameras: Sony CineAlta F35 Camera
Lead Compositor: Prime Focus London
Dredd (2012)
Directed by: Pete Travis
Cinematography by: Anthony Dod Mantle
Edited by: Mark Eckersley
Lenses: Zeiss Ultra Prime Lenses
Compositing Artist: Prime Focus UK
Resident Evil: Retribution (2012)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Niven Howie
Cameras: Red Epic Camera
Lenses: Zeiss Ultra Prime Lenses
Compositor: Cinesite
Battle Los Angeles (2011)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Edited by: Christian Wagner
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Sony PMW-EX3 Camera
Lenses: Panavision Compact Zoom Lenses, Panavision Lightweight Zoom Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Compositor: Cinesite
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Digital Compositor: Nvizible
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Digital Compositor: Stranger FX
Fantastic Mr. Fox (2009)
Directed by: Wes Anderson
Cinematography by: Tristan Oliver
Cameras: Nikon D3 Camera
Lenses: Cooke Varotal Lenses
Senior Compositor: Peerless Camera Company
The Imaginarium of Doctor Parnassus (2009)
Directed by: Terry Gilliam
Cinematography by: Nicola Pecorini
Edited by: Mick Audsley
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor: Double Negative
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
2D Artist: Double Negative
Cloverfield (2008)
Directed by: Matt Reeves
Cinematography by: Michael Bonvillain
Edited by: Kevin Stitt
Cameras: Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses: Canon Lenses, Zeiss DigiPrime Lenses
Digital Compositor: Double Negative
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
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
Compositor: Double Negative
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
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
Digital Compositor: Double Negative
The Reaping (2007)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Colby Parker Jr.
Digital Compositor: Double Negative
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Digital Artist: Double Negative
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Digital Compositor: Double Negative
Flyboys (2006)
Directed by: Tony Bill
Cinematography by: Henry Braham
Digital Compositor: 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
V for Vendetta (2005)
Directed by: James McTeigue
Cinematography by: Adrian Biddle
Edited by: Martin Walsh
Digital Compositor: MPC
Batman Begins (2005)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Compositing Team: MPC
Corpse Bride (2005)
Cinematography by: Pete Kozachik
Lenses: Zeiss Ultra Prime Lenses
Editing System: Final Cut Pro Editing System
Digital Compositor: MPC
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Digital Compositor: MPC
Troy (2004)
Directed by: Wolfgang Petersen
Cinematography by: Roger Pratt
Edited by: Peter Honess
Lenses: Cooke S4 Lenses
Compositor: MPC
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Digital Compositor
Bon voyage (2003)
Directed by: Jean-Paul Rappeneau
Cinematography by: Thierry Arbogast
Edited by: Maryline Monthieux
Cameras: Panavision Cameras
Digital Artist: MPC
Big Fish (2003)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Graphic Designer
Décalage horaire (2002)
Directed by: Danièle Thompson
Cinematography by: Patrick Blossier
Edited by: Sylvie Landra
Digital Compositor
Amélie (2001)
Directed by: Jean-Pierre Jeunet
Cinematography by: Bruno Delbonnel
Edited by: Hervé Schneid
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor
Belphegor: Phantom of the Louvre (2001)
Directed by: Jean-Paul Salomé
Cinematography by: Jean-François Robin
Edited by: Sylvie Landra
Digital Compositor
Wasabi (2001)
Directed by: Gérard Krawczyk
Cinematography by: Gérard Sterin
Edited by: Yann Hervé
Digital Compositor
Taxi 2 (2000)
Directed by: Gérard Krawczyk
Cinematography by: Gérard Sterin
Edited by: Thierry Hoss
Digital Compositor
The Ninth Gate (1999)
Directed by: Roman Polanski
Cinematography by: Darius Khondji
Edited by: Hervé de Luze
Digital Compositor
The Messenger: The Story of Joan of Arc (1999)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Sylvie Landra
Digital Compositor
Asterix and Obelix vs. Caesar (1999)
Directed by: Claude Zidi
Cinematography by: Tony Pierce-Roberts
Cameras: Panavision Cameras
Artist: Dutruc
Alien Resurrection (1997)
Directed by: Jean-Pierre Jeunet
Cinematography by: Darius Khondji
Edited by: Hervé Schneid
I/o Technician
The City of Lost Children (1995)
Cinematography by: Darius Khondji
Edited by: Hervé Schneid
