Visual Effects Supervisor: MPC
1917 (2019)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Lee Smith
Cameras: ARRI ALEXA Mini LF Camera
Lenses: ARRI Signature Prime 35mm T1.8 Lens, ARRI Signature Prime 40mm T1.8 Lens, ARRI Signature Prime 47mm T1.8 Lens
Editing System: Avid Editing System
Visual Effects Supervisor: MPC
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Digital Effects Supervisor: MPC
The Finest Hours (2016)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Head Of Vfx: MPC
Night at the Museum: Secret of the Tomb (2014)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Dean Zimmerman
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Visual Effects Supervisor - MPC
American Sniper (2014)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Cameras: ARRI ALEXA XT Camera
Head Of Vfx: MPC
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
Head Of Vfx: MPC
Seventh Son (2014)
Directed by: Sergei Bodrov
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA Camera
Head Of Vfx: MPC
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Visual Effects Supervisor: MPC
Percy Jackson: Sea of Monsters (2013)
Directed by: Thor Freudenthal
Cinematography by: Shelly Johnson
Edited by: Mark Goldblatt
Visual Effects Supervisor: MPC
Jack the Giant Slayer (2013)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Head Of Vfx: MPC
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Head Of Vfx: MPC
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Visual Effects Supervisor: MPC
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Visual Effects Supervisor: MPC
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Visual Effects Plate Supervisor: Second Unit, MPC
Surrogates (2009)
Directed by: Jonathan Mostow
Cinematography by: Oliver Wood
Edited by: Kevin Stitt
Visual Effects Supervisor: MPC
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
Visual Effects Supervisor: MPC
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Visual Effects Supervisor
Amazing Grace (2006)
Directed by: Michael Apted
Cinematography by: Remi Adefarasin
Edited by: Rick Shaine
Cameras: ARRI Cameras
CG Supervisor: MPC
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
CGI Supervisor: Pre-production
King Kong (2005)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, Mitchell Cameras
Editing System: Avid Editing System
Cg Supervisor: Weta Digital
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
3D Sequence Supervisor: Weta Digital
The Lord of the Rings: The Return of the King (2003)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX 535 B Camera, Mitchell Cameras, Moviecam Superlight Camera
Editing System: Avid Editing System
3D Sequence Lead Technical Director: Weta Digital
The Lord of the Rings: The Two Towers (2002)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Michael Horton
Lenses: Angenieux Lenses, Zeiss Ultra Prime Lenses
3D Sequence Lead: Weta Digital
The Lord of the Rings: The Fellowship of the Ring (2001)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: John Gilbert
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Lead Technical Director: Tippett Studio
My Favorite Martian (1999)
Directed by: Donald Petrie
Cinematography by: Thomas E. Ackerman
Edited by: Malcolm Campbell
CG Animator: Cinesite
Practical Magic (1998)
Directed by: Griffin Dunne
Cinematography by: Andrew Dunn
Edited by: Elizabeth Kling
Lead Digital Lighting: Tippett Studio
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
Assistant To Visual Effects Producer
The Mask (1994)
Directed by: Chuck Russell
Cinematography by: John R. Leonetti
Edited by: Arthur Coburn
Cameras: Panavision Panaflex Series Cameras
Lenses: Zeiss Lenses
CG Technical Assistant
Baby's Day Out (1994)
Directed by: Patrick Read Johnson
Cinematography by: Thomas E. Ackerman
Edited by: David Rawlins
Computer Graphics Technical Assistant: ILM
Forrest Gump (1994)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
CG Technical Assistant
The Flintstones (1994)
Directed by: Brian Levant
Cinematography by: Dean Cundey
Edited by: Kent Beyda
Cameras: Panavision Cameras
Camera Engineering Intern: ILM
Jurassic Park (1993)
Directed by: Steven Spielberg
Cinematography by: Dean Cundey
Edited by: Michael Kahn
Editing System: Steenbeck Editing System
