Visual Effects Executive Producer: Shade VFX
Ad Astra (2019)
Directed by: James Gray
Cinematography by: Hoyte Van Hoytema
Visual Effects Executive Producer: Shade VFX
The Nun (2018)
Directed by: Corin Hardy
Cinematography by: Maxime Alexandre
Cameras: ARRI ALEXA Camera
Lenses: Leitz Summilux-C Series Lenses
Stereoscopic Producer
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Visual Effects Producer: Legend
The Brothers Grimsby (2016)
Directed by: Louis Leterrier
Cinematography by: Oliver Wood
Vp Of Production: Legend3D
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
Vp Of Production: Legend3D
The Walk (2015)
Directed by: Robert Zemeckis
Cinematography by: Dariusz Wolski
Edited by: Jeremiah O'Driscoll
Cameras: Red Epic Dragon Camera
Vp Of Production: Legend3D
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Production Executive: Prime Focus 3D Conversion
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Production Executive: Prime Focus 3D Conversion
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Managing Director - 3D Conversion
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Visual Effects Producer: Digital Dimension
The Warrior's Way (2010)
Directed by: Sngmoo Lee
Cinematography by: Woo-hyung Kim
Edited by: Jonathan Woodford-Robinson
Stereoscopic Conversion: Prime Focus
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Visual Effects Producer: Prime Focus VFX
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Visual Effects Producer: Digital Dimension
The Pink Panther 2 (2009)
Directed by: Harald Zwart
Cinematography by: Denis Crossan
Edited by: Julia Wong
Cameras: Moviecam Compact Camera
Visual Effects Producer: Prime Focus
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Visual Effects Producer: Digital Dimension
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
3D Conversion Executive Producer: Technicolor
Kung Fu Panda (2008)
Cinematography by: Yong Duk Jhun
Edited by: Clare Knight
Visual Effects Producer: Digital Dimension
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Visual Effects Producer: Digital Dimension
Get Smart (2008)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: Richard Pearson
Lenses: Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Visual Effects Producer: Digital Dimension
Bordertown (2007)
Directed by: Gregory Nava
Cinematography by: Reynaldo Villalobos
Edited by: Padraic McKinley
Visual Effects Producer: Digital Dimension
Blades of Glory (2007)
Cinematography by: Stefan Czapsky
Edited by: Richard Pearson
Visual Effects Producer: Digital Dimension
Norbit (2007)
Directed by: Brian Robbins
Cinematography by: Clark Mathis
Edited by: Ned Bastille
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Producer: Digital Dimension
Rendition (2007)
Directed by: Gavin Hood
Cinematography by: Dion Beebe
Edited by: Megan Gill
Visual Effects Producer: Digital Dimension
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Visual Effects Producer: Digital Dimension
Final Destination 3 (2006)
Directed by: James Wong
Cinematography by: Robert McLachlan
Edited by: Chris G. Willingham
Visual Effects Producer: Digital Dimension
Talladega Nights: The Ballad of Ricky Bobby (2006)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Edited by: Brent White
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Producer: Digital Dimension
The Pursuit of Happyness (2006)
Directed by: Gabriele Muccino
Cinematography by: Phedon Papamichael
Edited by: Hughes Winborne
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Producer: Digital Dimension
Slither (2006)
Directed by: James Gunn
Cinematography by: Gregory Middleton
Edited by: John Axelrad
Visual Effects Producer: Digital Dimension
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Visual Effects Producer: Digital Dimension
An American Haunting (2005)
Directed by: Courtney Solomon
Cinematography by: Adrian Biddle
Edited by: Richard Comeau
Visual Effects Producer: Digital Dimension
Magnificent Desolation: Walking on the Moon 3D (2005)
Directed by: Mark Cowen
Cinematography by: Sean MacLeod Phillips
Edited by: Billy Schinski
Managing Director: Stereoscopic Conversion - 3D Version 2013
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDC-F950 Camera
Visual Effects Producer: Digital Dimension
Son of the Mask (2005)
Directed by: Lawrence Guterman
Cinematography by: Greg Gardiner
Visual Effects Producer: Digital Dimension
Cellular (2004)
Directed by: David R. Ellis
Cinematography by: Gary Capo
Edited by: Eric A. Sears
Visual Effects Producer: CFX
The Matrix Revolutions (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Visual Effects Producer: CFX
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Visual Effects Producer: CFX
The Scorpion King (2002)
Directed by: Chuck Russell
Cinematography by: John R. Leonetti
Managing Director: Stereoscopic Conversion - 3D Version 2013
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
Visual Effects Producer: CFX
Monkeybone (2001)
Directed by: Henry Selick
Cinematography by: Andrew Dunn
Visual Effects Producer
Reindeer Games (2000)
Directed by: John Frankenheimer
Cinematography by: Alan Caso
Cameras: Panavision Cameras, Spacecam Aerial Cameras
Visual Effects Producer: CFX
How the Grinch Stole Christmas (2000)
Directed by: Ron Howard
Cinematography by: Donald Peterman
Visual Effects Producer: Stereoscopic Conversion
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Visual Effects Associate Producer: Cinesite Hollywood
Out of Sight (1998)
Directed by: Steven Soderbergh
Cinematography by: Elliot Davis
Edited by: Anne V. Coates
Visual Effects Associate Producer: Cinesite
Sphere (1998)
Directed by: Barry Levinson
Cinematography by: Adam Greenberg
Edited by: Stu Linder
Visual Effects Coordinator: Cinesite
Hard Rain (1998)
Directed by: Mikael Salomon
Cinematography by: Peter Menzies Jr.
Digital Visual Effects Coordinator: Cinesite
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Visual Effects Production: Cinesite
Space Jam (1996)
Directed by: Joe Pytka
Cinematography by: Michael Chapman
Edited by: Sheldon Kahn
Managing Director: Stereoscopic Conversion - 3D Version 2013
The Wizard of Oz (1939)
Cinematography by: Harold Rosson
Edited by: Blanche Sewell
