Special Effects Supervisor
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Special Effects Supervisor
Dark Shadows (2012)
Directed by: Tim Burton
Cinematography by: Bruno Delbonnel
Edited by: Chris Lebenzon
Special Effects Supervisor
Hugo (2011)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Camera
Lenses: Cooke 5/i Lenses, Cooke S4 Lenses
Special Effects Consultant
W.E. (2011)
Directed by: Madonna
Cinematography by: Hagen Bogdanski
Edited by: Danny Tull
Lenses: Zeiss Ultra Prime Lenses
Visual Effects Supervisor
Jin ling shi san chai (2011)
Directed by: Yimou Zhang
Cinematography by: Xiaoding Zhao
Edited by: Peicong Meng
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses, Zeiss Master Zoom 16.5–110mm T2.6 Lens
Editing System: Avid Editing System
Special Effects Supervisor
Green Zone (2010)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Special Effects Supervisor
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
Special Effects Consultant
The Bank Job (2008)
Directed by: Roger Donaldson
Cinematography by: Michael Coulter
Edited by: John Gilbert
Special Effects Consultant
Rambo (2008)
Directed by: Sylvester Stallone
Cinematography by: Glen MacPherson
Edited by: Sean Albertson
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera
Lenses: Zeiss Ultra Prime Lenses
Special Effects Consultant
Elizabeth: The Golden Age (2007)
Directed by: Shekhar Kapur
Cinematography by: Remi Adefarasin
Edited by: Jill Bilcock
Special Effects Supervisor
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Special Effects Consultant
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
Special Effects Supervisor
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
Special Effects Consultant
Miss Potter (2006)
Directed by: Chris Noonan
Cinematography by: Andrew Dunn
Edited by: Robin Sales
Special Effects Consultant
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Special Effects Supervisor
A Sound of Thunder (2005)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Edited by: Sylvie Landra
Special Effects Supervisor
Munich (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Cooke Cine Varotal Mark II 25-250mm T3.9 Lens, Cooke S4/i Prime 100mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 16mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Moviola Editing System
Special Effects Supervisor
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Special Effects Supervisor
Troy (2004)
Directed by: Wolfgang Petersen
Cinematography by: Roger Pratt
Edited by: Peter Honess
Lenses: Cooke S4 Lenses
Special Effects Supervisor
Bad Company (2002)
Directed by: Joel Schumacher
Cinematography by: Dariusz Wolski
Special Effects Supervisor: United Kingdom
Plunkett & Macleane (1999)
Directed by: Jake Scott
Cinematography by: John Mathieson
Edited by: Oral Norrie Ottey
Special Effects Supervisor
Sleepy Hollow (1999)
Directed by: Tim Burton
Cinematography by: Emmanuel Lubezki
Cameras: Panavision Panaflex Platinum Camera
Special Effects Supervisor
The Avengers (1998)
Directed by: Jeremiah S. Chechik
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Special Effects Coordinator: UK
Oscar and Lucinda (1997)
Directed by: Gillian Armstrong
Cinematography by: Geoffrey Simpson
Edited by: Nicholas Beauman
Cameras: Panavision Panaflex Gold II Camera
Special Effects Supervisor: UK
Mortal Kombat: Annihilation (1997)
Directed by: John R. Leonetti
Cinematography by: Matthew F. Leonetti
Edited by: Peck Prior
Special Effects
White Squall (1996)
Directed by: Ridley Scott
Cinematography by: Hugh Johnson
Edited by: Gerry Hambling
Special Effects Supervisor
Hamlet (1996)
Directed by: Kenneth Branagh
Cinematography by: Alex Thomson
Edited by: Neil Farrell
ABC Robot Supervisor / Special Effects Supervisor
Judge Dredd (1995)
Directed by: Danny Cannon
Cinematography by: Adrian Biddle
Special Effects Supervisor
In the Name of the Father (1993)
Directed by: Jim Sheridan
Cinematography by: Peter Biziou
Edited by: Gerry Hambling
Special Effects Supervisor
The Old Man and the Sea (1990)
Directed by: Jud Taylor
Cinematography by: Tony Imi
Edited by: Fredric Steinkamp
Assistant Special Effects Supervisor
Indiana Jones and the Last Crusade (1989)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Senior Special Effects Technician: Second Unit
Willow (1988)
Directed by: Ron Howard
Cinematography by: Adrian Biddle
Cameras: Panavision Panaflex Gold Camera
Special Effects
The Living Daylights (1987)
Directed by: John Glen
Cinematography by: Alec Mills
Senior Special Effects Technician
Aliens (1986)
Directed by: James Cameron
Cinematography by: Adrian Biddle
Edited by: Ray Lovejoy
Lenses: Canon K35 Prime Lenses
Special Effects
A View to a Kill (1985)
Directed by: John Glen
Cinematography by: Alan Hume
Edited by: Peter Davies
Special Effects Assistant
Indiana Jones and the Temple of Doom (1984)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Panaflex Gold Camera
