Visual Effects Supervisor: DNEG
Zack Snyder's Justice League (2021)
Directed by: Zack Snyder
Cinematography by: Fabian Wagner
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Leitz Summilux-C Series Lenses
Visual Effects Supervisor
A Cure for Wellness (2016)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Visual Effects Supervisor: Double Negative
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Compositing Supervisor: Double Negative
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Compositing Supervisor: Double Negative
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: Double Negative
Attack the Block (2011)
Directed by: Joe Cornish
Cinematography by: Thomas Townend
Edited by: Jonathan Amos
Lenses: Cooke S4 Lenses
Compositor: Rising Sun Pictures
The Way Back (2010)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Visual Effects Supervisor: Rising Sun Pictures
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Visual Effects Supervisor: Rising Sun Pictures
This Is It (2009)
Directed by: Kenny Ortega
Cameras: Red One Camera
Visual Effects Supervisor: Rising Sun Pictures
The Spirit (2008)
Directed by: Frank Miller
Cinematography by: Bill Pope
Edited by: Gregory Nussbaum
On-set Visual Effects Supervisor
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Compositing Supervisor: Evil Eye Pictures
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Compositor: Evil Eye Pictures
Rush Hour 3 (2007)
Directed by: Brett Ratner
Cinematography by: James M. Muro
Compositor: Evil Eye Pictures
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Digital Compositor
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Digital Artist: ILM
Poseidon (2006)
Directed by: Wolfgang Petersen
Cinematography by: John Seale
Edited by: Peter Honess
Virtual Stills Supervisor
Batman Begins (2005)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Compositor: Giant Killer Robots
Fantastic Four (2005)
Directed by: Tim Story
Cinematography by: Oliver Wood
Edited by: William Hoy
Digital Effects Artist: ESC Entertainment
The Ladykillers (2004)
Cinematography by: Roger Deakins
Editing System: Final Cut Pro Editing System
Compositor
Hellboy (2004)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Peter Amundson
Digital Compositor: Rising Sun Pictures
Sky Captain and the World of Tomorrow (2004)
Directed by: Kerry Conran
Cinematography by: Eric Adkins
Edited by: Sabrina Plisco
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
Digital Compositor
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Digital Compositor: Sandbox Pictures
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
Digital Compositor
The Matrix Revolutions (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Senior Compositor: 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
Compositor: 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
Compositing Artist
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Digital Compositor
Bless the Child (2000)
Directed by: Chuck Russell
Cinematography by: Peter Menzies Jr.
Edited by: Alan Heim
Compositor: Bullet Time
The Matrix (1999)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera, Photo-Sonics Cameras
Lenses: Panavision Lenses
