Post Production Consultant
Ex Machina (2014)
Directed by: Alex Garland
Cinematography by: Rob Hardy
Edited by: Mark Day
Lenses: Angenieux Optimo Zoom Lenses, Panavision Cooke Xtal Xpress (Joe Dunton Camera Millenium Anamorphic) Lenses
Editing System: Avid Editing System
Post Production Consultant
Outpost: Black Sun (2012)
Directed by: Steve Barker
Cinematography by: Darran Tiernan
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Post Production Consultant
Dredd (2012)
Directed by: Pete Travis
Cinematography by: Anthony Dod Mantle
Edited by: Mark Eckersley
Lenses: Zeiss Ultra Prime Lenses
Post-production Consultant
Age of Heroes (2011)
Directed by: Adrian Vitoria
Cinematography by: Mark Hamilton
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Post-production Consultant
Third Star (2010)
Directed by: Hattie Dalton
Cinematography by: Carlos Catalán
Edited by: Peter Christelis
Cameras: ARRI Cameras
Post-production Consultant
Cemetery Junction (2010)
Cinematography by: Remi Adefarasin
Edited by: Valerio Bonelli
Post-production Consultant: Steeple Post Production Services
Never Let Me Go (2010)
Directed by: Mark Romanek
Cinematography by: Adam Kimmel
Edited by: Barney Pilling
Post-production Supervisor
Book of Blood (2009)
Directed by: John Harrison
Cinematography by: Philip Robertson
Edited by: Harry B. Miller III
Post Production Manager: Steeple Post Production Services Ltd., Post-production Consultant
The Invention of Lying (2009)
Cinematography by: Tim Suhrstedt
Edited by: Chris Gill
Post-production Consultant
Outpost (2008)
Directed by: Steve Barker
Cinematography by: Gavin Struthers
Post-production Consultant
28 Weeks Later (2007)
Directed by: Juan Carlos Fresnadillo
Cinematography by: Enrique Chediak
Edited by: Chris Gill
Pre-production Consultant
The Descent (2005)
Directed by: Neil Marshall
Cinematography by: Sam McCurdy
Edited by: Jon Harris
Post-production Consultant
The Upside of Anger (2005)
Directed by: Mike Binder
Cinematography by: Richard Greatrex
Post-production Consultant: N1
I Heart Huckabees (2004)
Directed by: David O. Russell
Cinematography by: Peter Deming
Edited by: Robert K. Lambert
Post-production Consultant: N1, Pre-production Consultant: N1
Kinsey (2004)
Directed by: Bill Condon
Cinematography by: Frederick Elmes
Edited by: Virginia Katz
Post-production Supervisor
Vera Drake (2004)
Directed by: Mike Leigh
Cinematography by: Dick Pope
Edited by: Jim Clark
Cameras: Aaton XTR Prod Camera
Lenses: Cooke S4 Lenses
Post-production Consultant
Stage Beauty (2004)
Directed by: Richard Eyre
Cinematography by: Andrew Dunn
Edited by: Tariq Anwar
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Lightworks Editing System
Post-production Consultant
My House in Umbria (2003)
Directed by: Richard Loncraine
Cinematography by: Marco Pontecorvo
Edited by: Humphrey Dixon
Post-production Consultant
Wondrous Oblivion (2003)
Directed by: Paul Morrison
Cinematography by: Nina Kellgren
Edited by: David Freeman
Post-production Consultant
Ali G Indahouse (2002)
Directed by: Mark Mylod
Cinematography by: Ashley Rowe
Edited by: Paul Knight
Post-production Supervisor: UK
Nicholas Nickleby (2002)
Directed by: Douglas McGrath
Cinematography by: Dick Pope
Edited by: Lesley Walker
Post-production Consultant
My Little Eye (2002)
Directed by: Marc Evans
Cinematography by: Hubert Taczanowski
Edited by: Mags Arnold
Post-production Consultant
24 Hour Party People (2002)
Directed by: Michael Winterbottom
Cinematography by: Robby Müller
Cameras: Sony DSR-PD150 Camera
Post-production Consultant
28 Days Later... (2002)
Directed by: Danny Boyle
Cinematography by: Anthony Dod Mantle
Edited by: Chris Gill
Cameras: ARRI Cameras, Canon XL1 Camera
Editing System: Lightworks Editing System
Post-production Consultant
Gosford Park (2001)
Directed by: Robert Altman
Cinematography by: Andrew Dunn
Edited by: Tim Squyres
Cameras: Panavision Panaflex Platinum Camera
Post-production Consultant
Buffalo Soldiers (2001)
Directed by: Gregor Jordan
Cinematography by: Oliver Stapleton
Edited by: Lee Smith
Cameras: Panavision Cameras
Post-production Consultant
Bridget Jones's Diary (2001)
Directed by: Sharon Maguire
Cinematography by: Stuart Dryburgh
Edited by: Martin Walsh
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post-production Consultant
Billy Elliot (2000)
Directed by: Stephen Daldry
Cinematography by: Brian Tufano
Edited by: John Wilson
Cameras: Aaton 35-III Camera, ARRIFLEX 35 BL4 Camera
Lenses: Zeiss Lenses
Post-production Consultant
Beautiful Creatures (2000)
Directed by: Bill Eagles
Cinematography by: James Welland
Post-production Consultant
The Beach (2000)
Directed by: Danny Boyle
Cinematography by: Darius Khondji
Edited by: Masahiro Hirakubo
Cameras: ARRIFLEX 235 Camera
Post-production Consultant
Plunkett & Macleane (1999)
Directed by: Jake Scott
Cinematography by: John Mathieson
Edited by: Oral Norrie Ottey
Post-production Consultant: London
The Bone Collector (1999)
Directed by: Phillip Noyce
Cinematography by: Dean Semler
Edited by: William Hoy
Post-production Consultant
Notting Hill (1999)
Directed by: Roger Michell
Cinematography by: Michael Coulter
Edited by: Nick Moore
Cameras: Moviecam Cameras
Editing System: Lightworks Editing System
Post Production Consultant
Solomon & Gaenor (1999)
Directed by: Paul Morrison
Cinematography by: Nina Kellgren
Edited by: Kant Pan
Post-production Consultant
Elizabeth (1998)
Directed by: Shekhar Kapur
Cinematography by: Remi Adefarasin
Edited by: Jill Bilcock
Cameras: ARRIFLEX 435 ES Camera, ARRIFLEX 535 Camera
Post-production Consultant
The Hi-Lo Country (1998)
Directed by: Stephen Frears
Cinematography by: Oliver Stapleton
Edited by: Masahiro Hirakubo
