Director Of Photography: Second Unit
John Wick: Chapter 3 - Parabellum (2019)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Evan Schiff
Pov Dop: Second Unit
Ford v Ferrari (2019)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Cameras: ARRI ALEXA LF Camera
Edge Director Of Photography: Second Unit
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Director Of Photography: Second Unit, Cuba
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Director Of Photography: Second Unit, Second Unit Director
Why Him? (2016)
Directed by: John Hamburg
Cinematography by: Kris Kachikis
Edited by: William Kerr
Director Of Photography: Edge Arm: Second Unit
Jason Bourne (2016)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Pursuit Director Of Photography: Second Unit
The Wedding Ringer (2015)
Directed by: Jeremy Garelick
Cinematography by: Bradford Lipson
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 Camera
Edge Director Of Photography: Second Unit
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Camera Operator: Second Unit
San Andreas (2015)
Directed by: Brad Peyton
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Edge Director Of Photography
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Camera Operator
'The Mentalist' White Lines (2014)
Directed by: Guy Ferland
Cinematography by: Geary McLeod
Edited by: Christopher Cibelli
Edge Director Of Photography
'Sons of Anarchy' Papa's Goods (2014)
Directed by: Kurt Sutter
Cinematography by: Paul Maibaum
Edited by: Paul Fontaine
Pursuit Camera Operator: Second Unit
A Million Ways to Die in the West (2014)
Directed by: Seth MacFarlane
Cinematography by: Michael Barrett
Edited by: Jeff Freeman
Cameras: Sony PMW-F55 Camera
Editing System: Avid Editing System
Camera Operator
Transcendence (2014)
Directed by: Wally Pfister
Cinematography by: Jess Hall
Edited by: David Rosenbloom
Pursuit Director Of Photography: Additional Photography
Jack Ryan: Shadow Recruit (2014)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Martin Walsh
Editing System: Avid Editing System
Edge Director Of Photography
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Camera Operator
'The Mentalist' Green Thumb (2013)
Directed by: Robert Duncan McNeill
Cinematography by: Tom Camarda
Edited by: David Ekstrom
Camera Operator
'The Mentalist' The Great Red Dragon (2013)
Directed by: Elodie Keene
Cinematography by: Geary McLeod
Camera Operator
'The Mentalist' Red John's Rules (2013)
Directed by: Chris Long
Cinematography by: Geary McLeod
Edited by: Christopher Cibelli
Pursuit Director Of Photography
The Secret Life of Walter Mitty (2013)
Directed by: Ben Stiller
Cinematography by: Stuart Dryburgh
Edited by: Greg Hayden
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Camera Operator
'The Mentalist' The Desert Rose (2013)
Directed by: Chris Long
Cinematography by: Geary McLeod
Edited by: David Ekstrom
Edge Director Of Photography
The Hangover Part III (2013)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Camera Operator
'The Mentalist' Black-Winged Redbird (2013)
Directed by: Robert Duncan McNeill
Cinematography by: Tom Camarda
Edited by: Christopher Cibelli
Edge Director Of Photography: Second Unit
The Call (2013)
Directed by: Brad Anderson
Cinematography by: Thomas Yatsko
Edited by: Avi Youabian
Cameras: ARRI ALEXA Camera, Phantom Flex Camera
Lenses: Angenieux Optimo Zoom Lenses
Edge Director Of Photography: Second Unit
Identity Thief (2013)
Directed by: Seth Gordon
Cinematography by: Javier Aguirresarobe
Edited by: Peter Teschner
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Edge Director Of Photography
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Additional Photography: Edge Director Of Photography
This Means War (2012)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Nicolas De Toth
Camera Operator: Second Unit
Jack Reacher (2012)
Directed by: Christopher McQuarrie
Cinematography by: Caleb Deschanel
Edited by: Kevin Stitt
Aerial Director Of Photography / Camera Operator / Pursuit Consultant
Get the Gringo (2012)
Directed by: Adrian Grunberg
Cinematography by: Benoît Debie
Edited by: Steven Rosenblum
Cameras: Red One MX Camera
Lenses: Hawk V-Lite Lenses
Camera Operator: Second Unit
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Aerial Director Of Photography / Camera Operator
Act of Valor (2012)
Cinematography by: Shane Hurlbut
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Platinum Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Camera Operator: Second Unit
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Camera Operator
The Dark Knight Rises (2012)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera, Panavision System 65 Camera
Lenses: Hasselblad Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Camera Operator: Second Unit
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Camera Operator: Second Unit
Big Mommas: Like Father, Like Son (2011)
Directed by: John Whitesell
Cinematography by: Anthony B. Richmond
Edited by: Priscilla Nedd-Friendly
Camera Operator: Second Unit / Camera Operator: Train Unit / Ultimate Arm Camera Operator: Puerto Rico 2nd Unit
Fast Five (2011)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Camera Operator: Second Unit
The Hangover Part II (2011)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Camera Operator: Second Unit
Seeking Justice (2011)
Directed by: Roger Donaldson
Cinematography by: David Tattersall
Edited by: Jay Cassidy
Cameras: Panavision Genesis Camera
Camera Operator: Second Unit
Drive (2011)
Directed by: Nicolas Winding Refn
Cinematography by: Newton Thomas Sigel
Edited by: Matthew Newman
Camera Operator: Additional Photography
Super 8 (2011)
Directed by: J.J. Abrams
Cinematography by: Larry Fong
Cameras: ARRIFLEX 16SR3 Camera, ARRIFLEX 435 Camera, Beaulieu 4008 ZM 4 Camera, Bell & Howell Eyemo Camera, Canon 1014XL-S Camera, Panavision Panaflex Millennium XL2 Camera, Red One MX Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Super Speed Lenses
Editing System: Avid Editing System
Camera Operator: Second Unit
In Time (2011)
Directed by: Andrew Niccol
Cinematography by: Roger Deakins
Edited by: Zach Staenberg
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Camera Operator
Inception (2010)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision System 65 Camera, Phantom HD Gold Camera, Photo-Sonics 35mm-4B/4C Camera, Photo-Sonics 35mm-4ER Camera, Super Panavision-70 Camera
Lenses: Panavision 65mm Prime Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision System 65 Lenses
Editing System: Avid Editing System
Camera Operator: Second Unit
Killers (2010)
Directed by: Robert Luketic
Cinematography by: Russell Carpenter
Cameras: ARRIFLEX D-21 Camera
Lenses: Hawk V-Series Lenses
Camera Operator: Second Unit
Knight and Day (2010)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Camera Operator: Second Unit
Due Date (2010)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Camera Operator: Second Unit
Wall Street: Money Never Sleeps (2010)
Directed by: Oliver Stone
Cinematography by: Rodrigo Prieto
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Zeiss Master Prime Lenses
Camera Operator: Second Unit
Edge of Darkness (2010)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Cameras: Panavision Panaflex Platinum Camera
Camera Operator: Second Unit
G-Force (2009)
Directed by: Hoyt Yeatman
Cinematography by: Bojan Bazelli
Camera Operator: Second Unit
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Additional Photography / Camera Operator: Second Unit
Quantum of Solace (2008)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Camera Operator
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Camera Operator - 13 Episodes, 2013-2014
The Mentalist (2008)
Directed by: Chris Long, Eric Laneuville, John F. Showalter, Charles Beeson, Randy Zisk, David Barrett, John Polson, Simon Baker, Guy Ferland, Geary McLeod, Martha Mitchell, Norberto Barba, Lesli Linka Glatter, Roxann Dawson, Tom Verica, Elodie Keene, Robert Duncan McNeill, David Nutter, Adam Kane, Stephen Gyllenhaal, Bobby Roth, Anton Cropper, W. Thomas Snyder, James Hayman, Paris Barclay, Matt Earl Beesley, John Behring, Kevin Dowling, Rod Hardy, Paul Holahan, Dean White, Bill D'Elia, Dan Lerner, Darnell Martin, Bruno Heller, Kevin Hooks, David Von Ancken, Allison Anders, Tawnia McKiernan, David Paymer, Bill Eagles, Michael Nankin, J. Miller Tobin, Sylvain White, Rod Holcomb, Paul A. Kaufman, Nina Lopez-Corrado, Edward Ornelas
Cinematography by: Geary McLeod, Tom Camarda, Frank Perl, Christopher Faloona, Michael Goi, Alex Nepomniaschy, Jeffrey Jur, Bill Roe
Camera Operator: Second Unit
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Edge Director Of Photography - 1 Episode, 2014
Sons of Anarchy (2008)
Directed by: Paris Barclay, Guy Ferland, Gwyneth Horder-Payton, Peter Weller, Billy Gierhart, Kurt Sutter, Stephen Kay, Adam Arkin, Terrence O'Hara, Paul Maibaum, Phil Abraham, Allen Coulter, Michael Dinner, Charles Haid, Tim Hunter, Seith Mann, Mario Van Peebles, Karen Gaviola, Charles Murray, Craig Yahata
Director Of Photography: Title Montage Unit
The Jane Austen Book Club (2007)
Directed by: Robin Swicord
Cinematography by: John Toon
Edited by: Maryann Brandon
Camera Operator: Second Unit
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
Assistant Camera / Camera Operator
Dust to Glory (2005)
Directed by: Dana Brown
Cinematography by: Kevin Ward
Cameras: Panasonic AG-DVX100 Camera
Editing System: Adobe Premiere Editing System
First Assistant Camera: Second Unit
Bewitched (2005)
Directed by: Nora Ephron
Cinematography by: John Lindley
Edited by: Tia Nolan
Assistant Camera
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
Assistant Camera
Training Day (2001)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: Conrad Buff IV
Lenses: Hawk C-Series Lenses
Assistant Camera
Swordfish (2001)
Directed by: Dominic Sena
Cinematography by: Paul Cameron
Edited by: Stephen E. Rivkin
Assistant Camera
The Patriot (2000)
Directed by: Roland Emmerich
Cinematography by: Caleb Deschanel
Cameras: Panavision Cameras
Lenses: Panavision Lenses
