Compositor: Custom Film Effects
Bullet to the Head (2012)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Timothy Alverson
Digital Compositor: Custom Film Effects
Devil (2010)
Directed by: John Erick Dowdle
Cinematography by: Tak Fujimoto
Edited by: Elliot Greenberg
Cameras: Panavision Cameras
Animation Compositor: Custom Film Effects
Diary of a Wimpy Kid (2010)
Directed by: Thor Freudenthal
Cinematography by: Jack N. Green
Edited by: Wendy Greene Bricmont
Cameras: Panavision Cameras
Digital Compositor: Custom Film Effects
Leap Year (2010)
Directed by: Anand Tucker
Cinematography by: Newton Thomas Sigel
Edited by: Nick Moore
Digital Compositor: Custom Film Effects
Halloween II (2009)
Directed by: Rob Zombie
Cinematography by: Brandon Trost
Cameras: ARRI Cameras
Digital Compositor: Custom Film Effects
The Blind Side (2009)
Directed by: John Lee Hancock
Cinematography by: Alar Kivilo
Edited by: Mark Livolsi
Lenses: Zeiss Master Prime Lenses
Digital Compositor: Custom Film Effects
Swing Vote (2008)
Directed by: Joshua Michael Stern
Cinematography by: Shane Hurlbut
Edited by: Jeff McEvoy
Digital Compositor
Underdog (2007)
Directed by: Frederik Du Chau
Cinematography by: David Eggby
Edited by: Tom Finan
Digital Compositor: Custom Film Effects
The Invisible (2007)
Directed by: David S. Goyer
Cinematography by: Gabriel Beristain
Edited by: Conrad Smart
Digital Compositor: Custom Film Effects
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Digital Compositor: Custom Film Effects
3:10 to Yuma (2007)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Edited by: Michael McCusker
Editing System: Avid Editing System
Digital Compositor: Custom Film Effects
The Lookout (2007)
Directed by: Scott Frank
Cinematography by: Alar Kivilo
Edited by: Jill Savitt
Digital Compositor
The Black Dahlia (2006)
Directed by: Brian De Palma
Cinematography by: Vilmos Zsigmond
Edited by: Bill Pankow
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Digital Compositor
John Tucker Must Die (2006)
Directed by: Betty Thomas
Cinematography by: Anthony B. Richmond
Edited by: Matt Friedman
Digital Compositor
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
Digital Compositor
Hide and Seek (2005)
Directed by: John Polson
Cinematography by: Dariusz Wolski
Edited by: Jeffrey Ford
Digital Compositor: Custom Film Effects
Casanova (2005)
Directed by: Lasse Hallström
Cinematography by: Oliver Stapleton
Edited by: Andrew Mondshein
Digital Compositor
The 40-Year-Old Virgin (2005)
Directed by: Judd Apatow
Cinematography by: Jack N. Green
Edited by: Brent White
Digital Compositor: Custom Film Effects
Happy Endings (2005)
Directed by: Don Roos
Cinematography by: Clark Mathis
Edited by: David Codron
Editing System: Final Cut Pro Editing System
Digital Compositor: Custom Film Effects
Son of the Mask (2005)
Directed by: Lawrence Guterman
Cinematography by: Greg Gardiner
Digital Compositor
The Skeleton Key (2005)
Directed by: Iain Softley
Cinematography by: Dan Mindel
Edited by: Joe Hutshing
Digital Compositor: Custom Film Effects
Are We There Yet? (2005)
Directed by: Brian Levant
Cinematography by: Thomas E. Ackerman
Edited by: Lawrence Jordan
Digital Compositor: Custom Film Effects
The Notebook (2004)
Directed by: Nick Cassavetes
Cinematography by: Robert Fraisse
Edited by: Alan Heim
Digital Compositor: Custom Film Effects
A Dirty Shame (2004)
Directed by: John Waters
Cinematography by: Steve Gainer
Edited by: Jeffrey Wolf
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Digital Compositor
Sideways (2004)
Directed by: Alexander Payne
Cinematography by: Phedon Papamichael
Edited by: Kevin Tent
Cameras: Panavision Panaflex Platinum Camera
Digital Compositor
Friday Night Lights (2004)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Digital Compositor: Custom Film Effects
The Big Bounce (2004)
Directed by: George Armitage
Cinematography by: Jeffrey L. Kimball
Digital Compositor
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Digital Compositor: Custom Film Effects
Eternal Sunshine of the Spotless Mind (2004)
Directed by: Michel Gondry
Cinematography by: Ellen Kuras
Edited by: Valdís Óskarsdóttir
Cameras: ARRICAM Lite (LT) Camera
Digital Compositor
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Digital Artist: Custom Film Effects
Timeline (2003)
Directed by: Richard Donner
Cinematography by: Caleb Deschanel
Edited by: Richard Marks
Digital Artist: Custom Film Effects
Scary Movie 3 (2003)
Directed by: David Zucker
Cinematography by: Mark Irwin
Digital Compositor: Custom Film Effects
Shanghai Knights (2003)
Directed by: David Dobkin
Cinematography by: Adrian Biddle
Edited by: Malcolm Campbell
Digital Compositor
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor: Custom Film Effects
Duplex (2003)
Directed by: Danny DeVito
Cinematography by: Anastas N. Michos
Digital Compositor: Custom Film Effects
Wonderland (2003)
Directed by: James Cox
Cinematography by: Michael Grady
Edited by: Jeff McEvoy
Digital Artist: Custom Film Effects
Phone Booth (2002)
Directed by: Joel Schumacher
Cinematography by: Matthew Libatique
Edited by: Mark Stevens
Digital Artist: Custom Film Effects
The Banger Sisters (2002)
Directed by: Bob Dolman
Cinematography by: Karl Walter Lindenlaub
Edited by: Aram Nigoghossian
Digital Artist: Custom Film Effects
Brown Sugar (2002)
Directed by: Rick Famuyiwa
Edited by: Dirk Westervelt
Digital Artist: Custom Film Effects
Chicago (2002)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Martin Walsh
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System, Lightworks Editing System
Digital Compositor
Gangs of New York (2002)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Digital Compositor
S1m0ne (2002)
Directed by: Andrew Niccol
Cinematography by: Edward Lachman
Edited by: Paul Rubell
Digital Artist
A Walk to Remember (2002)
Directed by: Adam Shankman
Cinematography by: Julio Macat
Edited by: Emma E. Hickox
Cameras: ARRI Cameras
Mechanical Effects: 4-Ward Productions
Hard Rain (1998)
Directed by: Mikael Salomon
Cinematography by: Peter Menzies Jr.
Visual Effects Photographer
The Philadelphia Experiment (1984)
Directed by: Stewart Raffill
Cinematography by: Dick Bush
Edited by: Neil Travis
Director Of Photography: Special Visual Effects
Android (1982)
Directed by: Aaron Lipstadt
Cinematography by: Tim Suhrstedt
Edited by: Andy Horvitch
Cameras: ARRI Cameras
Additional Photography: Special Visual Effects
Galaxy of Terror (1981)
Directed by: Bruce D. Clark
Cameras: ARRIFLEX Camera
Lenses: Zeiss Lenses
Camera Assistant: Special Visual Effects
Escape from New York (1981)
Directed by: John Carpenter
Cinematography by: Dean Cundey
Edited by: Todd C. Ramsay
Cameras: Panavision Panaflex Gold Camera
Camera Operator: Special Photographic Effects
Battle Beyond the Stars (1980)
Cinematography by: Daniel Lacambre
