Special Effects Supervisor: International
Tenet (2020)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Jennifer Lame
Cameras: ARRIFLEX 765 Camera, IMAX MKIII Reflex Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision System 65 Camera
Editing System: Avid Editing System
Floor Supervisor
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Floor Supervisor
Murder on the Orient Express (2017)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Mick Audsley
Special Effects Supervisor
Assassin's Creed (2016)
Directed by: Justin Kurzel
Cinematography by: Adam Arkapaw
Edited by: Christopher Tellefsen
Cameras: ARRI ALEXA 65 Camera
Special Effects Supervisor
Ben-Hur (2016)
Directed by: Timur Bekmambetov
Cinematography by: Oliver Wood
Editing System: Avid Editing System
Special Effects Supervisor
Mad Max: Fury Road (2015)
Directed by: George Miller
Cinematography by: John Seale
Edited by: Margaret Sixel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Blackmagic Cinema Camera, Canon EOS-5D Mark II Camera, Nikon D800 Camera, Olympus E-P5 Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses, Panavision Ultra Speed MKII Lenses
Editing System: Avid Editing System
SFX Supervisor, Special Make-up FX Supervisor
Fury (2014)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C1000 1000 mm T5.6 Lens, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Special Effects Supervisor: Spain
Cloud Atlas (2012)
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
Editing System: Avid Editing System
Lead Senior Technician
Dark Shadows (2012)
Directed by: Tim Burton
Cinematography by: Bruno Delbonnel
Edited by: Chris Lebenzon
Special Effects Supervisor: Darkside Effects
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
Lead Senior Rigging Special Effects Technician
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
Senior Special Effects Technician: Additional Photography / Special Effects Foreman
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 Coordinator
Sex and the City 2 (2010)
Directed by: Michael Patrick King
Cinematography by: John Thomas
Edited by: Michael Berenbaum
Cameras: Panavision Panaflex Platinum Camera
Additional Special Effects Technician
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Special Effects Coordinator
Rendition (2007)
Directed by: Gavin Hood
Cinematography by: Dion Beebe
Edited by: Megan Gill
Special Effects Coordinator
In the Valley of Elah (2007)
Directed by: Paul Haggis
Cinematography by: Roger Deakins
Edited by: Jo Francis
Lenses: Zeiss Master Prime Lenses
Special Effects Coordinator
Charlie Wilson's War (2007)
Directed by: Mike Nichols
Cinematography by: Stephen Goldblatt
Special Effects Floor Supervisor
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Floor Supervisor: First Unit / Special Effects Supervisor
Blood Diamond (2006)
Directed by: Edward Zwick
Cinematography by: Eduardo Serra
Edited by: Steven Rosenblum
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk C-Series Lenses, Hawk V-Series Lenses
Special Effects Floor Supervisor: Second Unit
Kingdom of Heaven (2005)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Dody Dorn
Supervisor: Second Unit
King Arthur (2004)
Directed by: Antoine Fuqua
Cinematography by: Slawomir Idziak
Special Effects Supervisor
Beyond Borders (2003)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Nicholas Beauman
Special Effects Floor Supervisor
Cold Mountain (2003)
Directed by: Anthony Minghella
Cinematography by: John Seale
Edited by: Walter Murch
Editing System: Final Cut Pro Editing System
Special Effects Coordinator
The Four Feathers (2002)
Directed by: Shekhar Kapur
Cinematography by: Robert Richardson
Edited by: Steven Rosenblum
Floor Supervisor: Second Unit
Black Hawk Down (2001)
Directed by: Ridley Scott
Cinematography by: Slawomir Idziak
Edited by: Pietro Scalia
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 ES Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Special Effects Supervisor
The Mummy Returns (2001)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Floor Supervisor: First Unit
Vertical Limit (2000)
Directed by: Martin Campbell
Cinematography by: David Tattersall
Edited by: Thom Noble
Special Effects Floor Supervisor
The World Is Not Enough (1999)
Directed by: Michael Apted
Cinematography by: Adrian Biddle
Edited by: Jim Clark
Special Effects Supervisor
The Mummy (1999)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Edited by: Bob Ducsay
Cameras: Panavision Panaflex Platinum Camera
Special Effects Technician: United Kingdom
Plunkett & Macleane (1999)
Directed by: Jake Scott
Cinematography by: John Mathieson
Edited by: Oral Norrie Ottey
Special Effects Floor Supervisor: Second Unit
Firestorm (1998)
Directed by: Dean Semler
Cinematography by: Stephen F. Windon
Edited by: Jack Hofstra
Supervisor: Action Unit
The Avengers (1998)
Directed by: Jeremiah S. Chechik
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Second Unit Special Effects Floor Supervisor
Tomorrow Never Dies (1997)
Directed by: Roger Spottiswoode
Cinematography by: Robert Elswit
Cameras: Panavision Panaflex Gold II Camera
Special Effects Coordinator
Anna Karenina (1997)
Directed by: Bernard Rose
Cinematography by: Daryn Okada
Edited by: Victor Du Bois
Floor Supervisor: Second Unit
The Adventures of Pinocchio (1996)
Directed by: Steve Barron
Cinematography by: Juan Ruiz Anchía
Edited by: Sean Barton
Floor Supervisor / Special Effects Foreman
The Ghost and the Darkness (1996)
Directed by: Stephen Hopkins
Cinematography by: Vilmos Zsigmond
Special Effects Floor Supervisor
GoldenEye (1995)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 35 IIIC Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Senior Special Effects Technician
Far and Away (1992)
Directed by: Ron Howard
Cinematography by: Mikael Salomon
Cameras: ARRIFLEX 765 Camera, Bell & Howell Eyemo Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision 65mm Prime Lenses, Zeiss Lenses
Senior Special Effects Technician: UK
Patriot Games (1992)
Directed by: Phillip Noyce
Cinematography by: Donald McAlpine
Special Effects Technician
Indiana Jones and the Last Crusade (1989)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Special Effects Technician: Second Unit
Licence to Kill (1989)
Directed by: John Glen
Cinematography by: Alec Mills
Edited by: John Grover
Special Effects Technician
Willow (1988)
Directed by: Ron Howard
Cinematography by: Adrian Biddle
Cameras: Panavision Panaflex Gold Camera
Special Effects Technician
The Living Daylights (1987)
Directed by: John Glen
Cinematography by: Alec Mills
Special Effects Technician
Aliens (1986)
Directed by: James Cameron
Cinematography by: Adrian Biddle
Edited by: Ray Lovejoy
Lenses: Canon K35 Prime Lenses
Special Effects Technician
Labyrinth (1986)
Directed by: Jim Henson
Cinematography by: Alex Thomson
Edited by: John Grover
Special Effects Technician
A View to a Kill (1985)
Directed by: John Glen
Cinematography by: Alan Hume
Edited by: Peter Davies
