Overall Visual Effects Supervisor
The Meg (2018)
Directed by: Jon Turteltaub
Cinematography by: Tom Stern
Visual Effects Supervisor: Double Negative
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor: Double Negative
The Hunger Games: Mockingjay - Part 1 (2014)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor: Double Negative
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, 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, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Visual Effects Supervisor
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Plate Supervisor
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Visual Effects Supervisor: Double Negative
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Digital Effects Supervisor: Double Negative
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Visual Effects Supervisor: The Moving Picture Company
The Walker (2007)
Directed by: Paul Schrader
Cinematography by: Chris Seager
Edited by: Julian Rodd
Cameras: ARRI Cameras
Compositing Supervisor: MPC
Poseidon (2006)
Directed by: Wolfgang Petersen
Cinematography by: John Seale
Edited by: Peter Honess
Digital Supervisor: Framestore CFC
The Constant Gardener (2005)
Directed by: Fernando Meirelles
Cinematography by: César Charlone
Edited by: Claire Simpson
Cameras: Aaton A-Minima Camera, Aaton XTR Prod Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera
Lenses: Angenieux HR Zoom Lenses
Compositing Supervisor: FrameStore-CFC
Harry Potter and the Goblet of Fire (2005)
Directed by: Mike Newell
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Compositing Supervisor: Framestore CFC
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Digital Supervisor: Framestore CFC
Beyond the Sea (2004)
Directed by: Kevin Spacey
Cinematography by: Eduardo Serra
Edited by: Trevor Waite
Supervising Compositor: Freeway Chase
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Digital Effects Designer: CFC
The Beach (2000)
Directed by: Danny Boyle
Cinematography by: Darius Khondji
Edited by: Masahiro Hirakubo
Cameras: ARRIFLEX 235 Camera
Compositing Artist: CFC
Sexy Beast (2000)
Directed by: Jonathan Glazer
Cinematography by: Ivan Bird
Cameras: ARRI ARRIFLEX Series Cameras
Lenses: ARRI Lenses
Compositing Artist: CFC
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Digital Compositor
Beautiful Creatures (2000)
Directed by: Bill Eagles
Cinematography by: James Welland
Senior Compositing Artist: CFC
Chicken Run (2000)
Cinematography by: Simon Jacobs, Andy MacCormack, Tristan Oliver, Frank Passingham, Dave Alex Riddett, Paul Smith
Digital Compositor
In Dreams (1999)
Directed by: Neil Jordan
Cinematography by: Darius Khondji
Edited by: Tony Lawson
Digital Compositor
Lighthouse (1999)
Directed by: Simon Hunter
Cinematography by: Tony Imi
Edited by: Paul Green
Visual Effects Designer: CFC
Sleepy Hollow (1999)
Directed by: Tim Burton
Cinematography by: Emmanuel Lubezki
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Designer: CFC
Snake Eyes (1998)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Bill Pankow
Lenses: Panavision C Series Anamorphic Lenses, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens
Editing System: Avid Editing System
Digital Compositor
The Avengers (1998)
Directed by: Jeremiah S. Chechik
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Designer: CFC
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects: CFC
The Saint (1997)
Directed by: Phillip Noyce
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: Panavision Panaflex Gold II Camera
Scanning Operator
Hamlet (1996)
Directed by: Kenneth Branagh
Cinematography by: Alex Thomson
Edited by: Neil Farrell
