Compositing Supervisor: CIS-Vancouver
Salt (2010)
Directed by: Phillip Noyce
Cinematography by: Robert Elswit
Compositing Supervisor: CIS Vancouver
Zombieland (2009)
Directed by: Ruben Fleischer
Cinematography by: Michael Bonvillain
Edited by: Alan Baumgarten
Digital Compositor: Digital Domain
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Digital Compositor: Digital Domain
The Curious Case of Benjamin Button (2008)
Directed by: David Fincher
Cinematography by: Claudio Miranda
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Digital Compositor: Digital Domain
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Digital Compositor: Digital Domain
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Digital Compositor: Digital Domain
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Visual Effects Supervisor: LOOK! Effects Inc.
10th & Wolf (2006)
Directed by: Bobby Moresco
Cinematography by: Alex Nepomniaschy
Edited by: Harvey Rosenstock
Visual Effects Supervisor: LOOK! Effects Inc.
Man About Town (2006)
Directed by: Mike Binder
Cinematography by: Russ T. Alsobrook
Edited by: Roger Nygard
Digital Compositor: Digital Domain
Letters from Iwo Jima (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Digital Visual Effects Supervisor: LOOK! Effects Inc.
Santa's Slay (2005)
Directed by: David Steiman
Cinematography by: Matthew F. Leonetti
Visual Effects Supervisor
Aurora Borealis (2005)
Directed by: James C.E. Burke
Cinematography by: Alar Kivilo
Edited by: Richard Nord
Visual Effects Supervisor: Breath Sequence, Studio C, Guatemala
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Visual Effects Supervisor: LOOK! Effects
Into the Blue (2005)
Directed by: John Stockwell
Cinematography by: Shane Hurlbut
Visual Effects Supervisor
Kinsey (2004)
Directed by: Bill Condon
Cinematography by: Frederick Elmes
Edited by: Virginia Katz
Visual Effects Supervisor
Saw (2004)
Directed by: James Wan
Cinematography by: David A. Armstrong
Edited by: Kevin Greutert
Visual Effects Supervisor: THDX
Elvis Has Left the Building (2004)
Directed by: Joel Zwick
Cinematography by: Paul Elliott
Edited by: Heather Persons
Digital Supervisor: Boy Wonder VFX
Bulletproof Monk (2003)
Directed by: Paul Hunter
Cinematography by: Stefan Czapsky
Edited by: Robert K. Lambert
Compositing Supervisor: Boy Wonder Visual Effects
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Compositing Supervisor: TSL
Unbreakable (2000)
Directed by: M. Night Shyamalan
Cinematography by: Eduardo Serra
Edited by: Dylan Tichenor
Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Compositing Supervisor: DQI
Inspector Gadget (1999)
Directed by: David Kellogg
Cinematography by: Adam Greenberg
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Digital Compositing Supervisor: DQI
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Digital Compositing Supervisor: DQI
Con Air (1997)
Directed by: Simon West
Cinematography by: David Tattersall
Cameras: ARRIFLEX 35 III Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses: Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Lightworks Editing System
Digital Compositing Supervisor: DQI
Flubber (1997)
Directed by: Les Mayfield
Cinematography by: Dean Cundey
Cameras: Panavision Cameras
Compositing Art Director: DQI
The Rock (1996)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Edited by: Richard Francis-Bruce
Compositing Art Director
Crimson Tide (1995)
Directed by: Tony Scott
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Gold II Camera
Optical Camera Operator: DQI
Grand Canyon (1991)
Directed by: Lawrence Kasdan
Cinematography by: Owen Roizman
Edited by: Carol Littleton
Cameras: Panavision Panaflex Gold Camera
Visual Effects Optical Camera Operator: DQI
Freddy's Dead: The Final Nightmare (1991)
Directed by: Rachel Talalay
Cinematography by: Declan Quinn
Edited by: Janice Hampton
Visual Effects Compositor: DQI
Total Recall (1990)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Cameras: ARRIFLEX Camera
Lenses: Zeiss Lenses
Optical Compositing: DQI
The Abyss (1989)
Directed by: James Cameron
Cinematography by: Mikael Salomon
Special Visual Effects
Big Business (1988)
Directed by: Jim Abrahams
Cinematography by: Dean Cundey
Edited by: Harry Keramidas
