Title Producer: YU+co
Tomorrowland (2015)
Directed by: Brad Bird
Cinematography by: Claudio Miranda
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 Camera
Lenses: Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 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 150 mm T1.3 Lens
Title Producer: YU+co
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
Title Sequence Producer: YU+co
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Visual Effects Producer: YU+co
Into the Woods (2014)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Wyatt Smith
Cameras: ARRI ALEXA XT Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Motion Graphics Producer: YU+co
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Stereo Producer: YU+co
Epic (2013)
Directed by: Chris Wedge
Cinematography by: Renato Falcão
Edited by: Andy Keir
Main Title Sequence Producer: YU+co., Visual Effects Producer: Title Design, YU+Co
Oz the Great and Powerful (2013)
Directed by: Sam Raimi
Cinematography by: Peter Deming
Edited by: Bob Murawski
Cameras: Red Epic Camera
Editing System: Avid Editing System
Visual Effects Producer: YU+co
The Odd Life of Timothy Green (2012)
Directed by: Peter Hedges
Cinematography by: John Toll
Edited by: Andrew Mondshein
Visual Effects Producer: YU+Co, Hollywood, CA
Life of Pi (2012)
Directed by: Ang Lee
Cinematography by: Claudio Miranda
Edited by: Tim Squyres
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Visual Effects Producer: Title Design, YU+Co
Alex Cross (2012)
Directed by: Rob Cohen
Cinematography by: Ricardo Della Rosa
Visual Effects: Main & End Title Sequences, YU+co.
Green Lantern (2011)
Directed by: Martin Campbell
Cinematography by: Dion Beebe
Edited by: Stuart Baird
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Visual Effects Producer: YU+co
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Visual Effects Producer: Main & End Title Sequences: YU+co
Hop (2011)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Visual Effects Producer: PIC
You and I (2011)
Directed by: Roland Joffé
Cinematography by: Philip Robertson
Edited by: Richard Nord
Visual Effects Producer: YU+co
Dolphin Tale (2011)
Directed by: Charles Martin Smith
Cinematography by: Karl Walter Lindenlaub
Edited by: Harvey Rosenstock
Cameras: Red One MX Camera
Visual Effects Producer: YU+co
Life as We Know It (2010)
Directed by: Greg Berlanti
Cinematography by: Andrew Dunn
Edited by: Jim Page
Visual Effects Producer: YU+co
Yogi Bear (2010)
Directed by: Eric Brevig
Cinematography by: Peter James
Edited by: Kent Beyda
Stereo Visual Effects Producer: PIC
My Bloody Valentine (2009)
Directed by: Patrick Lussier
Cinematography by: Brian Pearson
Cameras: Red One Camera, Silicon Imaging SI-2K Camera
Visual Effects Producer: PIC
The Ministers (2009)
Directed by: Franc. Reyes
Cinematography by: Frank Byers
Visual Effects Producer: Main & End Title Sequences: PIC
The Spirit (2008)
Directed by: Frank Miller
Cinematography by: Bill Pope
Edited by: Gregory Nussbaum
Visual Effects Producer: PIC
Hancock (2008)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Visual Effects Producer: PIC
The Express (2008)
Directed by: Gary Fleder
Cinematography by: Kramer Morgenthau
Co-producer: PIC, Main Title Producer: PIC
Twilight (2008)
Directed by: Catherine Hardwicke
Cinematography by: Elliot Davis
Edited by: Nancy Richardson
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Visual Effects Producer: PIC
Cloverfield (2008)
Directed by: Matt Reeves
Cinematography by: Michael Bonvillain
Edited by: Kevin Stitt
Cameras: Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses: Canon Lenses, Zeiss DigiPrime Lenses
Producer: Title Design, PIC, Titles: PIC
The Eye (2008)
Cinematography by: Jeffrey Jur
Edited by: Patrick Lussier
Visual Effects Producer: PIC
Flash of Genius (2008)
Directed by: Marc Abraham
Cinematography by: Dante Spinotti
Edited by: Jill Savitt
Visual Effects Producer: PIC
Body of Lies (2008)
Directed by: Ridley Scott
Cinematography by: Alexander Witt
Edited by: Pietro Scalia
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Moviecam Compact 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, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Visual Effects Producer: Main Titles, PIC
Punisher: War Zone (2008)
Directed by: Lexi Alexander
Cinematography by: Steve Gainer
Edited by: William Yeh
Visual Effects Producer: Main & End Credit Sequence: YU+co.
The Game Plan (2007)
Directed by: Andy Fickman
Cinematography by: Greg Gardiner
Edited by: Michael Jablow
Cameras: Panavision Cameras
Visual Effects Producer: Main & End Title Sequences: YU+co.
Enchanted (2007)
Directed by: Kevin Lima
Cinematography by: Don Burgess
Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Visual Effects Producer: Main Title Sequence: YU+co.
Why Did I Get Married? (2007)
Directed by: Tyler Perry
Cinematography by: Toyomichi Kurita
Edited by: Maysie Hoy
Visual Effects Producer: Main Title Sequence: YU+co.
American Gangster (2007)
Directed by: Ridley Scott
Cinematography by: Harris Savides
Edited by: Pietro Scalia
Editing System: Avid Editing System
Visual Effects Producer: Main & End Title Sequences: YU+co.
Dan in Real Life (2007)
Directed by: Peter Hedges
Cinematography by: Lawrence Sher
Edited by: Sarah Flack
Visual Effects Producer: YU+co.
Idiocracy (2006)
Directed by: Mike Judge
Cinematography by: Tim Suhrstedt
Edited by: David Rennie
Visual Effects Producer: YU+co.
Æon Flux (2005)
Directed by: Karyn Kusama
Cinematography by: Stuart Dryburgh
Visual Effects Producer: Main Title Sequence: YU+co.
Brokeback Mountain (2005)
Directed by: Ang Lee
Cinematography by: Rodrigo Prieto
Lenses: Cooke S4 Lenses
Visual Effects Associate Producer: YU+co.
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
Visual Effects Associate Producer: Main Title Sequence: YU+co.
The Rundown (2003)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Richard Pearson
Visual Effects Associate Producer: Main Title Sequence: YU+co.
Hulk (2003)
Directed by: Ang Lee
Cinematography by: Frederick Elmes
Edited by: Tim Squyres
Cameras: ARRIFLEX 535 B Camera
Visual Effects Associate Producer: Main Title Sequence: YU+co.
Matchstick Men (2003)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Dody Dorn
Visual Effects Producer: Main Title Sequence: YU+co.
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
Digital Effects Coordinator: YU+Co
Scary Movie 3 (2003)
Directed by: David Zucker
Cinematography by: Mark Irwin
Associate Visual Effects Producer
Open Range (2003)
Directed by: Kevin Costner
Cinematography by: James M. Muro
Visual Effects Producer: Main Title Sequence: YU+co.
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Coordinator: Centropolis
Maid in Manhattan (2002)
Directed by: Wayne Wang
Cinematography by: Karl Walter Lindenlaub
Edited by: Craig McKay
Visual Effects Production Coordinator: Digital Domain
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
Visual Effects Coordinator: CFX
K-PAX (2001)
Directed by: Iain Softley
Cinematography by: John Mathieson
Edited by: Craig McKay
Miniature Effects Coordinator
The Fifth Element (1997)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Sylvie Landra
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
Lenses: Zeiss Lenses
Miniature Effects Coordinator
Dante's Peak (1997)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Miniature Effects Coordinator
Chain Reaction (1996)
Directed by: Andrew Davis
Cinematography by: Frank Tidy
Cameras: Panavision Cameras
Miniature Effects Coordinator
Sgt. Bilko (1996)
Directed by: Jonathan Lynn
Cinematography by: Peter Sova
Edited by: Tony Lombardo
