Associate Visual Effects Supervisor: ILM
Guardians of the Galaxy Vol. 3 (2023)
Directed by: James Gunn
Cinematography by: Henry Braham
Compositing Supervisor: ILM
Star Wars: Episode IX - The Rise of Skywalker (2019)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Lead Visual Effects Artist: ILM
Skyscraper (2018)
Directed by: Rawson Marshall Thurber
Cinematography by: Robert Elswit
Compositing Supervisor: ILM
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Lead Compositor: Industrial Light & Magic
Only the Brave (2017)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Billy Fox
Cameras: Sony CineAlta F65 Camera
Digital Artist: Industrial Light & Magic
The Revenant (2015)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Edited by: Stephen Mirrione
Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Artist: Industrial Light & Magic
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
Digital Artist: Industrial Light & Magic
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Digital Compositor
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Digital Compositor
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Digital Compositor: Scanline VFX
300: Rise of an Empire (2014)
Directed by: Noam Murro
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Digital Compositor
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Compositor
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Digital Artist: Scanline VFX
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Digital Artist: Scanline VFX
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Digital Compositor
Sherlock Holmes: A Game of Shadows (2011)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Digital Compositor
Final Destination 5 (2011)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Digital Compositor
Red Riding Hood (2011)
Directed by: Catherine Hardwicke
Cinematography by: Mandy Walker
On-set Visual Effects Coordinator
Charlie St. Cloud (2010)
Directed by: Burr Steers
Cinematography by: Enrique Chediak
Edited by: Padraic McKinley
Lenses: Hawk V-Series Lenses
Digital Compositor
Devil (2010)
Directed by: John Erick Dowdle
Cinematography by: Tak Fujimoto
Edited by: Elliot Greenberg
Cameras: Panavision Cameras
Digital Compositor
Grown Ups (2010)
Directed by: Dennis Dugan
Cinematography by: Theo van de Sande
Edited by: Tom Costain
Cameras: Panavision Genesis Camera
Digital Compositor
The Karate Kid (2010)
Directed by: Harald Zwart
Cinematography by: Roger Pratt
Edited by: Joel Negron
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera
Lenses: Cooke S4 Lenses
Visual Effects Coordinator
Hot Tub Time Machine (2010)
Directed by: Steve Pink
Cinematography by: Jack N. Green
Cameras: Panavision Cameras
Digital Compositor
Tron (2010)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: James Haygood
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Editing System: Avid Editing System
Digital Compositor
Flicka 2 (2010)
Directed by: Michael Damian
Cinematography by: Ron Stannett
Edited by: Michael Trent
Rotoscope Artist
Case 39 (2009)
Directed by: Christian Alvart
Cinematography by: Hagen Bogdanski
Edited by: Mark Goldblatt
Compositor
The Hole (2009)
Directed by: Joe Dante
Cinematography by: Theo van de Sande
Edited by: Marshall Harvey
Compositor / On-set Visual Effects Coordinator
Dr. Dolittle: Million Dollar Mutts (2009)
Directed by: Alex Zamm
Cinematography by: Albert J. Dunk
Edited by: Marshall Harvey
Rotoscope Artist
Vantage Point (2008)
Directed by: Pete Travis
Cinematography by: Amir Mokri
Edited by: Stuart Baird