Additional Visual Effects Supervisor: ILM
Skyscraper (2018)
Directed by: Rawson Marshall Thurber
Cinematography by: Robert Elswit
Senior Visual Effects Supervisor: ILM San Francisco
Star Wars: Episode VIII - The Last Jedi (2017)
Directed by: Rian Johnson
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, ARRIFLEX 435 Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: ARRI Rental Prime 65 Lenses, Hasselblad Lenses, 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 G Series Anamorphic Lenses, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses, Panavision Ultra Speed Z Series (Zeiss) Lenses
Visual Effects Supervisor
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
Visual Effects Supervisor: ILM
'The Big Bang Theory' The Proton Transmogrification (2014)
Directed by: Mark Cendrowski
Cinematography by: Steven V. Silver
Edited by: Peter Chakos
Visual Effects Co-supervisor: ILM
Pacific Rim (2013)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Cameras: Red Epic Camera
Location Associate Visual Effects Supervisor: Industrial Light & Magic
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Digital Artist
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Co-visual Effects Supervisor: ILM
Cowboys & Aliens (2011)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Associate Visual Effects Supervisor
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Compositing Supervisor: ILM
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Visual Effects Supervisor: ILM
The Love Guru (2008)
Directed by: Marco Schnabel
Cinematography by: Peter Deming
Associate Visual Effects Supervisor
National Treasure: Book of Secrets (2007)
Directed by: Jon Turteltaub
Compositing Supervisor
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
Visual Effects Supervisor: ILM - 1 Episode, 2014
The Big Bang Theory (2007)
Directed by: Mark Cendrowski, Anthony Rich, Peter Chakos, Nicole Lorre, James Burrows, Howard Murray, Gay Linvill, Kristy Cecil, Ted Wass, Andrew D. Weyman, Joel Murray
Edited by: Peter Chakos
Compositing Supervisor
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Digital Compositing Supervisor
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDC-F950 Camera
Compositing Supervisor
Hidalgo (2004)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Computer Graphics Supervisor: ILM
Tears of the Sun (2003)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Cameras: Panavision Cameras
CG Supervisor: ILM
Timeline (2003)
Directed by: Richard Donner
Cinematography by: Caleb Deschanel
Edited by: Richard Marks
Compositing Supervisor: ILM
Signs (2002)
Directed by: M. Night Shyamalan
Cinematography by: Tak Fujimoto
Edited by: Barbara Tulliver
Compositing Supervisor
Jurassic Park III (2001)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Compositing Supervisor
The Majestic (2001)
Directed by: Frank Darabont
Cinematography by: David Tattersall
Edited by: Jim Page
Lead Digital Compositor
The Perfect Storm (2000)
Directed by: Wolfgang Petersen
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
Digital Effects Artist: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Lead Digital Compositor: ILM
Sleepy Hollow (1999)
Directed by: Tim Burton
Cinematography by: Emmanuel Lubezki
Cameras: Panavision Panaflex Platinum Camera
Digital Effects Artist: ILM
Deep Impact (1998)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Cameras: ARRIFLEX 535 Camera
Digital Compositor
Mission: Impossible (1996)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Cameras: Panavision Panaflex Camera, Wescam Cameras
Editing System: Lightworks Editing System
Digital Effects Artist: ILM
Daylight (1996)
Directed by: Rob Cohen
Cinematography by: David Eggby
Edited by: Peter Amundson
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Digital Compositor
Twister (1996)
Directed by: Jan de Bont
Cinematography by: Jack N. Green
Edited by: Michael Kahn
Computer Graphics Artist: ILM
Congo (1995)
Directed by: Frank Marshall
Cinematography by: Allen Daviau
Edited by: Anne V. Coates
Computer Graphics Artist: ILM
Forrest Gump (1994)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Compositor - Special Version
Star Wars: Episode VI - Return of the Jedi (1983)
Directed by: Richard Marquand
Digital Effects Artist: ILM - 1997 Special Version
Star Wars: Episode V - The Empire Strikes Back (1980)
Directed by: Irvin Kershner
Cinematography by: Peter Suschitzky
