Vfx On-set Supervisor: 2nd Unit
The Brothers Grimsby (2016)
Directed by: Louis Leterrier
Cinematography by: Oliver Wood
Visual Effects Onset Supervisor
Chappie (2015)
Directed by: Neill Blomkamp
Cinematography by: Trent Opaloch
Visual Effects
Mad Max: Fury Road (2015)
Directed by: George Miller
Cinematography by: John Seale
Edited by: Margaret Sixel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Blackmagic Cinema Camera, Canon EOS-5D Mark II Camera, Nikon D800 Camera, Olympus E-P5 Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses, Panavision Ultra Speed MKII Lenses
Editing System: Avid Editing System
On-set Visual Effects Supervisor
Dredd (2012)
Directed by: Pete Travis
Cinematography by: Anthony Dod Mantle
Edited by: Mark Eckersley
Lenses: Zeiss Ultra Prime Lenses
Visual Effects Plate Supervisor: Image Engine
Zero Dark Thirty (2012)
Directed by: Kathryn Bigelow
Cinematography by: Greig Fraser
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Lenses: Angenieux HP Zoom Lenses, Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Optica Elite Lenses
Editing System: Avid Editing System
Visual Effects Plate Supervisor
Safe House (2012)
Directed by: Daniel Espinosa
Cinematography by: Oliver Wood
Edited by: Richard Pearson
Visual Effects Plate Supervisor
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: South Africa
Machine Gun Preacher (2011)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Hawk V-Lite 16 110 mm T3.0 Lens, Hawk V-Lite 16 14 mm T1.5 Lens, Hawk V-Lite 16 18 mm T1.5 Lens, Hawk V-Lite 16 24 mm T1.5 Lens, Hawk V-Lite 16 28 mm T1.5 Lens, Hawk V-Lite 16 35 mm T1.5 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens
Visual Effects Supervisor
Black Butterflies (2011)
Directed by: Paula van der Oest
Cinematography by: Giulio Biccari
Edited by: Sander Vos
Compositor: Double Negative
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Cg Artist: CIS Vancouver
Invictus (2009)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Digital Artist: Double Negative
Sherlock Holmes (2009)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Visual Effects Supervisor
The Silent Army (2008)
Directed by: Jean van de Velde
Cinematography by: Theo van de Sande
Edited by: Peter R. Adam
Assistant Visual Effects Supervisor: Vfxfiles
Doomsday (2008)
Directed by: Neil Marshall
Cinematography by: Sam McCurdy
Compositor: Double Negative
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
2D Sequence Lead: Double Negative
Children of Men (2006)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Lead Artist: Double Negative
The Da Vinci Code (2006)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Digital Compositor: Double Negative
Flyboys (2006)
Directed by: Tony Bill
Cinematography by: Henry Braham
Visual Effects: Double Negative
Harry Potter and the Goblet of Fire (2005)
Directed by: Mike Newell
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Digital Compositor: Double Negative
Sahara (2005)
Directed by: Breck Eisner
Cinematography by: Seamus McGarvey
Edited by: Andrew MacRitchie
Digital Compositor: Double Negative
Batman Begins (2005)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Digital Compositor: Double Negative
Doom (2005)
Directed by: Andrzej Bartkowiak
Cinematography by: Tony Pierce-Roberts
Edited by: Derek Brechin
Compositing Artist: Double Negative
Agent Cody Banks 2: Destination London (2004)
Directed by: Kevin Allen
Cinematography by: Denis Crossan
Edited by: Andrew MacRitchie
Cameras: Panavision Cameras
Visual Effects Supervisor
Shaun of the Dead (2004)
Directed by: Edgar Wright
Cinematography by: David M. Dunlap
Edited by: Chris Dickens
Cameras: ARRI Cameras
Digital Compositing Artist: Double Negative
Finding Neverland (2004)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Editing System: Avid Editing System
Digital Compositor
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 Compositor
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor
Johnny English (2003)
Directed by: Peter Howitt
Cinematography by: Remi Adefarasin
Edited by: Robin Sales
Lenses: Angenieux Lenses, Zeiss Lenses
Editing System: Lightworks Editing System
Digital Compositor
Below (2002)
Directed by: David Twohy
Cinematography by: Ian Wilson
Edited by: Martin Hunter
Digital Compositor
Die Another Day (2002)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
