Aerial Director Of Photography: Drone , Aerial Dp/drone
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Aerial Director Of Photography: Drone
Transformers: The Last Knight (2017)
Directed by: Michael Bay
Cinematography by: Jonathan Sela
Camera Operator / Director Of Photography: Edge Arm
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
Camera Operator: Second Unit
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, Zeiss Master Prime Distagon 12 mm T1.3 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 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Camera Operator: Ultimate Arm, Second Unit
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
Camera Operator: Train Unit Ultimate Arm
Fast Five (2011)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Camera Operator: Ultimate Arm, Second Unit
The Green Hornet (2011)
Directed by: Michel Gondry
Cinematography by: John Schwartzman
Edited by: Michael Tronick
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom HD Camera, Red One MX Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Camera Operator: Ultimate Arm
Horrible Bosses (2011)
Directed by: Seth Gordon
Cinematography by: David Hennings
Edited by: Peter Teschner
Cameras: Panavision Genesis Camera
Camera Operator: "b" Camera, Director Of Photography: Splinter Unit
The Experiment (2010)
Directed by: Paul Scheuring
Cinematography by: Amy Vincent
Edited by: Peter S. Elliot
Camera Operator
Gamer (2009)
Cinematography by: Ekkehart Pollack
Cameras: ARRIFLEX 435 Camera, Red One Camera
Editing System: Final Cut Pro Editing System
Camera Operator / Ultimate Arm Camera Operator
Armored (2009)
Directed by: Nimród Antal
Cinematography by: Andrzej Sekula
Edited by: Armen Minasian
Camera Operator: Ultimate Arm
The Hangover (2009)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Camera Operator: Second Unit
Bedtime Stories (2008)
Directed by: Adam Shankman
Cinematography by: Michael Barrett
Camera Operator: Second Unit
Quantum of Solace (2008)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R 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, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Camera Operator: Second Unit
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Camera Operator: Ultimate Arm
Seven Pounds (2008)
Directed by: Gabriele Muccino
Cinematography by: Philippe Le Sourd
Edited by: Hughes Winborne
Cameras: Panavision Cameras
Additional Camera Operator , Additional First Camera Assistant
King of California (2007)
Directed by: Mike Cahill
Cinematography by: Jim Whitaker
Edited by: Glenn Garland
First Assistant Camera
Bonneville (2006)
Directed by: Christopher N. Rowley
Cinematography by: Jeffrey L. Kimball
Camera Operator
Thank You for Smoking (2005)
Directed by: Jason Reitman
Cinematography by: Jim Whitaker
Edited by: Dana E. Glauberman
First Assistant Camera: Second Unit
Lemony Snicket's A Series of Unfortunate Events (2004)
Directed by: Brad Silberling
Cinematography by: Emmanuel Lubezki
Edited by: Michael Kahn
Cameras: Panavision Panaflex Platinum Camera
First Assistant Camera: Pickup Unit
Paycheck (2003)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
First Assistant Camera: Additional Second Unit
Hollywood Homicide (2003)
Directed by: Ron Shelton
Cinematography by: Barry Peterson
Edited by: Paul Seydor
Cameras: Panavision Panaflex Camera
First Assistant Camera: Additional Unit
Kangaroo Jack (2003)
Directed by: David McNally
Cinematography by: Peter Menzies Jr.
Cameras: Panavision Cameras
First Assistant Camera
Windtalkers (2002)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
First Assistant Camera / First Assistant Camera: Second Unit
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
First Assistant Camera: USA
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Key First Assistant Camera: Second Unit
Stigmata (1999)
Directed by: Rupert Wainwright
Cinematography by: Jeffrey L. Kimball
First Assistant Camera: Pick-up Shots
Wild Things (1998)
Directed by: John McNaughton
Cinematography by: Jeffrey L. Kimball
Edited by: Elena Maganini
Head Technician
A Walk in the Clouds (1995)
Directed by: Alfonso Arau
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
