Digital Imaging Supervisor: Weta Digital
'The Wilds' Day Three (2020)
Directed by: John Polson
Cinematography by: Ed Wild
Edited by: Brad Katz
Visual Effects: Weta Digital
'Game of Thrones' The Long Night (2019)
Directed by: Miguel Sapochnik
Cinematography by: Fabian Wagner
Edited by: Tim Porter
Digital Imaging Supervisor: Weta Digital
'Game of Thrones' A Knight of the Seven Kingdoms (2019)
Directed by: David Nutter
Cinematography by: David Franco
Edited by: Crispin Green
Visual Effects: Weta Digital
'Game of Thrones' Winterfell (2019)
Directed by: David Nutter
Cinematography by: David Franco
Edited by: Crispin Green
Digital Imaging Supervisor: Weta Digital
Terminator: Dark Fate (2019)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA LF Camera, ARRI ALEXA Mini Camera
Editing System: Adobe Premiere Editing System
Digital Imaging Supervisor: Weta Digital
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Digital Imaging Supervisor: Weta Digital
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Digital Imaging Supervisor: Weta Digital
Guardians of the Galaxy Vol. 2 (2017)
Directed by: James Gunn
Cinematography by: Henry Braham
Cameras: Red Weapon Dragon Camera
Lenses: Panavision Primo 70 Lenses
Visual Effects: Weta Digital
'Game of Thrones' Beyond the Wall (2017)
Directed by: Alan Taylor
Cinematography by: Jonathan Freeman
Edited by: Tim Porter
Digital Imaging Supervisor: Weta Digital
War for the Planet of the Apes (2017)
Directed by: Matt Reeves
Cinematography by: Michael Seresin
Cameras: ARRI ALEXA 65 Camera
Digital Imaging Supervisor: Weta Digital
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Digital Imaging Supervisor: Weta Digital
The Jungle Book (2016)
Directed by: Jon Favreau
Cinematography by: Bill Pope
Cameras: ARRI ALEXA XT M Camera
Digital Imaging Supervisor: Weta Digital
Deadpool (2016)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA XT Plus Camera
Editing System: Adobe Premiere Editing System
Digital Imaging Supervsor:Weta Digital
Pete's Dragon (2016)
Directed by: David Lowery
Cinematography by: Bojan Bazelli
Edited by: Lisa Zeno Churgin
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Cooke Anamorphic/i Prime Lenses
Digital Imaging Supervisor: Weta Digital
The BFG (2016)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRI ALEXA XT Series Cameras
Digital Imaging Supervisor: Weta Digital
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Digital Imaging Supervisor: Weta Digital
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
Digital Imaging Supervisor
Dawn of the Planet of the Apes (2014)
Directed by: Matt Reeves
Cinematography by: Michael Seresin
Cameras: ARRI ALEXA M Camera
Editing System: Avid Editing System
Digital Imaging Supervisor: Weta Digital
The Hobbit: The Battle of the Five Armies (2014)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Imaging Supervisor
The Wolverine (2013)
Directed by: James Mangold
Cinematography by: Ross Emery
Edited by: Michael McCusker
Cameras: ARRI ALEXA Camera
Digital Imaging Supervisor: Weta Digital / Digital Imaging Supervisor: Weta Digital
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Digital Imaging Supervisor
The Hobbit: The Desolation of Smaug (2013)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: GoPro HD Hero3 Camera, Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Film Recording Supervisor: Weta Digital
Goddess (2013)
Directed by: Mark Lamprell
Cinematography by: Damian Wyvill
Cameras: ARRI ALEXA Camera
Digital Imaging Supervisor
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Film Recording Supervisor: Weta Digital
Stefan v/s Kramer (2012)
Cinematography by: Antonio Quercia
Cameras: ARRI ALEXA Camera, ARRI ALEXA Plus Camera
Editing System: Final Cut Pro Editing System
Digital Imaging Supervisor: WETA Digital
The Hobbit: An Unexpected Journey (2012)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Scanning And Recording Supervisor: Weta Digital
Emperor (2012)
Directed by: Peter Webber
Cinematography by: Stuart Dryburgh
Edited by: Chris Plummer
Lenses: Hawk V-Lite Lenses
Digital Imaging Supervisor: Weta Digital
The Adventures of Tintin (2011)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Cameras
Editing System: Avid Editing System
Digital Imaging Supervisor: Weta Digital / Digital Imaging Supervisor: Weta Digital
Rise of the Planet of the Apes (2011)
Directed by: Rupert Wyatt
Cinematography by: Andrew Lesnie
Cameras: ARRICAM Lite (LT) Camera
Film Recording Supervisor: Weta Digital
X (2011)
Directed by: Jon Hewitt
Cinematography by: Mark Pugh
Edited by: Cindy Clarkson
Cameras: Red One MX Camera
Digital Imaging Supervisor: Weta Digital / Digital Imaging Supervisor: Weta Digital
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Film Recording Supervisor: Weta Digital
The Devil's Rock (2011)
Directed by: Paul Campion
Cinematography by: Rob Marsh
Edited by: Jeff Hurrell
Visual Effects: Weta Digital / Digital Imaging Supervisor: Weta Digital - 4 Episodes, 2017-2019
Game of Thrones (2011)
Directed by: David Nutter, Alan Taylor, Alex Graves, Miguel Sapochnik, Mark Mylod, Jeremy Podeswa, Daniel Minahan, Alik Sakharov, Michelle MacLaren, Brian Kirk, David Benioff, D.B. Weiss, Timothy Van Patten, Neil Marshall, David Petrarca, Michael Slovis, Jack Bender, Daniel Sackheim, Matt Shakman
Cinematography by: Anette Haellmigk, Jonathan Freeman, Robert McLachlan, Fabian Wagner, David Franco, Gregory Middleton, P.J. Dillon, Matthew Jensen, Alik Sakharov, Martin Kenzie, Marco Pontecorvo, Kramer Morgenthau, Chris Seager, Sam McCurdy, David Katznelson
Edited by: Katie Weiland, Frances Parker, Crispin Green, Tim Porter, Oral Norrie Ottey, Martin Nicholson, Jesse Parker, Yan Miles
Editing System: Avid Editing System
Film Recording Supervisor: Weta Digital
Road Kill (2010)
Directed by: Dean Francis
Cinematography by: Carl Robertson
Edited by: Rodrigo Balart
Cameras: Red One Camera
Scanning And Recording Supervisor
Boy (2010)
Directed by: Taika Waititi
Cinematography by: Adam Clark
Edited by: Chris Plummer
Film Recording Supervisor: Weta Digital
Don't Be Afraid of the Dark (2010)
Directed by: Troy Nixey
Cinematography by: Oliver Stapleton
Edited by: Jill Bilcock
Film Scanning And Recording Supervisor: Weta Digital
The Warrior's Way (2010)
Directed by: Sngmoo Lee
Cinematography by: Woo-hyung Kim
Edited by: Jonathan Woodford-Robinson
Digital Imaging Supervisor: Weta Digital
Knight and Day (2010)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Film Recording Supervisor: Weta Digital
Knowing (2009)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Edited by: Richard Learoyd
Cameras: Red One Camera
Film Recording Supervisor: Weta Digital
Cedar Boys (2009)
Directed by: Serhat Caradee
Cinematography by: Peter Holland
Edited by: Suresh Ayyar
Digital Imaging Supervisor: Weta Digital
The Lovely Bones (2009)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Digital Imaging Supervisor: Weta Digital
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Film Recording Supervisor: Weta Digital
The Boys Are Back (2009)
Directed by: Scott Hicks
Cinematography by: Greig Fraser
Edited by: Scott Gray
Digital Imaging Supervisor: Weta Digital
District 9 (2009)
Directed by: Neill Blomkamp
Cinematography by: Trent Opaloch
Edited by: Julian Clarke
Cameras: Phantom HD Gold Camera, Red One Camera, Sony HDC-F950 Camera, Sony PMW-EX1 Camera, Sony PMW-EX3 Camera
Lenses: Angenieux Lenses, Cooke S4 Lenses
Editing System: Adobe Premiere Editing System
Film Recording Supervisor
Closed for Winter (2009)
Directed by: James Bogle
Cinematography by: Kim Batterham
Edited by: Denise Haratzis
Film Recording Supervisor
Jumper (2008)
Directed by: Doug Liman
Cinematography by: Barry Peterson
Cameras: Panavision Cameras, Red One Camera
Scanning And Recording Supervisor
The Chronicles of Narnia: Prince Caspian (2008)
Directed by: Andrew Adamson
Cinematography by: Karl Walter Lindenlaub
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera
Lenses: Zeiss Master Prime Lenses
Film Scanning And Recording Supervisor: Weta Digital
Rain of the Children (2008)
Directed by: Vincent Ward
Edited by: Chris Plummer
Film Scanning And Recording Supervisor: Weta Digital
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Scanning And Recording Supervisor: Weta Digital
Bridge to Terabithia (2007)
Directed by: Gabor Csupo
Cinematography by: Michael Chapman
Edited by: John Gilbert
Cameras: Panavision Cameras
Film Recording Supervisor: Weta Digital
No Reservations (2007)
Directed by: Scott Hicks
Cinematography by: Stuart Dryburgh
Edited by: Pip Karmel
Compositor: Weta Digital
The Water Horse (2007)
Directed by: Jay Russell
Cinematography by: Oliver Stapleton
Edited by: Mark Warner
Scanning And Recording Supervisor: Weta Digital
Lucky Miles (2007)
Directed by: Michael James Rowland
Cinematography by: Geoff Burton
Edited by: Henry Dangar
Scanning And Recording Supervisor: Weta Digital
30 Days of Night (2007)
Directed by: David Slade
Cinematography by: Jo Willems
Edited by: Art Jones
Scanning And Recording Supervisor
Fantastic Four: Rise of the Silver Surfer (2007)
Directed by: Tim Story
Cinematography by: Larry Blanford
Cameras: Pan-Arri 235 Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Wescam Cameras
Editing System: Avid Editing System, Sony Vegas Editing System
Scanning And Recording Supervisor: Weta Digital
X-Men: The Last Stand (2006)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Film Recording Supervisor: Weta Digital
Kokoda (2006)
Directed by: Alister Grierson
Cinematography by: Jules O'Loughlin
Edited by: Adrian Rostirolla
Scanning And Recording Supervisor: Weta Digital
Man cheng jin dai huang jin jia (2006)
Directed by: Yimou Zhang
Cinematography by: Xiaoding Zhao
Edited by: Long Cheng
Film Recording Supervisor: Weta Digital
Eragon (2006)
Directed by: Stefen Fangmeier
Cinematography by: Hugh Johnson
Scanning And Recording Supervisor: Weta Digital
Perfect Creature (2006)
Directed by: Glenn Standring
Cinematography by: Leon Narbey
Edited by: Chris Blunden
Scanning And Recording Supervisor: Weta Digital
King Kong (2005)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, Mitchell Cameras
Editing System: Avid Editing System
Film Recording Supervisor: Weta Digital
Qi jian (2005)
Directed by: Hark Tsui
Cinematography by: Kwok-Man Keung
Edited by: Angie Lam
Scanning And Recording Supervisor: Weta Digital
Boogeyman (2005)
Directed by: Stephen Kay
Cinematography by: Bobby Bukowski
Edited by: John Axelrad
Scanning And Recording Supervisor: Weta Digital
Thunderstruck (2004)
Directed by: Darren Ashton
Cinematography by: Geoffrey Hall
Edited by: Martin Connor
Digital Imaging: Weta Digital
Two Cars, One Night (2004)
Directed by: Taika Waititi
Cinematography by: Adam Clark
Edited by: Owen Ferrier-Kerr
Cameras: ARRIFLEX 35 BL3 Camera
Lenses: Zeiss Ultra Prime Lenses
Compositor: Weta Digital
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Film Recording Supervisor
Travelers and Magicians (2003)
Directed by: Khyentse Norbu
Cinematography by: Alan Kozlowski
Cameras: Aaton A-Minima Camera, Aaton XTR Prod Camera
Scan/record Supervisor: Weta Digital
The Lord of the Rings: The Return of the King (2003)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX 535 B Camera, Mitchell Cameras, Moviecam Superlight Camera
Editing System: Avid Editing System
Scanning And Recording Supervisor: Weta Digital
The Lord of the Rings: The Two Towers (2002)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Michael Horton
Lenses: Angenieux Lenses, Zeiss Ultra Prime Lenses
Scanning And Recording Technician: Weta Digital
Ghost Ship (2002)
Directed by: Steve Beck
Cinematography by: Gale Tattersall
Edited by: Roger Barton
On-set Survey Coordinator / Senior Preproduction Coordinator
The Lord of the Rings: The Fellowship of the Ring (2001)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: John Gilbert
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Production Assistant: Weta Ltd.
Contact (1997)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
