Visual Effects Coordinator: Warner Brothers
Zack Snyder's Justice League (2021)
Directed by: Zack Snyder
Cinematography by: Fabian Wagner
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Leitz Summilux-C Series Lenses
Visual Effects Post Coordinator: Paramount Pictures
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
Senior Visual Effects Coordinator: Universal Pictures
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
Visual Effects Producer: Warner Brothers
The Judge (2014)
Directed by: David Dobkin
Cinematography by: Janusz Kaminski
Edited by: Mark Livolsi
Visual Effects Production Supervisor: Warner Brothers
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Visual Effects Coordinator: Warner Brothers
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
Visual Effects Production Coordinator: Warner Brothers
Sucker Punch (2011)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: Panavision Cameras
Visual Effects Coordinator: 20th Century Fox
Alvin and the Chipmunks: The Squeakquel (2009)
Directed by: Betty Thomas
Cinematography by: Anthony B. Richmond
Edited by: Matt Friedman
Lenses: Cooke S4 Lenses
Visual Effects Coordinator: Dark Castle Pictures
Whiteout (2009)
Directed by: Dominic Sena
Cinematography by: Christopher Soos
Edited by: Martin Hunter
Visual Effects Post Coordinator: Universal
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Visual Effects Assistant Coordinator: 20th Century Fox
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
Visual Effects Coordinator: Double Negative
World Trade Center (2006)
Directed by: Oliver Stone
Cinematography by: Seamus McGarvey
Visual Effects Assistant Coordinator: 20th Century Fox
Garfield: A Tail of Two Kitties (2006)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Edited by: Peter S. Elliot
Visual Effects Post-production Coordinator: 20th Century Fox
Fantastic Four (2005)
Directed by: Tim Story
Cinematography by: Oliver Wood
Edited by: William Hoy
Visual Effects Coordinator: Double Negative
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Visual Effects Coordinator: Peerless Camera Company
Pinocchio (2002)
Directed by: Roberto Benigni
Cinematography by: Dante Spinotti
Edited by: Simona Paggi
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Coordinator: MVFX
The Animal (2001)
Directed by: Luke Greenfield
Cinematography by: Peter Lyons Collister
Visual Effects Coordinator: MVFX
The Man Who Wasn't There (2001)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Visual Effects Coordinator: MVFX
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Visual Effects Production Coordinator: MVFX
Almost Famous (2000)
Directed by: Cameron Crowe
Cinematography by: John Toll
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Coordinator: MVFX
Crouching Tiger, Hidden Dragon (2000)
Directed by: Ang Lee
Cinematography by: Peter Pau
Edited by: Tim Squyres
Cameras: ARRIFLEX 435 ES Camera
Lenses: Zeiss Lenses
Visual Effects Editorial: CFC/MVFX
The Bachelor (1999)
Directed by: Gary Sinyor
Cinematography by: Simon Archer
Visual Effects Editorial: CFC/MVFX
American Beauty (1999)
Directed by: Sam Mendes
Cinematography by: Conrad L. Hall
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Editorial: CFC
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Visual Effects Editorial: CFC
Six Days Seven Nights (1998)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Visual Effects Editorial: CFC
Pleasantville (1998)
Directed by: Gary Ross
Cinematography by: John Lindley
Edited by: William Goldenberg
Cameras: Panavision Cameras
Lenses: Panavision Lenses
