Additional Visual Effects By: Raynault VFX
6 Underground (2019)
Directed by: Michael Bay
Cinematography by: Bojan Bazelli
Visual Effects Supervisor: Raynault VFX
A Quiet Place (2018)
Directed by: John Krasinski
Cinematography by: Charlotte Bruus Christensen
Edited by: Christopher Tellefsen
Lenses: Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Macro Anamorphic Panatar Prime Lenses, Panavision Primo Anamorphic Lenses, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses
Compositing Supervisor: Raynault VFX
Solo: A Star Wars Story (2018)
Directed by: Ron Howard
Cinematography by: Bradford Young
Edited by: Pietro Scalia
Visual Effects Supervisor: Raynault VFX
The Predator (2018)
Directed by: Shane Black
Cinematography by: Larry Fong
Edited by: Harry B. Miller III
Compositing Supervisor: Raynault VFX - 5 Episodes, 2018
Maniac (2018)
Directed by: Cary Joji Fukunaga
Cinematography by: Darren Lew
Cameras: Panavision Millennium DXL Camera
Visual Effects Supervisor - Compositing Supervisor: Raynault VFX
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Compositing Supervisor: Raynault VFX
Mother! (2017)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 416 Camera
Visual Effects Supervisor: Raynault VFX
The Greatest Showman (2017)
Directed by: Michael Gracey
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Visual Effects Supervisor: Compositing Supervisor: Raynault VFX
Ghost in the Shell (2017)
Directed by: Rupert Sanders
Cinematography by: Jess Hall
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Compositing Supervisor: Raynault VFX
Transformers: The Last Knight (2017)
Directed by: Michael Bay
Cinematography by: Jonathan Sela
Visual Effects Supervisor, Compositing Supervisor: Raynault VFX
Murder on the Orient Express (2017)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Mick Audsley
Compositing Supervisor: Raynault VFX
Rogue One (2016)
Directed by: Gareth Edwards
Cinematography by: Greig Fraser
Cameras: ARRI ALEXA 65 Camera
Lenses: Panavision APO Panatar Lenses
Editing System: Avid Editing System
Digital Compositor
Hail, Caesar! (2016)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Adobe Premiere Editing System
Compositing Supervisor: Raynault VFX
X-Men: Apocalypse (2016)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Lead Compositing: Raynault VFX
Gods of Egypt (2016)
Directed by: Alex Proyas
Cinematography by: Peter Menzies Jr.
Edited by: Richard Learoyd
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Compositing Supervisor: Raynault VFX
Assassin's Creed (2016)
Directed by: Justin Kurzel
Cinematography by: Adam Arkapaw
Edited by: Christopher Tellefsen
Cameras: ARRI ALEXA 65 Camera
Compositing Supervisor: Raynault VFX
Arrival (2016)
Directed by: Denis Villeneuve
Cinematography by: Bradford Young
Edited by: Joe Walker
Digital Compositor: 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
Lead Compositor
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 Compositor: Weta Digital
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
Senior Compositor: Raynault VFX
This Is the End (2013)
Cinematography by: Brandon Trost
Edited by: Zene Baker
Cameras: Panavision Cameras, Red Epic Camera
Digital Compositor: Rodeo FX
The Host (2013)
Directed by: Andrew Niccol
Cinematography by: Roberto Schaefer
Edited by: Thomas J. Nordberg
Cameras: ARRI ALEXA Camera
Digital Compositor: Weta Digital
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
Lead Compositor: Rodeo FX
Mirror Mirror (2012)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Cameras: Sony CineAlta F35 Camera
Digital Compositor: Rodeo FX
The Twilight Saga: Breaking Dawn - Part 2 (2012)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Editing System: Adobe Premiere Editing System, Avid Editing System
Digital Compositor: RodeoFX
Abraham Lincoln: Vampire Hunter (2012)
Directed by: Timur Bekmambetov
Cinematography by: Caleb Deschanel
Edited by: William Hoy
Digital Effects Artist: Rodeo FX
Red Tails (2012)
Directed by: Anthony Hemingway
Cinematography by: John B. Aronson
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera
Editing System: Lightworks Editing System
Pipeline/r&d/workflow: Rodeo FX
Source Code (2011)
Directed by: Duncan Jones
Cinematography by: Don Burgess
Edited by: Paul Hirsch
Digital Compositor: Rodeo FX
Immortals (2011)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Digital Compositor: Rodeo FX
The Three Musketeers (2011)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Flame Compositor: RodeoFX
Repo Men (2010)
Directed by: Miguel Sapochnik
Cinematography by: Enrique Chediak
Edited by: Richard Francis-Bruce
Digital Compositor
The Last Airbender (2010)
Directed by: M. Night Shyamalan
Cinematography by: Andrew Lesnie
Edited by: Conrad Buff IV
Digital Compositor: Rodeo FX
Resident Evil: Afterlife (2010)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Niven Howie
Editing System: Avid Editing System
Digital Compositor: Rodeo FX
Incendies (2010)
Directed by: Denis Villeneuve
Cinematography by: André Turpin
Edited by: Monique Dartonne
Lenses: Zeiss Master Prime Lenses
Digital Compositor: Rodeo FX
The Twilight Saga: Eclipse (2010)
Directed by: David Slade
Cinematography by: Javier Aguirresarobe
Cameras: Panavision Cameras
Digital Compositor / Digital Compositor: Rodeo FX
Jonah Hex (2010)
Directed by: Jimmy Hayward
Cinematography by: Mitchell Amundsen
Visual Effects: Rodeo FX
Mr. Nobody (2009)
Directed by: Jaco Van Dormael
Cinematography by: Christophe Beaucarne
Cameras: ARRICAM Lite (LT) Camera
Lenses: Zeiss Master Prime Lenses
Digital Compositor: RodeoFX
Journey to Mecca (2009)
Directed by: Bruce Neibaur
Cinematography by: Matthew Williams
Edited by: Jean-Marie Drot
Cameras: IMAX MSM 9802 Camera
Digital Compositor: RodeoFX
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Digital Compositor: Buzz Image Group
Doomsday (2008)
Directed by: Neil Marshall
Cinematography by: Sam McCurdy
Digital Compositor: RodeoFX
Death Race (2008)
Directed by: Paul W.S. Anderson
Cinematography by: Scott Kevan
Edited by: Niven Howie
Digital Compositor: Buzz Image Group
WarGames: The Dead Code (2008)
Directed by: Stuart Gillard
Cinematography by: Bruce Chun
Edited by: Robin Russell
Digital Compositor: Buzz Image Group
Flood (2007)
Directed by: Tony Mitchell
Cinematography by: Pierre Jodoin
Digital Compositor: Buzz Image Group
Malos hábitos (2007)
Directed by: Simón Bross
Cinematography by: Eduardo Martínez Solares
Digital Compositor: Buzz Image Group
The Life Before Her Eyes (2007)
Directed by: Vadim Perelman
Cinematography by: Pawel Edelman
Digital Compositor: Buzz Image Group
300 (2006)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Editing System: Final Cut Pro Editing System
