Visual Effects Production Supervisor
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Visual Effects Production Supervisor
Live by Night (2016)
Directed by: Ben Affleck
Cinematography by: Robert Richardson
Edited by: William Goldenberg
Cameras: ARRI ALEXA 65 Camera
Visual Effects Production Supervisor
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 Production Supervisor
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 Production Manager
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Visual Effects Production Manager
The Wolfman (2010)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Digital Artist: Digital Dream
Ghost Rider (2007)
Directed by: Mark Steven Johnson
Cinematography by: Russell Boyd
Edited by: Richard Francis-Bruce
Cameras: Panavision Cameras
Digital Intermediate Supervisor
The Bourne Ultimatum (2007)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
Digital Intermediate Supervisor
Knocked Up (2007)
Directed by: Judd Apatow
Cinematography by: Eric Alan Edwards
Cameras: Panavision Cameras
Digital Intermediate Executive Producer
The Mist (2007)
Directed by: Frank Darabont
Cinematography by: Rohn Schmidt
Edited by: Hunter M. Via
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Intermediate Supervisor, Head Of Digital Intermediate Services: Post Logic Studios
Bordertown (2007)
Directed by: Gregory Nava
Cinematography by: Reynaldo Villalobos
Edited by: Padraic McKinley
Digital Intermediate Supervisor
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Digital Intermediate Data Manager: LaserPacific, Digital Intermediate Supervisor
The Woods (2006)
Directed by: Lucky McKee
Cinematography by: John R. Leonetti
Cameras: Panavision Cameras
Digital Intermediate Consultant, Digital Intermediate Supervisor
Into the Blue (2005)
Directed by: John Stockwell
Cinematography by: Shane Hurlbut
Digital Paint Artist: Digital Dream
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Digital Intermediate Supervisor
The Matador (2005)
Directed by: Richard Shepard
Cinematography by: David Tattersall
Edited by: Carole Kravetz Aykanian
Digital Intermediate Consultant, Digital Intermediate Supervisor
Paparazzi (2004)
Directed by: Paul Abascal
Cinematography by: Daryn Okada
Edited by: Robin Russell
Digital Intermediate Supervisor
Seabiscuit (2003)
Directed by: Gary Ross
Cinematography by: John Schwartzman
Edited by: William Goldenberg
Editing System: Avid Editing System
Digital Intermediate Supervisor
The Barbarian Invasions (2003)
Directed by: Denys Arcand
Cinematography by: Guy Dufaux
Edited by: Isabelle Dedieu
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Digital Intermediate Supervisor
Thirteen (2003)
Directed by: Catherine Hardwicke
Cinematography by: Elliot Davis
Edited by: Nancy Richardson
Cameras: Aaton XTR Prod Camera
Lenses: Canon Lenses
Data Management: Technique
The Human Stain (2003)
Directed by: Robert Benton
Cinematography by: Jean-Yves Escoffier
Edited by: Christopher Tellefsen
Digital Intermediate Supervisor
Looney Tunes: Back in Action (2003)
Directed by: Joe Dante
Cinematography by: Dean Cundey
Digital Intermediate Supervisor
Gods and Generals (2003)
Directed by: Ron Maxwell
Cinematography by: Kees Van Oostrum
Edited by: Corky Ehlers
Digital Intermediate Supervisor
Kill Bill: Vol. 1 (2003)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Cameras: Panavision Panaflex Platinum Camera
Digital Intermediate Supervisor
Panic Room (2002)
Directed by: David Fincher
Cameras: Panavision Panaflex Platinum Camera
Digital Intermediate Supervisor
Planet of the Apes (2001)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Platinum Camera
Technical Assistant: Cinesite
Traffic (2000)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Stephen Mirrione
Data Operator: Cinesite
Lost Souls (2000)
Directed by: Janusz Kaminski
Cinematography by: Mauro Fiore
Datacine Assistant: Cinesite
O Brother, Where Art Thou? (2000)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Vfx Technical Director
Double Jeopardy (1999)
Directed by: Bruce Beresford
Cinematography by: Peter James
Edited by: Mark Warner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Vfx Technical Director
Chill Factor (1999)
Directed by: Hugh Johnson
Cinematography by: David Gribble
Edited by: Pamela Power
Vfx Technical Director
The Mummy (1999)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Edited by: Bob Ducsay
Cameras: Panavision Panaflex Platinum Camera
Vfx Technical Director
Deep Blue Sea (1999)
Directed by: Renny Harlin
Cinematography by: Stephen F. Windon
Animation Assistant: Cinesite
The 13th Warrior (1999)
Cinematography by: Peter Menzies Jr.
Edited by: John Wright
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Technical Director
The Thin Red Line (1998)
Directed by: Terrence Malick
Cinematography by: John Toll
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses: Panavision C100 100 mm T2.8 Lens, Panavision C40 40 mm T2.8 Lens, Panavision C50 50 mm T2.3 Lens, Panavision C75 75 mm T2.5 Lens, Panavision Primo AL100 100 mm T2.0 Lens, Panavision Primo AL40 40 mm T2.0 Lens, Panavision Primo AL50 50 mm T2.0 Lens, Panavision Primo AL75 75 mm T2.0 Lens
Editing System: Avid Editing System
Vfx Technical Director
Out of Sight (1998)
Directed by: Steven Soderbergh
Cinematography by: Elliot Davis
Edited by: Anne V. Coates
Vfx Technical Director
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Vfx Technical Director
Practical Magic (1998)
Directed by: Griffin Dunne
Cinematography by: Andrew Dunn
Edited by: Elizabeth Kling
Vfx Technical Director
The Truman Show (1998)
Directed by: Peter Weir
Cinematography by: Peter Biziou
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Technical Director
Primary Colors (1998)
Directed by: Mike Nichols
Cinematography by: Michael Ballhaus
Edited by: Arthur Schmidt
Cameras: ARRIFLEX Camera
Vfx Technical Director
Doctor Dolittle (1998)
Directed by: Betty Thomas
Cinematography by: Russell Boyd
Edited by: Peter Teschner
Vfx Technical Director
Sphere (1998)
Directed by: Barry Levinson
Cinematography by: Adam Greenberg
Edited by: Stu Linder
Vfx Technical Director
Dante's Peak (1997)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Vfx Technical Director
Smilla's Sense of Snow (1997)
Directed by: Bille August
Cinematography by: Jörgen Persson
Edited by: Janus Billeskov Jansen
Assistant Animator: Cinesite
Air Force One (1997)
Directed by: Wolfgang Petersen
Cinematography by: Michael Ballhaus
Edited by: Richard Francis-Bruce
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Variable Prime Lenses
Vfx Technical Director
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Vfx Technical Director
Gattaca (1997)
Directed by: Andrew Niccol
Cinematography by: Slawomir Idziak
Edited by: Lisa Zeno Churgin
Cameras: ARRIFLEX Camera, Moviecam Cameras
Vfx Technical Director
The Postman (1997)
Directed by: Kevin Costner
Cinematography by: Stephen F. Windon
Edited by: Peter Boyle
Technical Director
Face/Off (1997)
Directed by: John Woo
Cinematography by: Oliver Wood
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
Visual Effects Artist
Batman & Robin (1997)
Directed by: Joel Schumacher
Cinematography by: Stephen Goldblatt
Vfx Technical Director
Jerry Maguire (1996)
Directed by: Cameron Crowe
Cinematography by: Janusz Kaminski
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Editing System: Lightworks Editing System
Vfx Technical Director
Flipper (1996)
Directed by: Alan Shapiro
Cinematography by: Bill Butler
Edited by: Peck Prior
