Compositing Supervisor
Avatar: The Way of Water (2022)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Cameras: Sony CineAlta VENICE Camera
In House Compositor
Sonic the Hedgehog 2 (2022)
Directed by: Jeff Fowler
Cinematography by: Brandon Trost
Edited by: Jim May
Cameras: ARRI ALEXA Mini LF Camera
Editing System: Avid Editing System
Senior Compositor
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
On Set Compositor And Surveyor / Senior In House Compositor/cg Artist
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
Environment Artist - Digital Domain
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
Compositor
The Revenant (2015)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Edited by: Stephen Mirrione
Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
On Set Compositor And Surveyor / Senior Compositor - In House / Senior In-house Compositor/cg Artist
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Senior In House Compositor/cg Artist
Night at the Museum: Secret of the Tomb (2014)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Dean Zimmerman
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Senior Compositor - Entity Vfx
Riddick (2013)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Tracy Adams
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Compositing Supervisor - In House
The Internship (2013)
Directed by: Shawn Levy
Cinematography by: Jonathan Brown
Edited by: Dean Zimmerman
Cameras: ARRI ALEXA Plus Camera
Senior In-house Compositor/cg Artist
Abraham Lincoln: Vampire Hunter (2012)
Directed by: Timur Bekmambetov
Cinematography by: Caleb Deschanel
Edited by: William Hoy
On Set Compositor And Surveyor / Senior In-house Compositor/cg Artist
Mr. Popper's Penguins (2011)
Directed by: Mark Waters
Cinematography by: Florian Ballhaus
Edited by: Bruce Green
Cameras: ARRI ALEXA Camera
On-set Data Wrangler - Scanline
Hereafter (2010)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Senior In House Compositor/cg Artist
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
On Set Compositor/data Wrangler
Knight and Day (2010)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Senior In House Compositor/cg Artist
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
In House Compositor
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Compositor - The Orphanage / Technical Coordinator - The Orphanage
The Spirit (2008)
Directed by: Frank Miller
Cinematography by: Bill Pope
Edited by: Gregory Nussbaum
Plate Coordinator
Meet Dave (2008)
Directed by: Brian Robbins
Cinematography by: Clark Mathis
Edited by: Ned Bastille
In House Compositor / Visual Effects Plate Coordinator
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Dimmer Board Operator
Beauty Shop (2005)
Directed by: Bille Woodruff
Cinematography by: Theo van de Sande
Edited by: Michael Jablow
Lamp Operator
Scary Movie 2 (2001)
Directed by: Keenen Ivory Wayans
Cinematography by: Steven Bernstein
Best Boy
Amy's Orgasm (2001)
Directed by: Julie Davis
Cinematography by: Mark Mervis
Edited by: Julie Davis
Lighting Technician
Ali (2001)
Directed by: Michael Mann
Cinematography by: Emmanuel Lubezki
Lighting Technician
Bubble Boy (2001)
Directed by: Blair Hayes
Cinematography by: Jerzy Zielinski
Edited by: Pamela Martin
Lighting Technician
Little Nicky (2000)
Directed by: Steven Brill
Cinematography by: Theo van de Sande
Edited by: Jeff Gourson
Cameras: Panavision Cameras
Electrician
Judas Kiss (1998)
Directed by: Sebastian Gutierrez
Cinematography by: James Chressanthis
Edited by: Howard E. Smith
Cameras: Panavision Cameras
Grip
Billy's Hollywood Screen Kiss (1998)
Directed by: Tommy O'Haver
Cinematography by: Mark Mervis
Edited by: Jeff Betancourt
Cameras: Panavision Silent Reflex PSR Camera
Electrician
Wishmaster (1997)
Directed by: Robert Kurtzman
Cinematography by: Jacques Haitkin
Edited by: David Handman
