Visual Effects Supervisor
Shazam! (2019)
Directed by: David F. Sandberg
Cinematography by: Maxime Alexandre
Edited by: Michel Aller
Lenses: Zeiss Master Prime Lenses
Visual Effects 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 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 Supervisor
R.I.P.D. (2013)
Directed by: Robert Schwentke
Cinematography by: Alwin H. Küchler
Edited by: Mark Helfrich
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Visual Effects Supervisor
Fast Five (2011)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Visual Effects Supervisor
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Visual Effects Supervisor
Evan Almighty (2007)
Directed by: Tom Shadyac
Cinematography by: Ian Baker
Edited by: Scott Hill
Cameras: Panavision Cameras
Editing System: Lightworks Editing System
Visual Effects Supervisor
The Fast and the Furious: Tokyo Drift (2006)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Visual Effects: Warner Bros. Aninmation VFX
Rumor Has It... (2005)
Directed by: Rob Reiner
Cinematography by: Peter Deming
Edited by: Robert Leighton
Visual Effects Supervisor: Warner Bros. Animation
Four Brothers (2005)
Directed by: John Singleton
Cinematography by: Peter Menzies Jr.
Visual Effects Supervisor: Rhythm & Hues
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Visual Effects Supervisor
2 Fast 2 Furious (2003)
Directed by: John Singleton
Cinematography by: Matthew F. Leonetti
Lenses: Cooke S4 Lenses
Matte Artist: Illusion Arts
The Bourne Identity (2002)
Directed by: Doug Liman
Cinematography by: Oliver Wood
Edited by: Saar Klein
Lead Matte Artist
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
Lead Matte Artist: Illusion Arts Inc.
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Matte Painting Supervisor: Illusion Arts
xXx (2002)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Supervising Matte Artist: Illusion Arts
Unfaithful (2002)
Directed by: Adrian Lyne
Cinematography by: Peter Biziou
Edited by: Anne V. Coates
Cameras: Moviecam Compact Camera
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Visual Effects Supervisor
The Fast and the Furious (2001)
Directed by: Rob Cohen
Cinematography by: Ericson Core
Edited by: Peter Honess
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Matte Artist: Illusion Arts Inc.
The Gift (2000)
Directed by: Sam Raimi
Cinematography by: Jamie Anderson
Matte Artist: Illusion Arts
U-571 (2000)
Directed by: Jonathan Mostow
Cinematography by: Oliver Wood
Edited by: Wayne Wahrman
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Cooke S4 Lenses, Nikon - Nikkor Lenses
Senior Matte Artist: Illusion Arts Inc.
Bowfinger (1999)
Directed by: Frank Oz
Cinematography by: Ueli Steiger
Edited by: Richard Pearson
Matte Artist: Illusion Arts
Brokedown Palace (1999)
Directed by: Jonathan Kaplan
Cinematography by: Newton Thomas Sigel
Senior Matte Artist: Illusion Arts
Dudley Do-Right (1999)
Directed by: Hugh Wilson
Cinematography by: Donald E. Thorin
Edited by: Don Brochu
Matte Artist: Illusion Arts
Mystery Men (1999)
Directed by: Kinka Usher
Cinematography by: Stephen H. Burum
Edited by: Conrad Buff IV
Matte Artist: Illusion Arts
A Civil Action (1998)
Directed by: Steven Zaillian
Cinematography by: Conrad L. Hall
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Platinum Camera
Matte Artist
Dangerous Beauty (1998)
Directed by: Marshall Herskovitz
Cinematography by: Bojan Bazelli
Matte Artist: Illusion Arts
Six Days Seven Nights (1998)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Senior Matte Artist
Psycho (1998)
Directed by: Gus Van Sant
Cinematography by: Christopher Doyle
Edited by: Amy E. Duddleston
Matte Artist: Illusion Arts
Fear and Loathing in Las Vegas (1998)
Directed by: Terry Gilliam
Cinematography by: Nicola Pecorini
Edited by: Lesley Walker
Matte Artist: Illusion Arts Inc.
The Mask of Zorro (1998)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Thom Noble
Lenses: Cooke Lenses
Matte Artist: Illusion Arts
Dante's Peak (1997)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Matte Artist: Illusion Arts
The Jackal (1997)
Directed by: Michael Caton-Jones
Cinematography by: Karl Walter Lindenlaub
Edited by: Jim Clark
Matte Artist: Illusion Arts
Daylight (1996)
Directed by: Rob Cohen
Cinematography by: David Eggby
Edited by: Peter Amundson
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Matte Artist: Illusion Arts
The Sunchaser (1996)
Directed by: Michael Cimino
Cinematography by: Douglas Milsome
Edited by: Joe D'Augustine
Matte Artist
The Birdcage (1996)
Directed by: Mike Nichols
Cinematography by: Emmanuel Lubezki
Edited by: Arthur Schmidt
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Matte Artist: Illusion Arts
Star Trek: First Contact (1996)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: John W. Wheeler
Matte Artist: Illusion Arts
Courage Under Fire (1996)
Directed by: Edward Zwick
Cinematography by: Roger Deakins
Edited by: Steven Rosenblum
Matte Artist
DragonHeart (1996)
Directed by: Rob Cohen
Cinematography by: David Eggby
Edited by: Peter Amundson
Matte Artist: Illusion Arts
High School High (1996)
Directed by: Hart Bochner
Cinematography by: Vernon Layton
Edited by: James R. Symons
Matte Artist: Illusion Arts
A Walk in the Clouds (1995)
Directed by: Alfonso Arau
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Matte Artist: Illusion Arts
Batman Forever (1995)
Directed by: Joel Schumacher
Cinematography by: Stephen Goldblatt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Matte Artist
Hideaway (1995)
Directed by: Brett Leonard
Cinematography by: Gale Tattersall
Edited by: B.J. Sears
Matte Painter: SPI
Wolf (1994)
Directed by: Mike Nichols
Cinematography by: Giuseppe Rotunno
Edited by: Sam O'Steen
