Executive Visual Effects Producer: ILM - 7 Episodes, 2022
The Sandman (2022)
Directed by: Jamie Childs, Andrés Baiz, Louise Hooper, Hisko Hulsing, Mairzee Almas, Mike Barker, Coralie Fargeat
Cameras: Red Monstro 8K Camera
Visual Effects Producer: Pre-production: MPC
Cinderella (2015)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Martin Walsh
Lenses: Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Head Of Visual Effects: Lipsync Post
Calvary (2014)
Directed by: John Michael McDonagh
Cinematography by: Larry Smith
Edited by: Chris Gill
Cameras: ARRI ALEXA Series Cameras
Visual Effects Producer: MPC
Exodus: Gods and Kings (2014)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Visual Effects Producer: Pre-production: MPC
Into the Woods (2014)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Wyatt Smith
Cameras: ARRI ALEXA XT Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Visual Effects Producer: MPC
The Monuments Men (2014)
Directed by: George Clooney
Cinematography by: Phedon Papamichael
Edited by: Stephen Mirrione
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens
Editing System: Avid Editing System
Visual Effects Producer: MPC
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Head Of Visual Effects
Lay the Favorite (2012)
Directed by: Stephen Frears
Cinematography by: Michael McDonough
Edited by: Mick Audsley
Cameras: Sony CineAlta F35 Camera
Head Of Visual Effects: Lipsync Post
Great Expectations (2012)
Directed by: Mike Newell
Cinematography by: John Mathieson
Edited by: Tariq Anwar
Visual Effects Producer: LipSync Post
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Head Of Visual Effects: LipSync Post
Byzantium (2012)
Directed by: Neil Jordan
Cinematography by: Sean Bobbitt
Edited by: Tony Lawson
Cameras: ARRI ALEXA Plus Camera
Lenses: Zeiss Master Prime Lenses
Head Of Visual Effects
Now Is Good (2012)
Directed by: Ol Parker
Cinematography by: Erik Wilson
Edited by: Peter Lambert
Lenses: Zeiss Master Prime Lenses
Head Of Visual Effects: LipSync Post
Shadow Dancer (2012)
Directed by: James Marsh
Cinematography by: Rob Hardy
Edited by: Jinx Godfrey
Head Of Visual Effects
Salmon Fishing in the Yemen (2011)
Directed by: Lasse Hallström
Cinematography by: Terry Stacey
Edited by: Lisa Gunning
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Head Of Visual Effects: LipSync Post
W.E. (2011)
Directed by: Madonna
Cinematography by: Hagen Bogdanski
Edited by: Danny Tull
Lenses: Zeiss Ultra Prime Lenses
Head Of Visual Effects: LipSync Post
My Week with Marilyn (2011)
Directed by: Simon Curtis
Cinematography by: Ben Smithard
Edited by: Adam Recht
Lenses: Cooke 5/i Lenses, Cooke S4 Lenses
Head Of Visual Effects: Lip Sync Post
The Deep Blue Sea (2011)
Directed by: Terence Davies
Cinematography by: Florian Hoffmeister
Edited by: David Charap
Head Of Visual Effects
Blitz (2011)
Directed by: Elliott Lester
Cinematography by: Rob Hardy
Edited by: John Gilbert
Head Of Visual Effects: LipSync Post
We Need to Talk About Kevin (2011)
Directed by: Lynne Ramsay
Cinematography by: Seamus McGarvey
Edited by: Joe Bini
Head Of Visual Effects
The Great Ghost Rescue (2011)
Directed by: Yann Samuell
Cinematography by: Antoine Roch
Head Of Visual Effects
Wild Bill (2011)
Directed by: Dexter Fletcher
Cinematography by: George Richmond
Edited by: Stuart Gazzard
Cameras: ARRI ALEXA Camera
Lenses: Angenieux Optimo Zoom Lenses
Head Of Visual Effects: Lip Sync Post
Jane Eyre (2011)
Directed by: Cary Joji Fukunaga
Cinematography by: Adriano Goldman
Edited by: Melanie Oliver
Cameras: ARRICAM Lite (LT) Camera
Head Of Visual Effects: LipSync Post
Unknown (2011)
Directed by: Jaume Collet-Serra
Cinematography by: Flavio Martínez Labiano
Edited by: Timothy Alverson
Head Of Visual Effects: LipSync Post
Coriolanus (2011)
Directed by: Ralph Fiennes
Cinematography by: Barry Ackroyd
Edited by: Nicolas Gaster
Cameras: Aaton Penelope Camera
Lenses: Angenieux Optimo Zoom Lenses
Head Of Visual Effects: Lipsync Post
Shame (2011)
Directed by: Steve McQueen
Cinematography by: Sean Bobbitt
Edited by: Joe Walker
Cameras: ARRICAM Lite (LT) Camera
Lenses: Cooke S4 Lenses
Head Of Visual Effects: LipSync Post
Ironclad (2011)
Directed by: Jonathan English
Cinematography by: David Eggby
Cameras: Panavision Genesis Camera
Lenses: Panavision Lenses
Head Of Visual Effects: LipSync Post
The Awakening (2011)
Directed by: Nick Murphy
Cinematography by: Eduard Grau
Edited by: Victoria Boydell
Editing System: Avid Editing System
Head Of Visual Effects
Made in Dagenham (2010)
Directed by: Nigel Cole
Cinematography by: John de Borman
Edited by: Michael Parker
Head Of Visual Effects: LipSync Post
The First Grader (2010)
Directed by: Justin Chadwick
Cinematography by: Rob Hardy
Edited by: Paul Knight
Head Of Visual Effects: LipSync Post
Kick-Ass (2010)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Editing System: Avid Editing System
Head Of Visual Effects
Red Riding: The Year of Our Lord 1983 (2009)
Directed by: Anand Tucker
Cinematography by: David Higgs
Edited by: Trevor Waite
Head Of Visual Effects
Red Riding: The Year of Our Lord 1980 (2009)
Directed by: James Marsh
Cinematography by: Igor Martinovic
Edited by: Jinx Godfrey
Head Of Visual Effects: LipSync Post
Solomon Kane (2009)
Directed by: M.J. Bassett
Cinematography by: Dan Laustsen
Edited by: Andrew MacRitchie
Head Of Visual Effects: Lip Sync Post
Fantastic Mr. Fox (2009)
Directed by: Wes Anderson
Cinematography by: Tristan Oliver
Cameras: Nikon D3 Camera
Lenses: Cooke Varotal Lenses
Head Of Visual Effects: LipSync Post
Nowhere Boy (2009)
Directed by: Sam Taylor-Johnson
Cinematography by: Seamus McGarvey
Edited by: Lisa Gunning
Head Of Visual Effects: LipSync Post
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
Head Of Visual Effects
The Crimson Wing: Mystery of the Flamingos (2008)
Cinematography by: Matthew Aeberhard
Edited by: Nicolas Chaudeurge
Head Of Visual Effects: Lip Sync Post
Good (2008)
Directed by: Vicente Amorim
Cinematography by: Andrew Dunn
Edited by: John Wilson
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Head Of Film Effects: Lipsync Post
The Broken (2008)
Directed by: Sean Ellis
Cinematography by: Angus Hudson
Edited by: Scott Thomas
Head Of Film Effects: LipSync Post
Mutant Chronicles (2008)
Directed by: Simon Hunter
Cinematography by: Geoff Boyle
Head Of Visual Effects
Dean Spanley (2008)
Directed by: Toa Fraser
Cinematography by: Leon Narbey
Edited by: Chris Plummer
Head Of Film Effects: LipSync Post
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
Head Of Film Effects: LipSync Post
Highlander: The Source (2007)
Directed by: Brett Leonard
Cinematography by: Steve Arnold
Cameras: Thomson Viper Camera
Lenses: Zeiss DigiPrime Lenses
Head Of Film Effects: LipSync Post
How About You... (2007)
Directed by: Anthony Byrne
Cinematography by: Des Whelan
Edited by: Emma E. Hickox
Head Of Film Effects: LipSync Post
Hannibal Rising (2007)
Directed by: Peter Webber
Cinematography by: Ben Davis
Head Of Film Effects: LipSync Post
28 Weeks Later (2007)
Directed by: Juan Carlos Fresnadillo
Cinematography by: Enrique Chediak
Edited by: Chris Gill
Head Of Film Effects: LipSync Post
Hot Fuzz (2007)
Directed by: Edgar Wright
Cinematography by: Jess Hall
Edited by: Chris Dickens
Head Of Film Effects: LipSync Post
The Ferryman (2007)
Directed by: Chris Graham
Cinematography by: Aaron Morton
Edited by: Nigel Galt
Head Of Film Effects: LipSync Post
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
Head Of Film Effects: LipSync Post
1408 (2007)
Directed by: Mikael Håfström
Cinematography by: Benoît Delhomme
Edited by: Peter Boyle
Visual Effects Producer: LipSync Post
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Visual Effects Producer: LipSync Post
Severance (2006)
Directed by: Christopher Smith
Cinematography by: Ed Wild
Edited by: Stuart Gazzard
Cameras: Sony HDW-F900 Camera
Visual Effects Coordinator: MPC / Visual Effects Line Producer
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Visual Effects Production Supervisor
Batman Begins (2005)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Visual Effects Producer
Suzie Gold (2004)
Directed by: Ric Cantor
Cinematography by: Daf Hobson
Edited by: Michael Ellis
Visual Effects Producer
LD 50 Lethal Dose (2003)
Directed by: Simon De Selva
Cinematography by: Robin Vidgeon
Edited by: Kant Pan
Visual Effects Producer
Calendar Girls (2003)
Directed by: Nigel Cole
Cinematography by: Ashley Rowe
Edited by: Michael Parker
Visual Effects Producer
Ali G Indahouse (2002)
Directed by: Mark Mylod
Cinematography by: Ashley Rowe
Edited by: Paul Knight
Visual Effects Producer: MPC
Die Another Day (2002)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Visual Effects Coordinator: MPC
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
