Visual Effects
F9 (2021)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Lenses: Tokina Vista Cinema Prime Lenses
Digital Effects Supervisor / Visual Effects
Ford v Ferrari (2019)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Cameras: ARRI ALEXA LF Camera
Visual Effects
First Man (2018)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Visual Effects
Bad Times at the El Royale (2018)
Directed by: Drew Goddard
Cinematography by: Seamus McGarvey
Edited by: Lisa Lassek
Visual Effects
The Greatest Showman (2017)
Directed by: Michael Gracey
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Visual Effects
'13 Reasons Why' Tape 1, Side A (2017)
Directed by: Tom McCarthy
Cinematography by: Andrij Parekh
Edited by: Leo Trombetta
Visual Effects
'13 Reasons Why' Tape 1, Side B (2017)
Directed by: Tom McCarthy
Cinematography by: Andrij Parekh
Edited by: Leo Trombetta
Visual Effects - 2 Episodes, 2017
13 Reasons Why (2017)
Directed by: Jessica Yu, Kyle Patrick Alvarez, Gregg Araki, Michael Morris, Kevin Dowling, Carl Franklin, Tom McCarthy, Helen Shaver, Kat Candler, Eliza Hittman, Karen Moncrieff, Aurora Guerrero, Bronwen Hughes, John T. Kretchmer
Cinematography by: Ivan Strasburg, Kevin Thompson, Cameron Duncan, Tommy Lohmann, Andrij Parekh, Marshall Adams
Edited by: Matthew Ramsey, Leo Trombetta, Philip Harrison, Jacques Gravett, Daniel Gabbe, Sue Blainey, Rich Fox
Cameras: Panasonic VariCam 35
Editing System: Avid Editing System
Visual Effects
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
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Compositor
Ted 2 (2015)
Directed by: Seth MacFarlane
Cinematography by: Michael Barrett
Edited by: Jeff Freeman
Cameras: Sony CineAlta F65 Camera
Visual Effects
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Visual Effects
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
Senior Lighting And Compositing Technical Director
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Senior Lighting And Compositing Technical Director
The Smurfs 2 (2013)
Directed by: Raja Gosnell
Cinematography by: Phil Meheux
Edited by: Sabrina Plisco
Cameras: Sony CineAlta F65 Camera
Senior Lighting And Compositing Technical Director
Oz the Great and Powerful (2013)
Directed by: Sam Raimi
Cinematography by: Peter Deming
Edited by: Bob Murawski
Cameras: Red Epic Camera
Editing System: Avid Editing System
Visual Effects
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Senior Lighting And Compositing Technical Director
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Senior Lighting And Compositing Technical Director
Green Lantern (2011)
Directed by: Martin Campbell
Cinematography by: Dion Beebe
Edited by: Stuart Baird
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Visual Effects
Furry Vengeance (2010)
Directed by: Roger Kumble
Cinematography by: Peter Lyons Collister
Edited by: Lawrence Jordan
Senior Lighting And Compositing Technical Director
G-Force (2009)
Directed by: Hoyt Yeatman
Cinematography by: Bojan Bazelli
Digital Artist
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
Digital Compositor
The Spiderwick Chronicles (2008)
Directed by: Mark Waters
Cinematography by: Caleb Deschanel
Edited by: Michael Kahn
Digital Artist
Finishing the Game: The Search for a New Bruce Lee (2007)
Directed by: Justin Lin
Cinematography by: Tom Clancey
Edited by: Greg Louie
Compositing Lead: Tippett Studio
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Visual Effects
Rocky Balboa (2006)
Directed by: Sylvester Stallone
Cinematography by: Clark Mathis
Edited by: Sean Albertson
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Sony HDW-F900R Camera
Lenses: Zeiss Master Prime Lenses
Digital Compositor
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Digital Compositor
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Digital Effects Artist
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDC-F950 Camera
Digital Artist
The Adventures of Sharkboy and Lavagirl 3-D (2005)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Digital Compositor
xXx: State of the Union (2005)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Digital Compositor: ILM
Lemony Snicket's A Series of Unfortunate Events (2004)
Directed by: Brad Silberling
Cinematography by: Emmanuel Lubezki
Edited by: Michael Kahn
Cameras: Panavision Panaflex Platinum Camera
Compositor: ILM
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Digital Compositor
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Digital Compositor
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Digital Compositor: ILM
Dreamcatcher (2003)
Directed by: Lawrence Kasdan
Cinematography by: John Seale
Digital Compositor
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Compositor
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Digital Compositor
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Digital Compositor
xXx (2002)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Digital Effects Artist: ILM
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
Lead Compositor: Tippett Studio
Evolution (2001)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Cameras: Panavision Cameras
Digital Compositor
Hollow Man (2000)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Digital Compositor
My Favorite Martian (1999)
Directed by: Donald Petrie
Cinematography by: Thomas E. Ackerman
Edited by: Malcolm Campbell
Digital Compositor
The Haunting (1999)
Directed by: Jan de Bont
Cinematography by: Karl Walter Lindenlaub
Edited by: Michael Kahn
Cameras: Panavision Cameras, VistaVision Cameras
Lenses: Panavision Lenses
Digital Effects Artist: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Digital Compositor
Virus (1999)
Directed by: John Bruno
Cinematography by: David Eggby
Edited by: M. Scott Smith
Digital Compositor: Tippett Studio
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Digital Compositor: Tippett Studio
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
