Visual Effects Supervisor
Why Him? (2016)
Directed by: John Hamburg
Cinematography by: Kris Kachikis
Edited by: William Kerr
Visual Effects Supervisor
Ride Along 2 (2016)
Directed by: Tim Story
Cinematography by: Mitchell Amundsen
Edited by: Peter S. Elliot
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Visual Effects Supervisor: Level 256 VFX
The Boss (2016)
Directed by: Ben Falcone
Cinematography by: Julio Macat
Edited by: Craig Alpert
Cameras: ARRI ALEXA 65 Camera
Lenses: Leitz Summilux-C Series Lenses
Visual Effects Supervisor
Trainwreck (2015)
Directed by: Judd Apatow
Cinematography by: Jody Lee Lipes
Cameras: ARRICAM Lite (LT) Camera
Lenses: Cooke 5/i Lenses
Visual Effects Supervisor: Level 256 VFX
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Visual Effects Supervisor: Level 256 VFX
Pitch Perfect 2 (2015)
Directed by: Elizabeth Banks
Cinematography by: Jim Denault
Edited by: Craig Alpert
Cameras: ARRI ALEXA Plus Camera
Visual Effects Supervisor: Level 256 VFX
Dracula Untold (2014)
Directed by: Gary Shore
Cinematography by: John Schwartzman
Edited by: Richard Pearson
Visual Effects Supervisor: Level 256 VFX
Tammy (2014)
Directed by: Ben Falcone
Cinematography by: Russ T. Alsobrook
Edited by: Michael L. Sale
Visual Effects Supervisor: Level 256 VFX
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: Level 256 VFX
Labor Day (2013)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Cameras: Red Epic Camera
Visual Effects Supervisor: Level 256 VFX
The Best Man Holiday (2013)
Directed by: Malcolm D. Lee
Cinematography by: Greg Gardiner
Edited by: Paul Millspaugh
Cameras: ARRI ALEXA Plus 4:3 Camera
Visual Effects Supervisor: Level 256 VFX
G.I. Joe: Retaliation (2013)
Directed by: Jon M. Chu
Cinematography by: Stephen F. Windon
Visual Effects Supervisor: Level 256 VFX
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Visual Effects Supervisor
The Five-Year Engagement (2012)
Directed by: Nicholas Stoller
Cinematography by: Javier Aguirresarobe
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Visual Effects Supervisor: Level 256
Wanderlust (2012)
Directed by: David Wain
Cinematography by: Michael Bonvillain
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Visual Effects Supervisor: Level 256 VFX
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Visual Effects Supervisor
This Is 40 (2012)
Directed by: Judd Apatow
Cinematography by: Phedon Papamichael
Cameras: ARRI ALEXA Camera
Visual Effects Supervisor: Level 256
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Level 256 VFX
Promised Land (2012)
Directed by: Gus Van Sant
Cinematography by: Linus Sandgren
Edited by: Billy Rich
Lenses: Hawk V-Lite Lenses
Visual Effects Supervisor: Level 256
The Dictator (2012)
Directed by: Larry Charles
Cinematography by: Lawrence Sher
Visual Effects Supervisor: Level 256
Bridesmaids (2011)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Visual Effects Supervisor: Level 256
Cedar Rapids (2011)
Directed by: Miguel Arteta
Cinematography by: Chuy Chávez
Edited by: Eric Kissack
Visual Effects Supervisor: Level 256 VFX
Tower Heist (2011)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Edited by: Mark Helfrich
Visual Effects Supervisor: Level 256 VFX
The Change-Up (2011)
Directed by: David Dobkin
Cinematography by: Eric Alan Edwards
Lenses: Cooke S4 Lenses
Visual Effects Supervisor: Level 256
The Wolfman (2010)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Visual Effects Supervisor: Level 256
Charlie St. Cloud (2010)
Directed by: Burr Steers
Cinematography by: Enrique Chediak
Edited by: Padraic McKinley
Lenses: Hawk V-Series Lenses
Visual Effects Supervisor: Level 256
Little Fockers (2010)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Cameras: ARRI Cameras
Visual Effects Supervisor: Level 256
Hot Tub Time Machine (2010)
Directed by: Steve Pink
Cinematography by: Jack N. Green
Cameras: Panavision Cameras
Visual Effects Supervisor: Level 256
Get Him to the Greek (2010)
Directed by: Nicholas Stoller
Cinematography by: Robert D. Yeoman
Cameras: Panavision Cameras
Visual Effects Supervisor: Level 256
I Love You, Man (2009)
Directed by: John Hamburg
Cinematography by: Lawrence Sher
Edited by: William Kerr
Visual Effects & Graphics Supervisor: Yard VFX
Religulous (2008)
Directed by: Larry Charles
Cinematography by: Anthony Hardwick
Vfx Supervisor: Level 256 FX
Yes Man (2008)
Directed by: Peyton Reed
Cinematography by: Robert D. Yeoman
Edited by: Craig Alpert
Cameras: Panavision Cameras
Lead Compositor: Yard VFX
Pineapple Express (2008)
Directed by: David Gordon Green
Cinematography by: Tim Orr
Edited by: Craig Alpert
Visual Effects Supervisor: Yard VFX
Forgetting Sarah Marshall (2008)
Directed by: Nicholas Stoller
Cinematography by: Russ T. Alsobrook
Edited by: William Kerr
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Associate Editor , Main Title Designer: Yard VFX
Knocked Up (2007)
Directed by: Judd Apatow
Cinematography by: Eric Alan Edwards
Cameras: Panavision Cameras
Main Title Designer: Yard VFX
Superbad (2007)
Directed by: Greg Mottola
Cinematography by: Russ T. Alsobrook
Edited by: William Kerr
Cameras: Phantom HD Camera
Editing System: Avid Editing System
Anthem Designer , Anthem Designer: MOcean , First Assistant Editor, Visual Effects Supervisor
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
Directed by: Larry Charles
Cameras: Panasonic AJ-HDC27 Varicam Camera
Assistant Editor: Pre-production
The Good German (2006)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Assistant Editor, Visual Effects Artist
Me and You and Everyone We Know (2005)
Directed by: Miranda July
Cinematography by: Chuy Chávez
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
Post-production Assistant
Along Came Polly (2004)
Directed by: John Hamburg
Cinematography by: Seamus McGarvey
Post-production Assistant
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
