Dmp Artist: Cinesite
Sicario (2015)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Dmp Artist: Cinesite
San Andreas (2015)
Directed by: Brad Peyton
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Lead Matte Painter: MPC
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
Matte Painter: RodeoFX
Edge of Tomorrow (2014)
Directed by: Doug Liman
Cinematography by: Dion Beebe
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 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 E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Matte Painter: Rodeo FX / Matte Painter: RodeoFX
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Lead Digital Matte Painter: MPC
47 Ronin (2013)
Directed by: Carl Rinsch
Cinematography by: John Mathieson
Edited by: Stuart Baird
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Digital Artist: MPC
Prometheus (2012)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Cameras: ARRI ALEXA Camera, Red Epic Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Senior Digital Matte Painter: MPC
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Senior Digital Matte Painter: MPC
Sherlock Holmes: A Game of Shadows (2011)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Lead Digital Matte Painter: Animal Logic
Sucker Punch (2011)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: Panavision Cameras
Lead Digital Matte Painter: MPC
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Digital Environment Artist: MPC
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Digital Matte Painter: MPC
The Wolfman (2010)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Digital Matte Painter: MPC
Dorian Gray (2009)
Directed by: Oliver Parker
Cinematography by: Roger Pratt
Edited by: Guy Bensley
Lenses: Angenieux Lenses, Cooke S4 Lenses
Lead Digital Matte Painter: MPC
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Matte Painter: Cinesite
Arn: Tempelriddaren (2007)
Directed by: Peter Flinth
Cinematography by: Eric Kress
Texture Artist: SPI
Beowulf (2007)
Directed by: Robert Zemeckis
Cinematography by: Robert Presley
Edited by: Jeremiah O'Driscoll
Digital Matte Painter: Cinesite
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Matte Painter: SPI
Ghost Rider (2007)
Directed by: Mark Steven Johnson
Cinematography by: Russell Boyd
Edited by: Richard Francis-Bruce
Cameras: Panavision Cameras
Matte Painter: SPI
Superman Returns (2006)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Panavision Genesis Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Matte Painter: SPI
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Digital Texture Painter: Digital Domain
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Texture Painter: SPI
The Aviator (2004)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Digital Matte/texture Painter: Digital Domain
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
