Visual Effects Editor: Cinesite
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Visual Effects Editor: Cinesite
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Visual Effects Editor: Image Engine
Thor: Ragnarok (2017)
Directed by: Taika Waititi
Cinematography by: Javier Aguirresarobe
Associate Vfx Editor: Cinesite
Pride and Prejudice and Zombies (2016)
Directed by: Burr Steers
Cinematography by: Remi Adefarasin
Edited by: Padraic McKinley
Lenses: Cooke S4/i Lenses
Vfx Marketing Editor: Cinesite
The Revenant (2015)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Edited by: Stephen Mirrione
Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Visual Effects Editor: Cinesite
Spectre (2015)
Directed by: Sam Mendes
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E100 100 mm T2.3 Lens, Panavision Primo 70 Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Vfx Marketing Editor
Maggie (2015)
Directed by: Henry Hobson
Cinematography by: Lukas Ettlin
Edited by: Jane Rizzo
Vfx Marketing Editor: Cinesite
San Andreas (2015)
Directed by: Brad Peyton
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Visual Effects Editor: Method
The Purge: Anarchy (2014)
Directed by: James DeMonaco
Cinematography by: Jacques Jouffret
Cameras: ARRI ALEXA XT Camera
Editing System: Avid Editing System
Visual Effects Editor: Cinesite
300: Rise of an Empire (2014)
Directed by: Noam Murro
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Visual Effects Editor - Associate: Framestore
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
Vfx Editorial: Method Studios / Visual Effects Editor: Method
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Visual Effects Editor: Method Studios
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 Editor: Method
Hercules (2014)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Cameras: ARRI ALEXA XT Camera
Technical Support: Cinesite
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Visual Effects Editor: Cinesite
Skyfall (2012)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Associate Visual Effects Editor: Cinesite
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Vfx Marketing Editor: Cinesite
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Visual Effects Editor: Cinesite
Battle Los Angeles (2011)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Edited by: Christian Wagner
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Sony PMW-EX3 Camera
Lenses: Panavision Compact Zoom Lenses, Panavision Lightweight Zoom Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Visual Effects Editor: Cinesite
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Visual Effects Editor: Cinesite
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Visual Effects Editor: Cinesite
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Vfx Marketing Editor: Cinesite
The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
Directed by: Michael Apted
Cinematography by: Dante Spinotti
Edited by: Rick Shaine
Cameras: Sony CineAlta F23 Camera
Editing System: Avid Editing System
Visual Effects Editor: Cinesite
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Visual Effects Editor: Cinesite
The Nutcracker in 3D (2010)
Directed by: Andrey Konchalovskiy
Cinematography by: Mike Southon
Action Editor - Cinesite
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
Vfx Marketing Editor: Cinesite
Moon (2009)
Directed by: Duncan Jones
Cinematography by: Gary Shaw
Edited by: Nicolas Gaster
Visual Effects Editor: Cinesite
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Visual Effects Editor: Cinesite
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 Editor: Cinesite
The Dark Knight (2008)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Hasselblad Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Super Speed Lenses
Editing System: Avid Editing System
First Assistant Editor, Visual Effects Editor
Mutant Chronicles (2008)
Directed by: Simon Hunter
Cinematography by: Geoff Boyle
Vfx Marketing Editor: Cinesite
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Visual Effects Editor: MPC
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Associate Visual Effects Editor: WetaFX, NZ
King Kong (2005)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, Mitchell Cameras
Editing System: Avid Editing System
Visual Effects Editor: MPC
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Visual Effects Editor: MPC
Alexander (2004)
Directed by: Oliver Stone
Cinematography by: Rodrigo Prieto
Visual Effects Editor: Millfilm
The Order (2003)
Directed by: Brian Helgeland
Cinematography by: Nicola Pecorini
Edited by: Kevin Stitt
Visual Effects Editor: Mill Film
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
Visual Effects Focus Puller
K-19: The Widowmaker (2002)
Directed by: Kathryn Bigelow
Cinematography by: Jeff Cronenweth
Edited by: Walter Murch
Visual Effects Cameraman
The Four Feathers (2002)
Directed by: Shekhar Kapur
Cinematography by: Robert Richardson
Edited by: Steven Rosenblum
Focus Puller: Mill Film
Enigma (2001)
Directed by: Michael Apted
Cinematography by: Seamus McGarvey
Edited by: Rick Shaine
Cameras: Panavision Panaflex Camera
Visual Effects Cameraman: Millfilm
Enemy at the Gates (2001)
Directed by: Jean-Jacques Annaud
Cinematography by: Robert Fraisse
Visual Effects Camera Assistant: Millfilm
Black Hawk Down (2001)
Directed by: Ridley Scott
Cinematography by: Slawomir Idziak
Edited by: Pietro Scalia
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 ES Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Visual Effects Cameraman: Millfilm
Lara Croft: Tomb Raider (2001)
Directed by: Simon West
Cinematography by: Peter Menzies Jr.
Visual Effects Camera Assistant: Millfilm
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
Visual Effects Camera Assistant: Millfilm
Proof of Life (2000)
Directed by: Taylor Hackford
Cinematography by: Slawomir Idziak
Visual Effects Camera Assistant: Magic Camera Co
Quills (2000)
Directed by: Philip Kaufman
Cinematography by: Rogier Stoffers
Edited by: Peter Boyle
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Focus Puller: Mill Film
Chocolat (2000)
Directed by: Lasse Hallström
Cinematography by: Roger Pratt
Edited by: Andrew Mondshein
Operator/focus Puller: Additional Visual Effects Unit And Motion Control Photography
Pitch Black (2000)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Rick Shaine
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Focus Puller: Model Unit
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Camera Technician , Visual Effects Camera Assistant: Millfilm
Blackadder Back & Forth (1999)
Directed by: Paul Weiland
Cinematography by: Tony Pierce-Roberts
Edited by: Guy Bensley
Focus Puller: Model Unit
Entrapment (1999)
Directed by: Jon Amiel
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Focus Puller: Visual Effects Unit, The Magic Camera Company
Shakespeare in Love (1998)
Directed by: John Madden
Cinematography by: Richard Greatrex
Edited by: David Gamble
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Variable Prime Lenses
Focus Puller: Magic Camera Company Model Unit
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Clapper Loader: Model Unit
The Avengers (1998)
Directed by: Jeremiah S. Chechik
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Motion Control First Assistant Photographer
Event Horizon (1997)
Directed by: Paul W.S. Anderson
Cinematography by: Adrian Biddle
Edited by: Martin Hunter
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Camera Assistant: Magic Camera Co
The Fifth Element (1997)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Sylvie Landra
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
Lenses: Zeiss Lenses
Motion Control Technician
In Love and War (1996)
Directed by: Richard Attenborough
Cinematography by: Roger Pratt
Edited by: Lesley Walker
Visual Effects Camera Assistant: Magic Camera Co
Mission: Impossible (1996)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Cameras: Panavision Panaflex Camera, Wescam Cameras
Editing System: Lightworks Editing System
Visual Effects Camera Assistant
Mary Reilly (1996)
Directed by: Stephen Frears
Cinematography by: Philippe Rousselot
Edited by: Lesley Walker
Visual Effects Camera Assistant: Magic Camera Co
The Adventures of Pinocchio (1996)
Directed by: Steve Barron
Cinematography by: Juan Ruiz Anchía
Edited by: Sean Barton
Visual Effects Camera Assistant: Magic Camera Co
Hamlet (1996)
Directed by: Kenneth Branagh
Cinematography by: Alex Thomson
Edited by: Neil Farrell
Optical Camera Assistant: Magic Camera Co
Judge Dredd (1995)
Directed by: Danny Cannon
Cinematography by: Adrian Biddle
Visual Effects: The Magic Camera Company
GoldenEye (1995)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 35 IIIC Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Optical Camera Assistant: Magic Camera Co
Hackers (1995)
Directed by: Iain Softley
Cinematography by: Andrzej Sekula
Visual Effects Camera Assistant: Magic Camera Co
Interview with the Vampire: The Vampire Chronicles (1994)
Directed by: Neil Jordan
Cinematography by: Philippe Rousselot
Cameras: Panavision Panaflex Platinum Camera
Optical Camera Assistant: Magic Camera Co
Double Vision (1992)
Directed by: Robert Knights
Cinematography by: Bruno de Keyzer
Edited by: Chris Wimble
Visual Effects Camera Assistant: Magic Camera Co
Chaplin (1992)
Directed by: Richard Attenborough
Cinematography by: Sven Nykvist
Edited by: Anne V. Coates
Camera Assistant: The Magic Camera Company
Hudson Hawk (1991)
Directed by: Michael Lehmann
Cinematography by: Dante Spinotti
