Visual Effects Production Supervisor, Visual Effects Supervisor
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Visual Effects Supervisor
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Visual Effects Supervisor
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
Visual Effects Supervisor
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Second Unit Director, Visual Effects Supervisor
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Visual Effects Supervisor
I Am Legend (2007)
Directed by: Francis Lawrence
Cinematography by: Andrew Lesnie
Edited by: Wayne Wahrman
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Lenses
Visual Effects Consultant
The Prestige (2006)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Visual Effects Supervisor
Batman Begins (2005)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Visual Effects Supervisor
The Ladykillers (2004)
Cinematography by: Roger Deakins
Editing System: Final Cut Pro Editing System
Visual Effects Supervisor
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Visual Effects Supervisor
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor
The Man Who Wasn't There (2001)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Digital Effects Supervisor, Digital Visual Effects Supervisor
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Associate Visual Effects Supervisor: Manex Visual Effects
The Matrix (1999)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Visual Effects Supervisor
The Big Lebowski (1998)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 535 B Camera
Visual Effects Consultant: Pleasantville Visual Effects
Pleasantville (1998)
Directed by: Gary Ross
Cinematography by: John Lindley
Edited by: William Goldenberg
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects
Six Days Seven Nights (1998)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Digital Compositor: CFC
The Truman Show (1998)
Directed by: Peter Weir
Cinematography by: Peter Biziou
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Digital Effects Supervisor: CFC
Doctor Dolittle (1998)
Directed by: Betty Thomas
Cinematography by: Russell Boyd
Edited by: Peter Teschner
Visual Effects Creative Director: The Computer Film Company
Snow White: A Tale of Terror (1997)
Directed by: Michael Cohn
Cinematography by: Mike Southon
Edited by: Ian Crafford
Visual Effects
Dante's Peak (1997)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Supervisor: The Computer Film Company
Liar Liar (1997)
Directed by: Tom Shadyac
Cinematography by: Russell Boyd
Edited by: Don Zimmerman
Visual Effects
Con Air (1997)
Directed by: Simon West
Cinematography by: David Tattersall
Cameras: ARRIFLEX 35 III Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses: Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Lightworks Editing System
Visual Effects
Anaconda (1997)
Directed by: Luis Llosa
Cinematography by: Bill Butler
Edited by: Michael R. Miller
Visual Effects
Gattaca (1997)
Directed by: Andrew Niccol
Cinematography by: Slawomir Idziak
Edited by: Lisa Zeno Churgin
Cameras: ARRIFLEX Camera, Moviecam Cameras
Visual Effects
Alaska (1996)
Directed by: Fraser C. Heston
Cinematography by: Tony Westman
Edited by: Rob Kobrin
Visual Effects
My Fellow Americans (1996)
Directed by: Peter Segal
Cinematography by: Julio Macat
Edited by: William Kerr
Visual Effects
White Squall (1996)
Directed by: Ridley Scott
Cinematography by: Hugh Johnson
Edited by: Gerry Hambling
Digital Supervisor: CFC
Matilda (1996)
Directed by: Danny DeVito
Cinematography by: Stefan Czapsky
Cameras: Panavision Panaflex Platinum Camera
Visual Effects
Mars Attacks! (1996)
Directed by: Tim Burton
Cinematography by: Peter Suschitzky
Edited by: Chris Lebenzon
Visual Effects
Before and After (1996)
Directed by: Barbet Schroeder
Cinematography by: Luciano Tovoli
Edited by: Lee Percy
Visual Effects Operator: The Computer Film Company
French Kiss (1995)
Directed by: Lawrence Kasdan
Cinematography by: Owen Roizman
Edited by: Joe Hutshing
Cameras: Panavision Panaflex Camera
Visual Effects
Dolores Claiborne (1995)
Directed by: Taylor Hackford
Cinematography by: Gabriel Beristain
Edited by: Mark Warner
Visual Effects
The Quick and the Dead (1995)
Directed by: Sam Raimi
Cinematography by: Dante Spinotti
Edited by: Pietro Scalia
Visual Effects
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
Visual Effects
Strange Days (1995)
Directed by: Kathryn Bigelow
Cinematography by: Matthew F. Leonetti
Visual Effects
Braveheart (1995)
Directed by: Mel Gibson
Cinematography by: John Toll
Edited by: Steven Rosenblum
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Digital Compositor: CFC
The Hudsucker Proxy (1994)
Cinematography by: Roger Deakins
Edited by: Thom Noble
Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Composite Artist
Immortal Beloved (1994)
Directed by: Bernard Rose
Cinematography by: Peter Suschitzky
Edited by: Dan Rae
Visual Effects
Last Action Hero (1993)
Directed by: John McTiernan
Cinematography by: Dean Semler
Cameras: Panavision Panaflex Gold II Camera
Digital Artist
The Young Americans (1993)
Directed by: Danny Cannon
Cinematography by: Vernon Layton
Edited by: Alex Mackie
Visual Effects
1492: Conquest of Paradise (1992)
Directed by: Ridley Scott
Cinematography by: Adrian Biddle
Visual Effects
Map of the Human Heart (1992)
Directed by: Vincent Ward
Cinematography by: Eduardo Serra
Visual Effects
Memphis Belle (1990)
Directed by: Michael Caton-Jones
Cinematography by: David Watkin
Edited by: Jim Clark
Digital Artist
The Fruit Machine (1988)
Directed by: Philip Saville
Cinematography by: Dick Pope
Edited by: Richard Bedford
