Visual Effects Supervisor: Second Unit
No Time to Die (2021)
Directed by: Cary Joji Fukunaga
Cinematography by: Linus Sandgren
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, ARRIFLEX 765 Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Hasselblad Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Second Unit
Star Wars: Episode IX - The Rise of Skywalker (2019)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Visual Effects Supervisor 2nd Unit
Solo: A Star Wars Story (2018)
Directed by: Ron Howard
Cinematography by: Bradford Young
Edited by: Pietro Scalia
Second Visual Effects Supervisor
Star Wars: Episode VIII - The Last Jedi (2017)
Directed by: Rian Johnson
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, ARRIFLEX 435 Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: ARRI Rental Prime 65 Lenses, Hasselblad 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, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses, Panavision Ultra Speed Z Series (Zeiss) Lenses
Additional Visual Effects Supervisor
Alien: Covenant (2017)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Onset Visual Effects Supervisor
A Cure for Wellness (2016)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Visual Effects Supervisor
The Man from U.N.C.L.E. (2015)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Visual Effects Supervisor
Les Misérables (2012)
Directed by: Tom Hooper
Cinematography by: Danny Cohen
Visual Effects Supervisor
Lockout (2012)
Cinematography by: James Mather
Cameras: Red One MX Camera
Lenses: Red Pro Prime Lenses
Digital Compositor: Windmill Lane
Haywire (2011)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Cameras: Red One MX Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
Visual Effects
Scott Pilgrim vs. the World (2010)
Directed by: Edgar Wright
Cinematography by: Bill Pope
Compositor: Double Negative
Inception (2010)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision System 65 Camera, Phantom HD Gold Camera, Photo-Sonics 35mm-4B/4C Camera, Photo-Sonics 35mm-4ER Camera, Super Panavision-70 Camera
Lenses: Panavision 65mm Prime Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision System 65 Lenses
Editing System: Avid Editing System
Digital Compositor: Bain VFX
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
Visual Effects Supervisor
The Imaginarium of Doctor Parnassus (2009)
Directed by: Terry Gilliam
Cinematography by: Nicola Pecorini
Edited by: Mick Audsley
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor: BainVFX
La Vie en Rose (2007)
Directed by: Olivier Dahan
Cinematography by: Tetsuo Nagata
Edited by: Richard Marizy
Visual Effects: Bain VFX, London
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Visual Effects Artist: BainVFX
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Visual Effects Artist: Double Negative
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
Digital Artist: BainVFX
1408 (2007)
Directed by: Mikael Håfström
Cinematography by: Benoît Delhomme
Edited by: Peter Boyle
Digital Compositor: Bain VFX
Closing the Ring (2007)
Directed by: Richard Attenborough
Cinematography by: Roger Pratt
Edited by: Lesley Walker
Senior Compositor: Peerless Camera Company
Casino Royale (2006)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Digital Compositor: BainVFX
The Magic Flute (2006)
Directed by: Kenneth Branagh
Cinematography by: Roger Lanser
Edited by: Michael Parker
Digital Compositor: Bain VFX
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Visual Effects Supervisor
Tideland (2005)
Directed by: Terry Gilliam
Cinematography by: Nicola Pecorini
Edited by: Lesley Walker
Senior Compositor: Peerless Computer Company
The Brothers Grimm (2005)
Directed by: Terry Gilliam
Cinematography by: Newton Thomas Sigel
Edited by: Lesley Walker
Compositor: Weta Digital
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
Senior Compositor: Peerless
The Legend of Zorro (2005)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Lead Digital Effects Supervisor: Double Negative
Lara Croft Tomb Raider: The Cradle of Life (2003)
Directed by: Jan de Bont
Cinematography by: David Tattersall
Edited by: Michael Kahn
Digital Effects Supervisor: Double Negative
Below (2002)
Directed by: David Twohy
Cinematography by: Ian Wilson
Edited by: Martin Hunter
Digital Supervisor: Double Negative
Die Another Day (2002)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Compositor: Double Negative
The Tailor of Panama (2001)
Directed by: John Boorman
Cinematography by: Philippe Rousselot
Edited by: Ron Davis
Cameras: Panavision Panaflex Platinum Camera
2D Compositor: Double Negative
Revelation (2001)
Directed by: Stuart Urban
Cinematography by: Sam McCurdy
Edited by: Julian Rodd
Digital Effects Supervisor: Double Negative
Enemy at the Gates (2001)
Directed by: Jean-Jacques Annaud
Cinematography by: Robert Fraisse
Senior 2D Compositor: Double Negative
Nutty Professor II: The Klumps (2000)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: William Kerr
Compositor / Digital Effects Designer
Pitch Black (2000)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Rick Shaine
Cameras: Panavision Cameras
Lenses: Panavision Lenses
2D Compositor: Double Negative
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Digital Effects Compositor: Digital Film
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Compositor: Digital Film
The Mask of Zorro (1998)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Thom Noble
Lenses: Cooke Lenses
Digital Effects Compositor: Digital Film
Les Misérables (1998)
Directed by: Bille August
Cinematography by: Jörgen Persson
Edited by: Janus Billeskov Jansen
Visual Effects Designer: Digital Film
The Borrowers (1997)
Directed by: Peter Hewitt
Edited by: David Freeman
Visual Effects Designer: Digital Film
The English Patient (1996)
Directed by: Anthony Minghella
Cinematography by: John Seale
Edited by: Walter Murch
Digital Compositor: Peerless Camera
Twelve Monkeys (1995)
Directed by: Terry Gilliam
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Cameras: Moviecam Cameras
Lenses: Cooke Lenses
Compositor
Richard III (1995)
Directed by: Richard Loncraine
Cinematography by: Peter Biziou
Edited by: Paul Green
Visual Effects
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
Visual Effects: MPC
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
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 Digital Designer
Dolores Claiborne (1995)
Directed by: Taylor Hackford
Cinematography by: Gabriel Beristain
Edited by: Mark Warner
