Senior Visualization Supervisor: NVIZ
John Wick: Chapter 4 (2023)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Nathan Orloff
Postvis Supervisor: NVIZ
Outlaw King (2018)
Directed by: David Mackenzie
Cinematography by: Barry Ackroyd
Edited by: Jake Roberts
Visual Effects Supervisor: NVIZ / Visual Effects Supervisor: Nvizible
Annihilation (2018)
Directed by: Alex Garland
Cinematography by: Rob Hardy
Edited by: Barney Pilling
Visual Effects Supervisor: Nvizible
King Arthur: Legend of the Sword (2017)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor: Cinesite
The Man from U.N.C.L.E. (2015)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Visual Effects Supervisor: Cinesite
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Vfx Supervisor: Cinesite
300: Rise of an Empire (2014)
Directed by: Noam Murro
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Onset Visual Effects Supervisor: Double Negative London
Rush (2013)
Directed by: Ron Howard
Cinematography by: Anthony Dod Mantle
Creature Effects Supervisor: Double Negative
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
Cg Supervisor: Double Negative / Lighting Technical Director: Double Negative
Pirate Radio (2009)
Directed by: Richard Curtis
Cinematography by: Danny Cohen
Edited by: Emma E. Hickox
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera
Digital Artist: Double Negative
10,000 BC (2008)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: Alexander Berner
Cameras: ARRI Cameras, Moviecam Cameras
Lenses: Angenieux Lenses, Zeiss Lenses
Cg Supervisor: Double Negative
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Computer Graphics Supervisor: Double Negative
Sahara (2005)
Directed by: Breck Eisner
Cinematography by: Seamus McGarvey
Edited by: Andrew MacRitchie
Visual Effects Supervisor: Double Negative
Harry Potter and the Goblet of Fire (2005)
Directed by: Mike Newell
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Visual Effects Supervisor: Double Negative
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
Lead 3D Artist: Double Negative
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Artist: ILM
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
Technical Supervisor: MPC
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
Technical Director
The Mummy Returns (2001)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
CG Animator: CFC
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
CG Animator: CFC
Chicken Run (2000)
Cinematography by: Simon Jacobs, Andy MacCormack, Tristan Oliver, Frank Passingham, Dave Alex Riddett, Paul Smith
3D Designer: CFC
The Beach (2000)
Directed by: Danny Boyle
Cinematography by: Darius Khondji
Edited by: Masahiro Hirakubo
Cameras: ARRIFLEX 235 Camera
3D Animator: CFC
Sleepy Hollow (1999)
Directed by: Tim Burton
Cinematography by: Emmanuel Lubezki
Cameras: Panavision Panaflex Platinum Camera
