Senior Compositor: Bad Robot/Kelvin Optical
Star Wars: Episode VII - The Force Awakens (2015)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRI ALEXA Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision Retro C 100mm T2.8 Lens, Panavision Retro C 35mm T2.8 Lens, Panavision Retro C 40mm T2.8 Lens, Panavision Retro C 50mm T2.8 Lens, Panavision Retro C 60mm T2.8 Lens, Panavision Retro C 75mm T2.8 Lens
Editing System: Avid Editing System
Senior Compositor: Kelvin Optical
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Senior Compositor: Scanline VFX
Super 8 (2011)
Directed by: J.J. Abrams
Cinematography by: Larry Fong
Cameras: ARRIFLEX 16SR3 Camera, ARRIFLEX 435 Camera, Beaulieu 4008 ZM 4 Camera, Bell & Howell Eyemo Camera, Canon 1014XL-S Camera, Panavision Panaflex Millennium XL2 Camera, Red One MX 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 Primo Anamorphic Lenses, Zeiss Super Speed Lenses
Editing System: Avid Editing System
Senior Compositor: Scanline VFX
Immortals (2011)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Senior Digital Compositor
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Digital Compositor
The Curious Case of Benjamin Button (2008)
Directed by: David Fincher
Cinematography by: Claudio Miranda
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Digital Compositor: Digital Domain
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Digital Compositor
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Digital Compositor
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Digital Compositor: LaserPacific
The Woods (2006)
Directed by: Lucky McKee
Cinematography by: John R. Leonetti
Cameras: Panavision Cameras
Digital Compositor
All the King's Men (2006)
Directed by: Steven Zaillian
Cinematography by: Pawel Edelman
Edited by: Wayne Wahrman
Compositor: Svengali Visual Effects
Apocalypto (2006)
Directed by: Mel Gibson
Cinematography by: Dean Semler
Edited by: John Wright
Digital Compositor
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Compositor: Grey Matter FX
Fun with Dick and Jane (2005)
Directed by: Dean Parisot
Cinematography by: Jerzy Zielinski
Edited by: Don Zimmerman
Digital Intermediate Compositor: Laser Pacific Media
The Matador (2005)
Directed by: Richard Shepard
Cinematography by: David Tattersall
Edited by: Carole Kravetz Aykanian
Digital Compositor: Cinesite
The Big Bounce (2004)
Directed by: George Armitage
Cinematography by: Jeffrey L. Kimball
Digital Compositor
Kangaroo Jack (2003)
Directed by: David McNally
Cinematography by: Peter Menzies Jr.
Cameras: Panavision Cameras
Digital Compositing Supervisor: Cinesite
Moonlight Mile (2002)
Directed by: Brad Silberling
Cinematography by: Phedon Papamichael
Edited by: Lisa Zeno Churgin
Cameras: Panavision Panaflex Camera
2D Manager
Solaris (2002)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Digital Compositor
Clockstoppers (2002)
Directed by: Jonathan Frakes
Cinematography by: Tim Suhrstedt
Digital Effects Supervisor
U-571 (2000)
Directed by: Jonathan Mostow
Cinematography by: Oliver Wood
Edited by: Wayne Wahrman
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Cooke S4 Lenses, Nikon - Nikkor Lenses
Senior Cineon Compositor: POP Film & Animation
Mystery Men (1999)
Directed by: Kinka Usher
Cinematography by: Stephen H. Burum
Edited by: Conrad Buff IV
Compositor: POP Film
Star Trek: Insurrection (1998)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: Peter E. Berger
Cameras: Panavision Cameras
Digital Effects Supervisor: POP Film
What Dreams May Come (1998)
Directed by: Vincent Ward
Cinematography by: Eduardo Serra
Digital FX Supervisor: POP Film
Volcano (1997)
Directed by: Mick Jackson
Cinematography by: Theo van de Sande
Digital Compositing Supervisor: POP Film
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Digital Effects Supervisor
Flubber (1997)
Directed by: Les Mayfield
Cinematography by: Dean Cundey
Cameras: Panavision Cameras
Digital Effects Supervisor
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
Digital Compositor: Pacific Ocean Post
Star Trek: First Contact (1996)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: John W. Wheeler
Lead Digital Compositor: PP.O.P. Digital Film Group
Jingle All the Way (1996)
Directed by: Brian Levant
Cinematography by: Victor J. Kemper
Digital Compositor: Pacific Ocean Post
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Digital Compositor: POP
Independence Day (1996)
Directed by: Roland Emmerich
Cinematography by: Karl Walter Lindenlaub
Edited by: David Brenner
Cameras: Panavision Panaflex Platinum Camera
Lenses: Panavision Lenses
Digital Effects Compositor
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
Digital Artist: VCE
Hercules and the Amazon Women (1994)
Directed by: Bill Norton
Cinematography by: James Bartle
Edited by: Steve Polivka
Animation Director
Sleepless in Seattle (1993)
Directed by: Nora Ephron
Cinematography by: Sven Nykvist
Edited by: Robert M. Reitano
Digital Effects
Cliffhanger (1993)
Directed by: Renny Harlin
Cinematography by: Alex Thomson
Edited by: Frank J. Urioste
Cameras: Panavision Cameras
Digital Effects
RoboCop 3 (1993)
Directed by: Fred Dekker
Cinematography by: Gary B. Kibbe
Edited by: Bert Lovitt
Digital Effects
Toys (1992)
Directed by: Barry Levinson
Cinematography by: Adam Greenberg
Edited by: Stu Linder
