Lead Artist: Compositing Sequence Supervisor: ILM
Solo: A Star Wars Story (2018)
Directed by: Ron Howard
Cinematography by: Bradford Young
Edited by: Pietro Scalia
Lead Artist: Compositing Sequence Supervisor: ILM
Tomorrowland (2015)
Directed by: Brad Bird
Cinematography by: Claudio Miranda
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 Camera
Lenses: Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens
Lead Artist: Compositing Sequence Supervisor: ILM
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Lead Artist: Industrial Light & Magic
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
Lead Artist: Compositing Sequence Supervisor: ILM
Teenage Mutant Ninja Turtles (2014)
Directed by: Jonathan Liebesman
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Plus 4:3 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
Lead Artist: Compositing Sequence Supervisor: ILM
Transformers: Age of Extinction (2014)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera
Editing System: Avid Editing System
Digital Artist: Compositing: ILM
Noah (2014)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera
Editing System: Avid Editing System
Digital Artist: Compositing: ILM
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Lead Artist: Industrial Light & Magic
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Digital Artist: Compositing: ILM
Cloud Atlas (2012)
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
Editing System: Avid Editing System
Cg Sequence Supervisor: ILM
Cowboys & Aliens (2011)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Compositing Sequence Supervisor: ILM
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Sequence Supervisor: ILM
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Sequence Supervisor: ILM
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES 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 Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Digital Artist: ILM
Miracle at St. Anna (2008)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Digital Artist: Compositing: ILM
Iron Man (2008)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Edited by: Dan Lebental
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Sequence Supervisor: ILM
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
Sequence Supervisor: ILM
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Digital Artist: Compositing: ILM
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Sequence Supervisor: ILM
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDC-F950 Camera
Digital Artist: Compositing: ILM
The Island (2005)
Directed by: Michael Bay
Cinematography by: Mauro Fiore
Digital Artist: Compositing: ILM
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Digital Artist: Compositing: ILM
Rent (2005)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Richard Pearson
Digital Compositor: ILM
Sky Captain and the World of Tomorrow (2004)
Directed by: Kerry Conran
Cinematography by: Eric Adkins
Edited by: Sabrina Plisco
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
Digital Artist: Compositing: ILM
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Visual Effects Supervisor: MPC
LD 50 Lethal Dose (2003)
Directed by: Simon De Selva
Cinematography by: Robin Vidgeon
Edited by: Kant Pan
Digital Compositor: ILM
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Artist: Compositing: ILM
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Supervising Compositor: MPC
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
Supervising Compositor: MPC
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
Digital Compositor: MPC
Lara Croft: Tomb Raider (2001)
Directed by: Simon West
Cinematography by: Peter Menzies Jr.
Sequence Supervisor: Titles
High Heels and Low Lifes (2001)
Directed by: Mel Smith
Cinematography by: Steven Chivers
Edited by: Chris Blunden
Compositing Artist: The Moving Picture Company
Snatch (2000)
Directed by: Guy Ritchie
Cinematography by: Tim Maurice-Jones
Edited by: Jon Harris
Digital Compositor
The Golden Bowl (2000)
Directed by: James Ivory
Cinematography by: Tony Pierce-Roberts
Edited by: John David Allen
Digital Compositor: Digital Film @ MPC
The World Is Not Enough (1999)
Directed by: Michael Apted
Cinematography by: Adrian Biddle
Edited by: Jim Clark
Visual Effects Compositor
Sofies verden (1999)
Directed by: Erik Gustavson
Cinematography by: Kjell Vassdal
Edited by: Anne Andressen
Cameras: Panavision Cameras
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
