Stereographer
Fantastic Beasts and Where to Find Them (2016)
Directed by: David Yates
Cinematography by: Philippe Rousselot
Edited by: Mark Day
Cameras: ARRI ALEXA XT Camera
Stereographer
Edge of Tomorrow (2014)
Directed by: Doug Liman
Cinematography by: Dion Beebe
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 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 E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Additional Stereographer
Gravity (2013)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRI ALEXA Camera, ARRIFLEX 765 Camera
Lenses: ARRI / Zeiss Lenses, Panavision Primo Close Focus Spherical Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Stereographer
Wrath of the Titans (2012)
Directed by: Jonathan Liebesman
Cinematography by: Ben Davis
Edited by: Martin Walsh
Stereo Supervisor: Cinesite
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
Post Production Stereographer
TT3D: Closer to the Edge (2011)
Directed by: Richard De Aragues
Cinematography by: Thomas Kürzl
Edited by: Beverley Mills
Visual Effects Supervisor: Photon VFX
Australia (2008)
Directed by: Baz Luhrmann
Cinematography by: Mandy Walker
Compositor / Digital Effects Supervisor
House of Wax (2005)
Directed by: Jaume Collet-Serra
Cinematography by: Stephen F. Windon
Edited by: Joel Negron
Digital Effects Supervisor
Anacondas: The Hunt for the Blood Orchid (2004)
Directed by: Dwight H. Little
Cinematography by: Stephen F. Windon
Lenses: Zeiss Ultra Prime Lenses
Visual Effects Supervisor
The Sleeping Dictionary (2003)
Directed by: Guy Jenkin
Cinematography by: Martin Fuhrer
Edited by: Lesley Walker
On-set Supervisor
The Order (2003)
Directed by: Brian Helgeland
Cinematography by: Nicola Pecorini
Edited by: Kevin Stitt
Senior Compositor
Ghost Ship (2002)
Directed by: Steve Beck
Cinematography by: Gale Tattersall
Edited by: Roger Barton
Digital Effects Supervisor
The Four Feathers (2002)
Directed by: Shekhar Kapur
Cinematography by: Robert Richardson
Edited by: Steven Rosenblum
Digital Effects Supervisor: Mill Film, Shepperton
Lara Croft: Tomb Raider (2001)
Directed by: Simon West
Cinematography by: Peter Menzies Jr.
Digital Supervisor: Mill Film
Enigma (2001)
Directed by: Michael Apted
Cinematography by: Seamus McGarvey
Edited by: Rick Shaine
Cameras: Panavision Panaflex Camera
Digital Effects Supervisor
The Body (2001)
Directed by: Jonas McCord
Cinematography by: Vilmos Zsigmond
Digital Effects Supervisor
The Shipping News (2001)
Directed by: Lasse Hallström
Cinematography by: Oliver Stapleton
Edited by: Andrew Mondshein
Digital Supervisor: Mill Film
Chocolat (2000)
Directed by: Lasse Hallström
Cinematography by: Roger Pratt
Edited by: Andrew Mondshein
Digital Effects Supervisor
Pitch Black (2000)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Rick Shaine
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Supervisor
Proof of Life (2000)
Directed by: Taylor Hackford
Cinematography by: Slawomir Idziak
Digital Effects Supervisor
Love's Labour's Lost (2000)
Directed by: Kenneth Branagh
Cinematography by: Alex Thomson
Digital Effects Supervisor
Quills (2000)
Directed by: Philip Kaufman
Cinematography by: Rogier Stoffers
Edited by: Peter Boyle
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Supervisor: The Magic Camera Company
Plunkett & Macleane (1999)
Directed by: Jake Scott
Cinematography by: John Mathieson
Edited by: Oral Norrie Ottey
Digital Effects Supervisor: Magic Camera Company
The World Is Not Enough (1999)
Directed by: Michael Apted
Cinematography by: Adrian Biddle
Edited by: Jim Clark
Digital Artist
Blackadder Back & Forth (1999)
Directed by: Paul Weiland
Cinematography by: Tony Pierce-Roberts
Edited by: Guy Bensley
Digital Effects Supervisor: The Magic Camera Company
RKO 281 (1999)
Directed by: Benjamin Ross
Cinematography by: Mike Southon
Edited by: Alex Mackie
Digital Supervisor: The Magic Camera Company
Shakespeare in Love (1998)
Directed by: John Madden
Cinematography by: Richard Greatrex
Edited by: David Gamble
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Variable Prime Lenses
Digital Supervisor: Digital Unit
The Avengers (1998)
Directed by: Jeremiah S. Chechik
Cinematography by: Roger Pratt
Edited by: Mick Audsley
2D Digital Supervisor: The Magic Camera Company
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Supervisor
The Hi-Lo Country (1998)
Directed by: Stephen Frears
Cinematography by: Oliver Stapleton
Edited by: Masahiro Hirakubo
2D Digital Supervisor: The Magic Camera Company
The Borrowers (1997)
Directed by: Peter Hewitt
Edited by: David Freeman
2D Digital Supervisor
The Adventures of Pinocchio (1996)
Directed by: Steve Barron
Cinematography by: Juan Ruiz Anchía
Edited by: Sean Barton
Digital Artist
In Love and War (1996)
Directed by: Richard Attenborough
Cinematography by: Roger Pratt
Edited by: Lesley Walker
Visual Effects: The Magic Camera Company
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
