Second Unit Supervisor
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
Special Effects Supervisor
John Wick (2014)
Cinematography by: Jonathan Sela
Edited by: Elísabet Ronaldsdóttir
Cameras: ARRI ALEXA XT Camera
Mechanical Storm Sequence Supervisor
The Wolf of Wall Street (2013)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Plus 135 mm T3.0 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens, Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Special Effects Coordinator: Manila
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Special Effects Supervisor
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Special Effects Supervisor: Reshoots
The Change-Up (2011)
Directed by: David Dobkin
Cinematography by: Eric Alan Edwards
Lenses: Cooke S4 Lenses
Supervising Coordinator
Fast Five (2011)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Special Effects Coordinator
Dinner for Schmucks (2010)
Directed by: Jay Roach
Cinematography by: Jim Denault
Editing System: Avid Editing System
Special Effects Coordinator
Shutter Island (2010)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Cameras: ARRIFLEX 765 Camera, ARRIFLEX D-21 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Editing System: Lightworks Editing System
Special Effects Coordinator
Date Night (2010)
Directed by: Shawn Levy
Cinematography by: Dean Semler
Edited by: Dean Zimmerman
Cameras: Panavision Genesis Camera
Special Effects Coordinator
Edge of Darkness (2010)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Cameras: Panavision Panaflex Platinum Camera
Special Effects Coordinator
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Special Effects Supervisor
Wild Hogs (2007)
Directed by: Walt Becker
Cinematography by: Robbie Greenberg
Cameras: Panavision Cameras
Special Effects Director / Special Effects Supervisor
Miami Vice (2006)
Directed by: Michael Mann
Cinematography by: Dion Beebe
Cameras: Thomson Viper Camera
Special Effects Supervisor
The Interpreter (2005)
Directed by: Sydney Pollack
Cinematography by: Darius Khondji
Edited by: William Steinkamp
Special Effects Supervisor
The Legend of Zorro (2005)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Plane Engineer / Field Tech, Special Effects Supervisor
The Aviator (2004)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Special Effects Coordinator
Ballistic: Ecks vs. Sever (2002)
Directed by: Wych Kaosayananda
Cinematography by: Julio Macat
Lenses: Cooke S4 Lenses
Army Recruiter, Special Effects Supervisor
Gangs of New York (2002)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Special Effects
The Glass House (2001)
Directed by: Daniel Sackheim
Cinematography by: Alar Kivilo
Edited by: Howard E. Smith
Special Effects Coordinator
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Special Effects Supervisor
Anywhere But Here (1999)
Directed by: Wayne Wang
Cinematography by: Roger Deakins
Edited by: Nicholas C. Smith
Special Effects Coordinator
Six Days Seven Nights (1998)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Special Effects Coordinator
Face/Off (1997)
Directed by: John Woo
Cinematography by: Oliver Wood
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
Special Effects Supervisor
Last Man Standing (1996)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Special Effects Coordinator
Jade (1995)
Directed by: William Friedkin
Cinematography by: Andrzej Bartkowiak
Edited by: Augie Hess
Assistant Special Effects Coordinator
Wild Bill (1995)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Special Effects Coordinator
Copycat (1995)
Directed by: Jon Amiel
Cinematography by: László Kovács
Cameras: Panavision Panaflex Camera
Special Effects Foreman
China Moon (1994)
Directed by: John Bailey
Cinematography by: Willy Kurant
Cameras: Panavision Cameras
Special Effects Supervisor
Terminal Velocity (1994)
Directed by: Deran Sarafian
Cinematography by: Oliver Wood
Special Effects
Geronimo: An American Legend (1993)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Special Effects Supervisor
Cliffhanger (1993)
Directed by: Renny Harlin
Cinematography by: Alex Thomson
Edited by: Frank J. Urioste
Cameras: Panavision Cameras
Special Effects Foreman
Far and Away (1992)
Directed by: Ron Howard
Cinematography by: Mikael Salomon
Cameras: ARRIFLEX 765 Camera, Bell & Howell Eyemo Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision 65mm Prime Lenses, Zeiss Lenses
Special Effects Supervisor
The Godfather Part III (1990)
Directed by: Francis Ford Coppola
Cinematography by: Gordon Willis
Special Effects Supervisor
Second Sight (1989)
Directed by: Joel Zwick
Cinematography by: Dana Christiaansen
Edited by: David Ray
Cameras: Panavision Cameras
Special Effects Supervisor
Red Heat (1988)
Directed by: Walter Hill
Cinematography by: Matthew F. Leonetti
Special Effects Supervisor
The Running Man (1987)
Directed by: Paul Michael Glaser
Cinematography by: Thomas Del Ruth
Special Effects Supervisor
The Mosquito Coast (1986)
Directed by: Peter Weir
Cinematography by: John Seale
Edited by: Thom Noble
Special Effects Coordinator
Prizzi's Honor (1985)
Directed by: John Huston
Cinematography by: Andrzej Bartkowiak
Special Effects
All of Me (1984)
Directed by: Carl Reiner
Cinematography by: Richard H. Kline
Edited by: Bud Molin
Special Effects Technician
The Philadelphia Experiment (1984)
Directed by: Stewart Raffill
Cinematography by: Dick Bush
Edited by: Neil Travis
Special Effects Technician
The Terminator (1984)
Directed by: James Cameron
Cinematography by: Adam Greenberg
Edited by: Mark Goldblatt
Cameras: ARRIFLEX 35 BL Camera, ARRIFLEX 35 III Camera
Lenses: Zeiss Lenses
Special Effects Technician
The Electric Horseman (1979)
Directed by: Sydney Pollack
Cinematography by: Owen Roizman
Edited by: Sheldon Kahn
Property Master , Special Effects
Blue Sunshine (1977)
Directed by: Jeff Lieberman
Cinematography by: Don Knight
Edited by: Brian Smedley-Aston
Prop Master
Squirm (1976)
Directed by: Jeff Lieberman
Cinematography by: Joseph Mangine
Edited by: Brian Smedley-Aston
