Visual Effects Supervisor
'Westworld' Que Será, Será (2022)
Directed by: Richard J. Lewis
Cinematography by: Peter Flinckenberg
Visual Effects Supervisor
'Westworld' Metanoia (2022)
Directed by: Meera Menon
Cinematography by: John Conroy
Edited by: Sarah C. Reeves
Visual Effects Supervisor
'Westworld' Fidelity (2022)
Directed by: Andrew Seklir
Cinematography by: Peter Flinckenberg
Edited by: Amelia Allwarden
Visual Effects Supervisor
'Westworld' Zhuangzi (2022)
Directed by: Craig William Macneill
Cinematography by: John Conroy
Visual Effects Supervisor
'Westworld' Generation Loss (2022)
Directed by: Paul Cameron
Cinematography by: Peter Flinckenberg
Visual Effects Supervisor
'Westworld' Années Folles (2022)
Directed by: Hanelle M. Culpepper
Cinematography by: John Conroy
Edited by: Amelia Allwarden
Visual Effects Supervisor
'Westworld' Well Enough Alone (2022)
Directed by: Craig William Macneill
Cinematography by: Peter Flinckenberg
Edited by: Anna Hauger
Visual Effects Supervisor
'Westworld' The Auguries (2022)
Directed by: Richard J. Lewis
Cinematography by: John Conroy
Visual Effects On Set Supervisor
'Westworld' The Winter Line (2020)
Directed by: Richard J. Lewis
Cinematography by: John Grillo
Edited by: Andrew Seklir
Visual Effects On Set Supervisor
'Westworld' Parce Domine (2020)
Directed by: Jonathan Nolan
Cinematography by: Paul Cameron
Edited by: Stephen Semel
Visual Effects On Set Supervisor
'Westworld' The Absence of Field (2020)
Directed by: Amanda Marsalis
Cinematography by: Zoë White
Edited by: Ali Comperchio
Visual Effects On Set Supervisor
'Westworld' The Mother of Exiles (2020)
Directed by: Paul Cameron
Cinematography by: John Grillo
Edited by: Anna Hauger
Visual Effects On Set Supervisor
'Westworld' Decoherence (2020)
Directed by: Jennifer Getzinger
Cinematography by: John Grillo
Edited by: Ali Comperchio
Visual Effects On Set Supervisor
'Westworld' Passed Pawn (2020)
Directed by: Helen Shaver
Cinematography by: Matt Flannery
Edited by: Anna Hauger
Visual Effects On Set Supervisor
'Westworld' Crisis Theory (2020)
Directed by: Jennifer Getzinger
Cinematography by: John Grillo
Edited by: Andrew Seklir
Visual Effects On Set Supervisor
'Westworld' Genre (2020)
Directed by: Anna Foerster
Cinematography by: Zoë White
Edited by: Andrew Seklir
On-set Visual Effects Supervisor
'Westworld' Phase Space (2018)
Directed by: Tarik Saleh
Cinematography by: John Grillo
Edited by: Ron Rosen
On-set Visual Effects Supervisor
'Westworld' Journey into Night (2018)
Directed by: Richard J. Lewis
Cinematography by: Darran Tiernan
Edited by: Andrew Seklir
On-set Visual Effects Supervisor
'Westworld' Reunion (2018)
Directed by: Vincenzo Natali
Cinematography by: John Grillo
Edited by: David Eisenberg
On-set Visual Effects Supervisor
'Westworld' Virtù e Fortuna (2018)
Directed by: Richard J. Lewis
Cinematography by: Darran Tiernan
Edited by: Anna Hauger
On-set Visual Effects Supervisor
'Westworld' The Riddle of the Sphinx (2018)
Directed by: Lisa Joy
Cinematography by: John Grillo
Edited by: Andrew Seklir
On-set Visual Effects Supervisor
'Westworld' Akane no Mai (2018)
Directed by: Craig Zobel
Cinematography by: Darran Tiernan
Edited by: David Eisenberg
On-set Visual Effects Supervisor
'Westworld' Les Écorchés (2018)
Directed by: Nicole Kassell
Cinematography by: M. David Mullen
Edited by: Anna Hauger
On-set Visual Effects Supervisor
'Westworld' Kiksuya (2018)
Directed by: Uta Briesewitz
Cinematography by: Darran Tiernan
Edited by: David Eisenberg
On-set Visual Effects Supervisor
'Westworld' Vanishing Point (2018)
Directed by: Stephen Williams
Cinematography by: Darran Tiernan
Edited by: Ron Rosen
On-set Visual Effects Supervisor
'Westworld' The Passenger (2018)
Directed by: Frederick E.O. Toye
Cinematography by: John Grillo
Data Wrangler: France
Dunkirk (2017)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Data Wrangler
Blade Runner 2049 (2017)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera
Lenses: ARRI / Zeiss Zoom Lenses, Zeiss Master Prime Distagon 12 mm T1.3 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Visual Effects On Set Supervisor
'Westworld' Trompe L'Oeil (2016)
Directed by: Frederick E.O. Toye
Cinematography by: Brendan Galvin
Edited by: Andrew Seklir
Visual Effects On Set Supervisor
'Westworld' The Bicameral Mind (2016)
Directed by: Jonathan Nolan
Cinematography by: David Franco
Edited by: Andrew Seklir
Visual Effects On Set Supervisor
'Westworld' The Well-Tempered Clavier (2016)
Directed by: Michelle MacLaren
Cinematography by: Jeffrey Jur
Edited by: Mark Yoshikawa
Visual Effects On Set Supervisor
'Westworld' Trace Decay (2016)
Directed by: Stephen Williams
Edited by: Tanya M. Swerling
Visual Effects On Set Supervisor
'Westworld' The Adversary (2016)
Directed by: Frederick E.O. Toye
Edited by: Tanya M. Swerling
Visual Effects On Set Supervisor
'Westworld' Contrapasso (2016)
Directed by: Jonny Campbell
Cinematography by: Robert McLachlan
Edited by: Mark Yoshikawa
Visual Effects On Set Supervisor
'Westworld' Dissonance Theory (2016)
Directed by: Vincenzo Natali
Cinematography by: Brendan Galvin
Edited by: Tanya M. Swerling
Visual Effects On Set Supervisor
'Westworld' The Stray (2016)
Directed by: Neil Marshall
Cinematography by: Robert McLachlan
Edited by: Andrew Seklir
Visual Effects On Set Supervisor
'Westworld' Chestnut (2016)
Directed by: Richard J. Lewis
Cinematography by: Brendan Galvin
Edited by: Mark Yoshikawa
Visual Effects On Set Supervisor / On-set Visual Effects Supervisor - 26 Episodes, 2016-2020, Visual Effects On Set Supervisor / On-set Visual Effects Supervisor / Visual Effects Supervisor - 34 Episodes, 2016-2022
Westworld (2016)
Directed by: Richard J. Lewis, Jonathan Nolan, Frederick E.O. Toye, Vincenzo Natali, Stephen Williams, Paul Cameron, Jennifer Getzinger, Craig William Macneill, Jonny Campbell, Michelle MacLaren, Neil Marshall, Uta Briesewitz, Lisa Joy, Nicole Kassell, Tarik Saleh, Craig Zobel, Anna Foerster, Amanda Marsalis, Helen Shaver, Hanelle M. Culpepper, Meera Menon, Andrew Seklir
Cinematography by: John Grillo, Darran Tiernan, Brendan Galvin, Robert McLachlan, John Conroy, Peter Flinckenberg, Paul Cameron, Jeffrey Jur, Zoë White, David Franco, M. David Mullen, Matt Flannery
Data Wrangler
Why Him? (2016)
Directed by: John Hamburg
Cinematography by: Kris Kachikis
Edited by: William Kerr
Data Wrangler/photographer
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Data Wrangler
Transcendence (2014)
Directed by: Wally Pfister
Cinematography by: Jess Hall
Edited by: David Rosenbloom
Data Wrangler: Additional Photography
Divergent (2014)
Directed by: Neil Burger
Cinematography by: Alwin H. Küchler
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Data Wrangler / Visual Effects Photographer
Interstellar (2014)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Leitz Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Data Wrangler
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, 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, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Data Wrangler
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
Lead Data Wrangler
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Data Wrangler/matchmover/photographer
The Dark Knight Rises (2012)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera, Panavision System 65 Camera
Lenses: Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Data Wrangler
Green Lantern (2011)
Directed by: Martin Campbell
Cinematography by: Dion Beebe
Edited by: Stuart Baird
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Visual Effects Data Wrangler: Additional Photography
Captain America: The First Avenger (2011)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera
Editing System: Avid Editing System
Data Wrangler/matchmover/photographer
Inception (2010)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision System 65 Camera, Phantom HD Gold Camera, Photo-Sonics 35mm-4B/4C Camera, Photo-Sonics 35mm-4ER Camera, Super Panavision-70 Camera
Lenses: Panavision 65mm Prime Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Visual Effects Coordinator
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Data Wrangler/photographer: Reshoots
Surrogates (2009)
Directed by: Jonathan Mostow
Cinematography by: Oliver Wood
Edited by: Kevin Stitt
Data Wrangler
Body of Lies (2008)
Directed by: Ridley Scott
Cinematography by: Alexander Witt
Edited by: Pietro Scalia
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Data Wrangler
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
On-set Visual Effects Data Research Assistant
I Am Legend (2007)
Directed by: Francis Lawrence
Cinematography by: Andrew Lesnie
Edited by: Wayne Wahrman
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Lenses
Second Second Assistant Director
Day Zero (2007)
Directed by: Bryan Gunnar Cole
Cinematography by: Matthew Clark
Edited by: Bryan Gunnar Cole
Key Set Production Assistant
Half Nelson (2006)
Directed by: Ryan Fleck
Cinematography by: Andrij Parekh
Edited by: Anna Boden
Cameras: ARRIFLEX 16SR3 Camera
Lenses: Canon Lenses, Zeiss Super Speed Lenses
Set Production Assistant
The Night Listener (2006)
Directed by: Patrick Stettner
Cinematography by: Lisa Rinzler
Edited by: Andy Keir
Set Production Assistant
Step Up (2006)
Directed by: Anne Fletcher
Cinematography by: Michael Seresin
Edited by: Nancy Richardson
Cameras: ARRICAM Studio (ST) Camera
