Visual Effects Producer: Rodeo FX
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Visual Effects Producer: Rodeo FX
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera
Lenses: Panavision Primo Digital Lenses
On Set Visual Effects Supervisor: Additional
Southpaw (2015)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: John Refoua
On Set Visual Effects Supervisor
Lost River (2014)
Directed by: Ryan Gosling
Cinematography by: Benoît Debie
Lenses: Cooke 5/i Lenses, Zeiss Ultra Prime Lenses
Senior Compositor
Cloud Atlas (2012)
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
Editing System: Avid Editing System
Compositing Supervisor
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Visual Effects Supervisor
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Visual Effects Supervisor
Wall Street: Money Never Sleeps (2010)
Directed by: Oliver Stone
Cinematography by: Rodrigo Prieto
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Zeiss Master Prime Lenses
Visual Effects Supervisor
Knight and Day (2010)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Compositing Supervisor
The Crazies (2010)
Directed by: Breck Eisner
Cinematography by: Maxime Alexandre
Edited by: Billy Fox
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Senior Compositor
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Compositing Supervisor
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Cg Supervisor: PDI/Dreamworks
Minority Report (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Compositing Supervisor: PDI/Dreamworks
People I Know (2002)
Directed by: Daniel Algrant
Cinematography by: Peter Deming
Edited by: Suzy Elmiger
Lead Digital Compositor
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
Compositing Supervisor: PDI
A.I. Artificial Intelligence (2001)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: ARRI / Zeiss Lenses
CG Supervisor: PDI/Dreamworks
Evolution (2001)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Cameras: Panavision Cameras
Senior Color/lighting And Compositing: SPI
Hollow Man (2000)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Senior Color/lighting And Compositing: SPI
Stuart Little (1999)
Directed by: Rob Minkoff
Cinematography by: Guillermo Navarro
Edited by: Tom Finan
Cameras: Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Compositor: Sony Pictures Imageworks Inc.
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
Senior Compositor: SPI
Contact (1997)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
