Additional On-set Vfx Supervisor
John Wick: Chapter 3 - Parabellum (2019)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Evan Schiff
Visual Effects Supervisor
The Spy Who Dumped Me (2018)
Directed by: Susanna Fogel
Cinematography by: Barry Peterson
Edited by: Jonathan Schwartz
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Visual Effects Creative Director: Zero VFX
Creed II (2018)
Directed by: Steven Caple Jr.
Cinematography by: Kramer Morgenthau
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Vfx Creative Director
Roman J. Israel, Esq. (2017)
Directed by: Dan Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Visual Effects Executive Producer: ZERO VFX
Ghostbusters (2016)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor: Zero VFX
Southpaw (2015)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: John Refoua
Visual Effects Supervisor
Sex Tape (2014)
Directed by: Jake Kasdan
Cinematography by: Tim Suhrstedt
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor
The Equalizer (2014)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: John Refoua
Cameras: ARRI ALEXA Plus 4:3 Camera
Visual Effects Supervisor: ZERO VFX
Fury (2014)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C1000 1000 mm T5.6 Lens, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Zero VFX
The Way Way Back (2013)
Cinematography by: John Bailey
Edited by: Tatiana S. Riegel
Cameras: ARRI ALEXA Camera
Lead Visual Effects Supervisor: Zero
American Hustle (2013)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Visual Effects Supervisor: Zero VFX
Here Comes the Boom (2012)
Directed by: Frank Coraci
Cinematography by: Phil Meheux
Edited by: Scott Hill
Cameras: ARRI ALEXA Camera, Sony CineAlta F35 Camera
Visual Effects Supervisor: Zero VFX
Zookeeper (2011)
Directed by: Frank Coraci
Cinematography by: Michael Barrett
Edited by: Scott Hill
Cameras: Panavision Genesis Camera
Plate Supervisor: ZERO VFX
Hall Pass (2011)
Cinematography by: Matthew F. Leonetti
Edited by: Sam Seig
Plate Supervisor
The Town (2010)
Directed by: Ben Affleck
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Visual Effects Supervisor
Surrogates (2009)
Directed by: Jonathan Mostow
Cinematography by: Oliver Wood
Edited by: Kevin Stitt
Inferno Artist: Asylum
My Bloody Valentine (2009)
Directed by: Patrick Lussier
Cinematography by: Brian Pearson
Cameras: Red One Camera, Silicon Imaging SI-2K Camera
Visual Effects Compositor: Digital Domain
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Inferno Artist: Hydraulx
Aliens vs. Predator: Requiem (2007)
Cinematography by: Daniel Pearl
Edited by: Dan Zimmerman
Senior Artist: ILM
Transformers (2007)
Directed by: Michael Bay
Cinematography by: Mitchell Amundsen
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
Editing System: Avid Editing System, Final Cut Pro Editing System
Flame And Digital Compositor Lead: Sway Studio
Mr. Brooks (2007)
Directed by: Bruce A. Evans
Cinematography by: John Lindley
Edited by: Miklos Wright
Inferno Artist: Hydraulx
Fantastic Four: Rise of the Silver Surfer (2007)
Directed by: Tim Story
Cinematography by: Larry Blanford
Cameras: Pan-Arri 235 Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Wescam Cameras
Editing System: Avid Editing System, Sony Vegas Editing System
Inferno Artist: Hydraulx
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Senior Compositor: Rhinofx
The Nanny Diaries (2007)
Cinematography by: Terry Stacey
Edited by: Robert Pulcini
Digital Compositor: Digital Domain
Cinderella Man (2005)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Visual Effects Compositor: Digital Domain
Dark Water (2005)
Directed by: Walter Salles
Cinematography by: Affonso Beato
Edited by: Daniel Rezende
Digital Compositor: Digital Domain
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Visual Effects Compositor: Digital Domain
Flight of the Phoenix (2004)
Directed by: John Moore
Cinematography by: Brendan Galvin
Edited by: Don Zimmerman
2D Previs: Digital Domain
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
Lead Compositor: Digital Domain
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Visual Effects Compositor: Digital Domain
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
Visual Effects Compositor: Digital Domain
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
Visual Effects Compositor: Digital Domain
xXx (2002)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Visual Effects Compositor: Digital Domain
Adaptation. (2002)
Directed by: Spike Jonze
Cinematography by: Lance Acord
Edited by: Eric Zumbrunnen
Visual Effects Compositor: Digital Domain
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Digital Compositor: Digital Domain
Vanilla Sky (2001)
Directed by: Cameron Crowe
Cinematography by: John Toll
Cameras: Panavision Panaflex Gold Camera
Visual Effects Compositor: Digital Domain
How the Grinch Stole Christmas (2000)
Directed by: Ron Howard
Cinematography by: Donald Peterman
Digital Effects Coordinator: Digital Domain
X-Men (2000)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
