Visual Effects Supervisor
The Matrix Resurrections (2021)
Directed by: Lana Wachowski
Edited by: Joseph Jett Sally
Cameras: Red Komodo Camera
Visual Effects Supervisor
'The Crown' Windsor (2016)
Directed by: Philip Martin
Cinematography by: Adriano Goldman
Edited by: Stuart Gazzard
Visual Effects Supervisor: One Of Us
The Monuments Men (2014)
Directed by: George Clooney
Cinematography by: Phedon Papamichael
Edited by: Stephen Mirrione
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens
Editing System: Avid Editing System
Visual Effects Supervisor: One Of Us
The Invisible Woman (2013)
Directed by: Ralph Fiennes
Cinematography by: Rob Hardy
Edited by: Nicolas Gaster
Editing System: Avid Editing System
Director Of Photography: Second Unit/additional Photography, Second Unit Director: Second Unit/additional Photography, Visual Effects Supervisor: One Of Us
Under the Skin (2013)
Directed by: Jonathan Glazer
Cinematography by: Daniel Landin
Edited by: Paul Watts
Cameras: ARRI ALEXA Plus Camera, one-cam Camera
Colour Grader: One Of Us / Director Of Photography: One Of Us
Mirror Mirror (2012)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Cameras: Sony CineAlta F35 Camera
Visual Effects Supervisor: One Of Us
Cloud Atlas (2012)
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, Phantom HD Camera
Editing System: Avid Editing System
Visual Effects Supervisor: One Of Us
Gambit (2012)
Directed by: Michael Hoffman
Cinematography by: Florian Ballhaus
Edited by: Paul Tothill
Cameras: ARRI ALEXA Camera
Lenses: Leitz Summilux-C Series Lenses
Visual Effects Supervisor: One Of Us
Anna Karenina (2012)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Melanie Oliver
Director Of Photography: Visual Effects Unit, Visual Effects: One Of Us
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Visual Effects Supervisor: One Of Us
One Day (2011)
Directed by: Lone Scherfig
Cinematography by: Benoît Delhomme
Edited by: Barney Pilling
Visual Effects Supervisor: One Of Us
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Visual Effects Supervisor: One Of Us
Angus, Thongs and Perfect Snogging (2008)
Directed by: Gurinder Chadha
Cinematography by: Dick Pope
Edited by: Justin Krish
Director Of Photography: Visual Effects Unit
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Visual Effects Supervisor: Second Unit
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Visual Effects Supervisor: One Of Us
When Did You Last See Your Father? (2007)
Directed by: Anand Tucker
Cinematography by: Howard Atherton
Edited by: Trevor Waite
Lenses: Hawk V-Series Lenses
Visual Effects Supervisor
Alex Rider: Operation Stormbreaker (2006)
Directed by: Geoffrey Sax
Cinematography by: Chris Seager
Edited by: Andrew MacRitchie
Cameras: ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, ARRI / Zeiss Lenses
Compositor: Peerless Computer Company
The Brothers Grimm (2005)
Directed by: Terry Gilliam
Cinematography by: Newton Thomas Sigel
Edited by: Lesley Walker
Director Of Photography: Additional Unit
Pride & Prejudice (2005)
Directed by: Joe Wright
Cinematography by: Roman Osin
Edited by: Paul Tothill
Lenses: Cooke S4 Lenses
Editing System: Lightworks Editing System
Visual Effects Supervisor
Breakfast on Pluto (2005)
Directed by: Neil Jordan
Cinematography by: Declan Quinn
Edited by: Tony Lawson
Digital Effects Supervisor
V for Vendetta (2005)
Directed by: James McTeigue
Cinematography by: Adrian Biddle
Edited by: Martin Walsh
Visual Effects Supervisor: Double Negative
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Director Of Photography: Effects Unit
Shaun of the Dead (2004)
Directed by: Edgar Wright
Cinematography by: David M. Dunlap
Edited by: Chris Dickens
Cameras: ARRI Cameras
Visual Effects Supervisor
Beyond the Sea (2004)
Directed by: Kevin Spacey
Cinematography by: Eduardo Serra
Edited by: Trevor Waite
Director Of Photography: Visual Effects Unit
Troy (2004)
Directed by: Wolfgang Petersen
Cinematography by: Roger Pratt
Edited by: Peter Honess
Lenses: Cooke S4 Lenses
Director Of Photography: Visual Effects Unit
Johnny English (2003)
Directed by: Peter Howitt
Cinematography by: Remi Adefarasin
Edited by: Robin Sales
Lenses: Angenieux Lenses, Zeiss Lenses
Editing System: Lightworks Editing System
Digital Compositor: Double Negative
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor: Framestore CFC
Die Another Day (2002)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Effects Sequence Supervisor: Framestore CFC
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
Visual Effects Supervisor: LA Unit
Formula 51 (2001)
Directed by: Ronny Yu
Cinematography by: Hang-Sang Poon
Edited by: David Wu
Cameras: Moviecam Cameras
Senior Compositing Artist: Das Werk
Enemy at the Gates (2001)
Directed by: Jean-Jacques Annaud
Cinematography by: Robert Fraisse
Compositing Artist: CFC
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Compositing Artist: CFC
Sexy Beast (2000)
Directed by: Jonathan Glazer
Cinematography by: Ivan Bird
Cameras: ARRI ARRIFLEX Series Cameras
Lenses: ARRI Lenses
Digital Grading: CFC
Chicken Run (2000)
Cinematography by: Simon Jacobs, Andy MacCormack, Tristan Oliver, Frank Passingham, Dave Alex Riddett, Paul Smith
Visual Effects Designer
In Dreams (1999)
Directed by: Neil Jordan
Cinematography by: Darius Khondji
Edited by: Tony Lawson
Compositing Artist
The Bone Collector (1999)
Directed by: Phillip Noyce
Cinematography by: Dean Semler
Edited by: William Hoy
Visual Effects Designer: CFC
Snake Eyes (1998)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Bill Pankow
Lenses: Panavision C Series Anamorphic Lenses, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens
Editing System: Avid Editing System
Visual Effects Designer: Computer Film 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 Designer: CFC
Event Horizon (1997)
Directed by: Paul W.S. Anderson
Cinematography by: Adrian Biddle
Edited by: Martin Hunter
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Designer
Hamlet (1996)
Directed by: Kenneth Branagh
Cinematography by: Alex Thomson
Edited by: Neil Farrell
