Visual Effects Photographer
Mary Poppins Returns (2018)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Wyatt Smith
Lenses: Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo V Lenses, Panavision Primo V PV21 21mm T1.9 Lens, Panavision Primo V PV27 27mm T1.9 Lens, Panavision Primo V PV50 50mm T1.9 Lens
Visual Effects Photographer
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 Photography
Into the Woods (2014)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Wyatt Smith
Cameras: ARRI ALEXA XT Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Vfx Stills Photography: Cinesite
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 Stills Photographer: Cinesite
Jack Ryan: Shadow Recruit (2014)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Martin Walsh
Editing System: Avid Editing System
Head Of Visual Effects Photography: Cinesite
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Visual Effects Photography: Cinesite
Skyfall (2012)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Vfx Photographer: Cinesite
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Stills Photographer: Cinesite
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Vfx Stills Photography: Cinesite
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Visual Effects Location Still Photographer: Cinesite
Leap Year (2010)
Directed by: Anand Tucker
Cinematography by: Newton Thomas Sigel
Edited by: Nick Moore
Head Of Vfx Photography: Cinesite
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Vfx Photographer: Cinesite
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Senior Technical Director: Cinesite
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Research And Development: Cinesite
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Vfx Photographer: Cinesite
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Vfx Digital Stills Photographer: Cinesite
Moon (2009)
Directed by: Duncan Jones
Cinematography by: Gary Shaw
Edited by: Nicolas Gaster
2D Technical Director: Cinesite
Inkheart (2008)
Directed by: Iain Softley
Cinematography by: Roger Pratt
Edited by: Martin Walsh
Cameras: Panavision Panaflex Platinum Camera
Research And Development Technical Director: Cinesite
Underdog (2007)
Directed by: Frederik Du Chau
Cinematography by: David Eggby
Edited by: Tom Finan
Digital Artist: Cinesite
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Technical Manager: Cinesite / Visual Effects Digital Stills Photographer / Visual Effects Still Photographer: Second Unit
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
2d Technical Director: Cinesite
The Omen (2006)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Cameras: Panavision Cameras
Production Support: Cinesite
Miss Potter (2006)
Directed by: Chris Noonan
Cinematography by: Andrew Dunn
Edited by: Robin Sales
2D Technical Director: Cinesite
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
2D Technical Director: Cinesite
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
2D Technical Director: Cinesite
Girl with a Pearl Earring (2003)
Directed by: Peter Webber
Cinematography by: Eduardo Serra
Edited by: Kate Evans
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
2D Technical Director: Cinesite
Shanghai Knights (2003)
Directed by: David Dobkin
Cinematography by: Adrian Biddle
Edited by: Malcolm Campbell
2D Technical Director: Cinesite
Lara Croft Tomb Raider: The Cradle of Life (2003)
Directed by: Jan de Bont
Cinematography by: David Tattersall
Edited by: Michael Kahn
2D Technical Director: Cinesite
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
2D Technical Director: Cinesite
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
2D Technical Director: Cinesite
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
2D Technical Director: Cinesite
Lara Croft: Tomb Raider (2001)
Directed by: Simon West
Cinematography by: Peter Menzies Jr.
2D Technical Director: Cinesite
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
2D Technical Director: Cinesite
Animal Farm (1999)
Directed by: John Stephenson
Cinematography by: Mike Brewster
Edited by: Colin Green
2D Technical Director: Cinesite
Entrapment (1999)
Directed by: Jon Amiel
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
2D Technical Director: Cinesite
The World Is Not Enough (1999)
Directed by: Michael Apted
Cinematography by: Adrian Biddle
Edited by: Jim Clark
Digital Compositor: Cinesite
The Saint (1997)
Directed by: Phillip Noyce
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: Panavision Panaflex Gold II Camera
2D Technical Director: Cinesite
Tomorrow Never Dies (1997)
Directed by: Roger Spottiswoode
Cinematography by: Robert Elswit
Cameras: Panavision Panaflex Gold II Camera
Compositor: Cinesite
The Adventures of Pinocchio (1996)
Directed by: Steve Barron
Cinematography by: Juan Ruiz Anchía
Edited by: Sean Barton
Compositor: Cinesite
Space Jam (1996)
Directed by: Joe Pytka
Cinematography by: Michael Chapman
Edited by: Sheldon Kahn
Data Operator: Cinesite
Lawnmower Man 2: Beyond Cyberspace (1996)
Directed by: Farhad Mann
Cinematography by: Ward Russell
Data Operator: Cinesite
Restoration (1995)
Directed by: Michael Hoffman
Cinematography by: Oliver Stapleton
Edited by: Garth Craven
Compositor: Cinesite
GoldenEye (1995)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Terry Rawlings
Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 35 IIIC Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Data Operator: Cinesite
First Knight (1995)
Directed by: Jerry Zucker
Cinematography by: Adam Greenberg
Edited by: Walter Murch
Data Operator: Cinesite
Leaving Las Vegas (1995)
Directed by: Mike Figgis
Cinematography by: Declan Quinn
Edited by: John Smith
