Compositor: Zoic Studios
Crouching Tiger, Hidden Dragon: Sword of Destiny (2016)
Directed by: Woo-Ping Yuen
Cinematography by: Newton Thomas Sigel
Edited by: Jeff Betancourt
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
In House Compositor
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
In House Compositor
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Visual Effects Compositor
Water for Elephants (2011)
Directed by: Francis Lawrence
Cinematography by: Rodrigo Prieto
Edited by: Alan Edward Bell
Editing System: Avid Editing System
Visual Effects Artist
Hometown Glory (2010)
Directed by: Ray Costa
Cinematography by: Waheed AlQawasmi
Compositing Artist: Arcane / Director Od Operations: Arcane
In the Name of the King: A Dungeon Siege Tale (2007)
Directed by: Uwe Boll
Cinematography by: Mathias Neumann
Edited by: David M. Richardson
Digital Compositor: Cinemapixel
Rescue Dawn (2006)
Directed by: Werner Herzog
Cinematography by: Peter Zeitlinger
Edited by: Joe Bini
Digital Compositor
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Compositing Artist: Howard Anderson Company
The Punisher (2004)
Directed by: Jonathan Hensleigh
Cinematography by: Conrad W. Hall
Digital Artist: Howard Anderson Company
Team America: World Police (2004)
Directed by: Trey Parker
Cinematography by: Bill Pope
Edited by: Thomas M. Vogt
Cameras: ARRIFLEX 435 Camera, Pan-Arri 435 Camera
Trailer Digital Effects, Howard Anderson Company
Garfield (2004)
Directed by: Peter Hewitt
Cinematography by: Dean Cundey
Cameras: Panavision Cameras
Compositing Artist: Howard Anderson Company
Man on Fire (2004)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Compositing Artist: Howard Anderson Company
I Heart Huckabees (2004)
Directed by: David O. Russell
Cinematography by: Peter Deming
Edited by: Robert K. Lambert
Digital Compositor
The Hunted (2003)
Directed by: William Friedkin
Cinematography by: Caleb Deschanel
Edited by: Augie Hess
Trailer Digital Effects, Howard Anderson Company
A Man Apart (2003)
Directed by: F. Gary Gray
Cinematography by: Jack N. Green
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Trailer Digital Effects, Howard Anderson Company
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
Compositing Artist: Howard Anderson Company
Gothika (2003)
Directed by: Mathieu Kassovitz
Cinematography by: Matthew Libatique
Edited by: Yannick Kergoat
Trailer Digital Effects, Howard Anderson Company
Old School (2003)
Directed by: Todd Phillips
Cinematography by: Mark Irwin
Edited by: Michael Jablow
Trailer Digital Effects, Howard Anderson Company
Matchstick Men (2003)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Dody Dorn
Trailer Digital Effects, Howard Anderson Company
Seabiscuit (2003)
Directed by: Gary Ross
Cinematography by: John Schwartzman
Edited by: William Goldenberg
Editing System: Avid Editing System
Digital Effects: Trailer, Howard Anderson Company
Final Destination 2 (2003)
Directed by: David R. Ellis
Cinematography by: Gary Capo
Edited by: Eric A. Sears
Cameras: Panavision Cameras
Digital Artist: Custom Film Effects
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Trailer Digital Effects, Howard Anderson Company
Freddy vs. Jason (2003)
Directed by: Ronny Yu
Cinematography by: Fred Murphy
Edited by: Mark Stevens
Trailer Digital Effects, Howard Anderson Company
The Scorpion King (2002)
Directed by: Chuck Russell
Cinematography by: John R. Leonetti
Trailer Digital Effects, Howard Anderson Company
The Bourne Identity (2002)
Directed by: Doug Liman
Cinematography by: Oliver Wood
Edited by: Saar Klein
Trailer Digital Effects, Howard Anderson Company
8 femmes (2002)
Directed by: François Ozon
Cinematography by: Jeanne Lapoirie
Edited by: Laurence Bawedin
Trailer Digital Effects, Howard Anderson Company
All About the Benjamins (2002)
Directed by: Kevin Bray
Cinematography by: Glen MacPherson
Edited by: Suzanne Hines
Flame Artist: Howard Anderson Digital
Rollerball (2002)
Directed by: John McTiernan
Cinematography by: Steve Mason
Trailer Digital Effects, Howard Anderson Company
S1m0ne (2002)
Directed by: Andrew Niccol
Cinematography by: Edward Lachman
Edited by: Paul Rubell
Trailer Digital Effects, Howard Anderson Company
The Truth About Charlie (2002)
Directed by: Jonathan Demme
Cinematography by: Tak Fujimoto
Trailer Digital Effects, Howard Anderson Company
Dragonfly (2002)
Directed by: Tom Shadyac
Cinematography by: Dean Semler
Edited by: Don Zimmerman
Trailer Digital Effects, Howard Anderson Company
Jurassic Park III (2001)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Trailer Digital Effects, Howard Anderson Company
The Mummy Returns (2001)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Trailer Digital Effects, Howard Anderson Company
Mulholland Dr. (2001)
Directed by: David Lynch
Cinematography by: Peter Deming
Edited by: Mary Sweeney
Cameras: Panavision Panaflex Platinum Camera
Trailer Digital Effects, Howard Anderson Company
Heist (2001)
Directed by: David Mamet
Cinematography by: Robert Elswit
Edited by: Barbara Tulliver
Digital Compositor
Shallow Hal (2001)
Cinematography by: Russell Carpenter
Edited by: Christopher Greenbury
Digital Compositor
Hannibal (2001)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Digital Compositor
Legally Blonde (2001)
Directed by: Robert Luketic
Cinematography by: Anthony B. Richmond
Compositing Artist: Digiscope
Spy Kids (2001)
Directed by: Robert Rodriguez
Cinematography by: Guillermo Navarro
Edited by: Robert Rodriguez
Visual Effects Coordinator
Rules of Engagement (2000)
Directed by: William Friedkin
Edited by: Augie Hess
Visual Effects Coordinator
Bless the Child (2000)
Directed by: Chuck Russell
Cinematography by: Peter Menzies Jr.
Edited by: Alan Heim
Digital Compositor
Duets (2000)
Directed by: Bruce Paltrow
Cinematography by: Paul Sarossy
Edited by: Gerald B. Greenberg
Visual Effects Coordinator
All the Pretty Horses (2000)
Directed by: Billy Bob Thornton
Cinematography by: Barry Markowitz
Edited by: Sally Menke
Visual Effects Coordinator
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Visual Effects Coordinator
I Dreamed of Africa (2000)
Directed by: Hugh Hudson
Cinematography by: Bernard Lutic
Edited by: Scott Thomas
Visual Effects Coordinator
Girl, Interrupted (1999)
Directed by: James Mangold
Cinematography by: Jack N. Green
Edited by: Kevin Tent
Visual Effects Coordinator
The Omega Code (1999)
Directed by: Robert Marcarelli
Cinematography by: Carlos González
Visual Effects Coordinator
Universal Soldier: The Return (1999)
Directed by: Mic Rodgers
Cinematography by: Mike Benson
Edited by: Peck Prior
Visual Effects Coordinator
The Bone Collector (1999)
Directed by: Phillip Noyce
Cinematography by: Dean Semler
Edited by: William Hoy
Visual Effects Coordinator
Stuart Little (1999)
Directed by: Rob Minkoff
Cinematography by: Guillermo Navarro
Edited by: Tom Finan
Cameras: Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Effects Artist
Jerry Maguire (1996)
Directed by: Cameron Crowe
Cinematography by: Janusz Kaminski
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Editing System: Lightworks Editing System
