Executive Vfx Supervisor: Cinesite
'True Detective' Episode #4.1 (2024)
Directed by: Issa López
Cinematography by: Florian Hoffmeister
Executive Vfx Supervisor: Cinesite
'True Detective' Episode #4.3 (2024)
Directed by: Issa López
Edited by: Brenna Rangott
Executive Vfx Supervisor: Cinesite
'True Detective' Episode #4.6 (2024)
Directed by: Issa López
Edited by: Brenna Rangott
Visual Effects Supervisor: Cinesite
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Vfx Supervisor: Cinesite
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Visual Effects Supervisor: Cinesite
Pride and Prejudice and Zombies (2016)
Directed by: Burr Steers
Cinematography by: Remi Adefarasin
Edited by: Padraic McKinley
Lenses: Cooke S4/i Lenses
Associate VFX Supervisor: Cinesite
The Revenant (2015)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Edited by: Stephen Mirrione
Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Cinesite
Hercules (2014)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Cameras: ARRI ALEXA XT Camera
Executive Vfx Supervisor: Cinesite - 6 Episodes, 2024
True Detective (2014)
Directed by: Cary Joji Fukunaga, Issa López, Daniel Sackheim, John Crowley, Justin Lin, Nic Pizzolatto, Jeremy Saulnier, Daniel Attias, Janus Metz, Jeremy Podeswa, Miguel Sapochnik
Edited by: Alex Hall, Leo Trombetta, Affonso Gonçalves, Chris Figler, Byron Smith, Meg Reticker, Brenna Rangott
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Classic Spherical Lenses, Panavision Primo Primes Spherical Lenses, Panavision PVintage Prime Lenses, Panavision Ultra Speed MKII Lenses
Visual Effects Supervisor: Cinesite
Edge of Tomorrow (2014)
Directed by: Doug Liman
Cinematography by: Dion Beebe
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Cinesite
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Visual Effects Supervisor: Cinesite
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Cinesite
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 Supervisor: 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 Supervisor: 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 Supervisor: Cinesite
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Visual Effects Supervisor: Cinesite
Moon (2009)
Directed by: Duncan Jones
Cinematography by: Gary Shaw
Edited by: Nicolas Gaster
Digital Artist: Cinesite
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Compositor
The Dark Knight (2008)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Hasselblad Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Super Speed Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Cinesite
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Visual Effects Supervisor: Cinesite
X-Men: The Last Stand (2006)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Visual Effects Supervisor: Cinesite
Miss Potter (2006)
Directed by: Chris Noonan
Cinematography by: Andrew Dunn
Edited by: Robin Sales
Visual Effects Supervisor: Cinesite
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Visual Effects Supervisor: Cinesite
Harry Potter and the Goblet of Fire (2005)
Directed by: Mike Newell
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Senior Compositor: Cinesite
King Arthur (2004)
Directed by: Antoine Fuqua
Cinematography by: Slawomir Idziak
Visual Effects Supervisor: 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
Digital Supervisor
The Life of David Gale (2003)
Directed by: Alan Parker
Cinematography by: Michael Seresin
Edited by: Gerry Hambling
Visual Effects Shoot Supervisor: Mill Film
Veronica Guerin (2003)
Directed by: Joel Schumacher
Cinematography by: Brendan Galvin
Edited by: David Gamble
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor: Mill Film
In America (2002)
Directed by: Jim Sheridan
Cinematography by: Declan Quinn
Edited by: Naomi Geraghty
Editing System: Avid Editing System
Digital Supervisor: Mill Film
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
Lead Compositor: Mill Film
The Count of Monte Cristo (2002)
Directed by: Kevin Reynolds
Cinematography by: Andrew Dunn
Senior Compositor: Mill Film
K-19: The Widowmaker (2002)
Directed by: Kathryn Bigelow
Cinematography by: Jeff Cronenweth
Edited by: Walter Murch
Compositing Supervisor: Mill Film
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
Digital Supervisor: Mill Film
Black Hawk Down (2001)
Directed by: Ridley Scott
Cinematography by: Slawomir Idziak
Edited by: Pietro Scalia
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 ES Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
2D Compositor
I Dreamed of Africa (2000)
Directed by: Hugh Hudson
Cinematography by: Bernard Lutic
Edited by: Scott Thomas
Compositor: Mill Film Ltd.
Gladiator (2000)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
2D Compositor
Ordinary Decent Criminal (2000)
Directed by: Thaddeus O'Sullivan
Cinematography by: Andrew Dunn
Edited by: William M. Anderson
Digital Effects Compositor
Babe: Pig in the City (1998)
Directed by: George Miller
Cinematography by: Andrew Lesnie
Illusion Compositor / Visual Effects Editor Compositor: Mill Film Ltd.
Lost in Space (1998)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Ray Lovejoy
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor
Enemy of the State (1998)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Chris Lebenzon
