Additional Visual Effects By: Raynault VFX
6 Underground (2019)
Directed by: Michael Bay
Cinematography by: Bojan Bazelli
Matte Painter: Raynault VFX
The Predator (2018)
Directed by: Shane Black
Cinematography by: Larry Fong
Edited by: Harry B. Miller III
Visual Effects Supervisor: Raynault VFX - 5 Episodes, 2018
Maniac (2018)
Directed by: Cary Joji Fukunaga
Cinematography by: Darren Lew
Cameras: Panavision Millennium DXL Camera
Visual Effects Supervisor: Raynault VFX
Solo: A Star Wars Story (2018)
Directed by: Ron Howard
Cinematography by: Bradford Young
Edited by: Pietro Scalia
Visual Effects Supervisor: Raynault VFX
Ghost in the Shell (2017)
Directed by: Rupert Sanders
Cinematography by: Jess Hall
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Visual Effects Supervisor
The Greatest Showman (2017)
Directed by: Michael Gracey
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Visual Effects Supervisor: Raynault VFX
Murder on the Orient Express (2017)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Mick Audsley
Visual Effects Supervisor: Raynault VFX
Mother! (2017)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 416 Camera
Visual Effects Supervisor: Raynault VFX
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Supervisor: Raynault VFX
Assassin's Creed (2016)
Directed by: Justin Kurzel
Cinematography by: Adam Arkapaw
Edited by: Christopher Tellefsen
Cameras: ARRI ALEXA 65 Camera
Supervisor: Raynault VFX
Hail, Caesar! (2016)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Adobe Premiere Editing System
Visual Effects Supervisor: Raynault VFX
Rogue One (2016)
Directed by: Gareth Edwards
Cinematography by: Greig Fraser
Cameras: ARRI ALEXA 65 Camera
Lenses: Panavision APO Panatar Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Raynault VFX
X-Men: Apocalypse (2016)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Visual Effects Supervisor: Raynault VFX
Gods of Egypt (2016)
Directed by: Alex Proyas
Cinematography by: Peter Menzies Jr.
Edited by: Richard Learoyd
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Supervisor: Raynault VFX
Arrival (2016)
Directed by: Denis Villeneuve
Cinematography by: Bradford Young
Edited by: Joe Walker
Matte Painter: Raynault VFX / Visual Effects Supervisor: Raynault VFX
The Best of Me (2014)
Directed by: Michael Hoffman
Cinematography by: Oliver Stapleton
Edited by: Matt Chesse
Cameras: ARRI ALEXA XT Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
Senior Matte Painter: Raynault VFX
Noah (2014)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera
Editing System: Avid Editing System
Senior Matte Painter: Raynault VFX
Elysium (2013)
Directed by: Neill Blomkamp
Cinematography by: Trent Opaloch
Cameras: Canon EOS-5D Mark II Camera, Red Epic Camera
Lenses: Canon L Series Lenses, Nikon - Nikkor Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: Raynault VFX
Riddick (2013)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Tracy Adams
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Additional Visual Effects Supervisor
This Is the End (2013)
Cinematography by: Brandon Trost
Edited by: Zene Baker
Cameras: Panavision Cameras, Red Epic Camera
Visual Effects Supervisor: Raynault VFX
Astérix and Obélix: God Save Britannia (2012)
Directed by: Laurent Tirard
Edited by: Valérie Deseine
Cameras: ARRI ALEXA Camera
Concept Artist
Mirror Mirror (2012)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Cameras: Sony CineAlta F35 Camera
Visual Effects Management: Rodeo FX
Source Code (2011)
Directed by: Duncan Jones
Cinematography by: Don Burgess
Edited by: Paul Hirsch
Matte Painter: Rodeo FX, Visual Effects Supervisor: Rodeo FX
Immortals (2011)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Visual Effects Supervisor: Rodeo FX
Incendies (2010)
Directed by: Denis Villeneuve
Cinematography by: André Turpin
Edited by: Monique Dartonne
Lenses: Zeiss Master Prime Lenses
Lead Matte Painter
The Last Airbender (2010)
Directed by: M. Night Shyamalan
Cinematography by: Andrew Lesnie
Edited by: Conrad Buff IV
Visual Effects Art Director: Rodeo FX
Resident Evil: Afterlife (2010)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Niven Howie
Editing System: Avid Editing System
Digital Matte Painter/supervisor: RodeoFX
Repo Men (2010)
Directed by: Miguel Sapochnik
Cinematography by: Enrique Chediak
Edited by: Richard Francis-Bruce
Art Director: Vfx: Rodeo FX
Gulliver's Travels (2010)
Directed by: Rob Letterman
Cinematography by: David Tattersall
Cameras: Canon EOS-1D Mark IV Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera
Editing System: Avid Editing System
Visual Effects Supervisor: Rodeo FX
The Twilight Saga: Eclipse (2010)
Directed by: David Slade
Cinematography by: Javier Aguirresarobe
Cameras: Panavision Cameras
Matte Painting Supervisor
Jonah Hex (2010)
Directed by: Jimmy Hayward
Cinematography by: Mitchell Amundsen
Matte Painter: Rodeo FX
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Lead Matte Painter: Rodeo FX
Journey to Mecca (2009)
Directed by: Bruce Neibaur
Cinematography by: Matthew Williams
Edited by: Jean-Marie Drot
Cameras: IMAX MSM 9802 Camera
Visual Effects: Rodeo FX
Mr. Nobody (2009)
Directed by: Jaco Van Dormael
Cinematography by: Christophe Beaucarne
Cameras: ARRICAM Lite (LT) Camera
Lenses: Zeiss Master Prime Lenses
Matte Painter: Rodeo FX
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Lead Matte Painter: Rodeo FX
Journey to the Center of the Earth (2008)
Directed by: Eric Brevig
Cinematography by: Chuck Shuman
Lead Matte Painter: Rodeo FX
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
CGI Art Director: Mokko Studio / Digital Matte Painter: Mokko Studio
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Matte Painter
300 (2006)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Editing System: Final Cut Pro Editing System
Concept Artist / Matte Painter: MOKKO Studio
Silent Hill (2006)
Directed by: Christophe Gans
Cinematography by: Dan Laustsen
Edited by: Sébastien Prangère
Senior Matte Painter
King Kong (2005)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, Mitchell Cameras
Editing System: Avid Editing System
Matte Artist
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
Matte Artist
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Senior Matte Painter: Weta Digital
The Lord of the Rings: The Return of the King (2003)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX 535 B Camera, Mitchell Cameras, Moviecam Superlight Camera
Editing System: Avid Editing System
Senior Matte Artist
The Matrix Revolutions (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Matte Artist
Stuart Little 2 (2002)
Directed by: Rob Minkoff
Cinematography by: Steven Poster
Edited by: Priscilla Nedd-Friendly
Digital Matte Artist: ILM
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
Matte Painter: Weta Digital
The Lord of the Rings: The Two Towers (2002)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Michael Horton
Lenses: Angenieux Lenses, Zeiss Ultra Prime Lenses
Digital Matte Artist: ILM
Gangs of New York (2002)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
