Special Effects
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Special Effects Technician
John Wick: Chapter 2 (2017)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Evan Schiff
Cameras: ARRI ALEXA XT Plus Camera
Special Effects
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Special Effects
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Special Effects
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, 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 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Special Effects Foreman
The Homesman (2014)
Directed by: Tommy Lee Jones
Cinematography by: Rodrigo Prieto
Edited by: Roberto Silvi
Cameras: ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera
Special Effects
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Special Effects
Django Unchained (2012)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Special Effects Foreman
Fast Five (2011)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Special Effects
Predators (2010)
Directed by: Nimród Antal
Cinematography by: Gyula Pados
Edited by: Dan Zimmerman
Cameras: Panavision Genesis Camera
Editing System: Avid Editing System
Special Effects Foreperson
Shutter Island (2010)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Cameras: ARRIFLEX 765 Camera, ARRIFLEX D-21 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Editing System: Lightworks Editing System
Special Effects Set Supervisor
Date Night (2010)
Directed by: Shawn Levy
Cinematography by: Dean Semler
Edited by: Dean Zimmerman
Cameras: Panavision Genesis Camera
Special Effects Foreman
Edge of Darkness (2010)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Cameras: Panavision Panaflex Platinum Camera
Special Effects Foreperson
Up in the Air (2009)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Special Effects Foreman: China
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Special Effects: Second Unit
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Special Effects Foreman
Wild Hogs (2007)
Directed by: Walt Becker
Cinematography by: Robbie Greenberg
Cameras: Panavision Cameras
Special Effects Foreman
Miami Vice (2006)
Directed by: Michael Mann
Cinematography by: Dion Beebe
Cameras: Thomson Viper Camera
Special Effects Technician
National Treasure (2004)
Directed by: Jon Turteltaub
Cinematography by: Caleb Deschanel
Edited by: William Goldenberg
Special Effects
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
Special Effects Foreman
The Hunted (2003)
Directed by: William Friedkin
Cinematography by: Caleb Deschanel
Edited by: Augie Hess
Special Effects Foreman
Windtalkers (2002)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Special Effects
The Country Bears (2002)
Directed by: Peter Hastings
Cinematography by: Mitchell Amundsen
Special Effects Technician: USA
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Special Effects
The Way of the Gun (2000)
Directed by: Christopher McQuarrie
Cinematography by: Dick Pope
Edited by: Stephen Semel
Special Effects Foreman
Deep Blue Sea (1999)
Directed by: Renny Harlin
Cinematography by: Stephen F. Windon
Special Effects: F/X Concepts, Inc.
Magnolia (1999)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Cameras: Panavision Cameras, Pathé Cameras
Lenses: Panavision Lenses
Senior Technician: Model Unit
The World Is Not Enough (1999)
Directed by: Michael Apted
Cinematography by: Adrian Biddle
Edited by: Jim Clark
Special Effects
Blade (1998)
Directed by: Stephen Norrington
Cinematography by: Theo van de Sande
Edited by: Paul Rubell
Cameras: Moviecam Compact Camera
Special Effects
Lethal Weapon 4 (1998)
Directed by: Richard Donner
Cinematography by: Andrzej Bartkowiak
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Special Effects
Enemy of the State (1998)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Chris Lebenzon
Special Effects
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
Senior Technician
Tomorrow Never Dies (1997)
Directed by: Roger Spottiswoode
Cinematography by: Robert Elswit
Cameras: Panavision Panaflex Gold II Camera
Special Effects Foreman
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Special Effects
Last Man Standing (1996)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Special Effects
A Walk in the Clouds (1995)
Directed by: Alfonso Arau
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Special Effects
Wild Bill (1995)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Special Effects
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
Special Effects Technician
Terminal Velocity (1994)
Directed by: Deran Sarafian
Cinematography by: Oliver Wood
Special Effects: Paramount
The Naked Gun 2½: The Smell of Fear (1991)
Directed by: David Zucker
Cinematography by: Robert M. Stevens
