Special Effects Foreman
Dunkirk (2017)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Special Effects Foreman
Bright (2017)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision Lenses
Special Effects Foreman
Suicide Squad (2016)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: John Gilroy
Special Effects Foreman
The Nice Guys (2016)
Directed by: Shane Black
Cinematography by: Philippe Rousselot
Edited by: Joel Negron
Cameras: ARRI ALEXA XT Camera
Special Effects Foreman
Transcendence (2014)
Directed by: Wally Pfister
Cinematography by: Jess Hall
Edited by: David Rosenbloom
Special Effects Foreman
Interstellar (2014)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Leitz Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Special Effects Foreman
The Hangover Part III (2013)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Special Effects Foreman
The Dark Knight Rises (2012)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera, Panavision System 65 Camera
Lenses: Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Special Effects Technician
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
Special Effects Foreman
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Special Effects Technician
Inception (2010)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision System 65 Camera, Phantom HD Gold Camera, Photo-Sonics 35mm-4B/4C Camera, Photo-Sonics 35mm-4ER Camera, Super Panavision-70 Camera
Lenses: Panavision 65mm Prime Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Special Effects Gangboss
The Hangover (2009)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Special Effects Gangboss
Superhero Movie (2008)
Directed by: Craig Mazin
Cinematography by: Thomas E. Ackerman
Cameras: ARRI Cameras
Special Effects Gangboss
Che: Part One (2008)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Pablo Zumárraga
Special Effects Technician
Get Smart (2008)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: Richard Pearson
Lenses: Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Special Effects Gangboss
Bedtime Stories (2008)
Directed by: Adam Shankman
Cinematography by: Michael Barrett
Pyrotecnic Foreman: Additional Photography, U.S.
Valkyrie (2008)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Edited by: John Ottman
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Editing System: Avid Editing System
Special Effects Technician
Letters from Iwo Jima (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Special Effects Shop Foreman
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Special Effects Coordinator
'Lost' Pilot: Part 1 (2004)
Directed by: J.J. Abrams
Cinematography by: Larry Fong
Edited by: Mary Jo Markey
Special Effects Coordinator - 1 Episode, 2004
Lost (2004)
Directed by: Jack Bender, Stephen Williams, Paul A. Edwards, Tucker Gates, Eric Laneuville, Greg Yaitanes, Bobby Roth, Kevin Hooks, J.J. Abrams, Daniel Attias, Rod Holcomb, Karen Gaviola, Stephen Semel, Marita Grabiak, Michael Zinberg, Adam Davidson, David Grossman, Robert Mandel, Alan Taylor, Matt Earl Beesley, Roxann Dawson, Deran Sarafian, Paris Barclay, Frederick E.O. Toye, Mark Goldman, Mario Van Peebles
Cinematography by: John S. Bartley, Michael Bonvillain, Cort Fey, Larry Fong, Stephen St. John, Edward J. Pei
Edited by: Stephen Semel, Mark Goldman, Christopher Nelson, Mary Jo Markey, Sarah Boyd, Henk Van Eeghen, David Eisenberg, Lance Stubblefield, Robert Florio, Sue Blainey, Jo Francis, Martin Nicholson, Chris Braun
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Special Effects Assistant
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Special Effects
Collateral (2004)
Directed by: Michael Mann
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Sony HDC-F950 Camera, Sony HDW-F900 Camera, Thomson Viper Camera
Editing System: Avid Editing System
Special Effects Foreman
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Editing System: Avid Editing System
Special Effects Foreman
Collateral Damage (2002)
Directed by: Andrew Davis
Cinematography by: Adam Greenberg
Special Effects Rigging Foreman
Men in Black II (2002)
Directed by: Barry Sonnenfeld
Cinematography by: Greg Gardiner
Special Effects Lead: DQI
Bicentennial Man (1999)
Directed by: Chris Columbus
Cinematography by: Phil Meheux
Cameras: Panavision Panaflex Gold II Camera
Special Effects Gang Boss
End of Days (1999)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
Special Effects Technician
Snake Eyes (1998)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Bill Pankow
Lenses: Panavision C Series Anamorphic Lenses, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens
Editing System: Avid Editing System
Special Effects Technician
The Relic (1997)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Edited by: Steven Kemper
Special Effects Technician: Digital Domain
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Special Effects Technician
Shadow Conspiracy (1997)
Directed by: George P. Cosmatos
Cinematography by: Buzz Feitshans IV
Edited by: Robert A. Ferretti
Special Effects
Batman Forever (1995)
Directed by: Joel Schumacher
Cinematography by: Stephen Goldblatt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Special Effects Technician
True Lies (1994)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Special Effects Technician
On Deadly Ground (1994)
Directed by: Steven Seagal
Cinematography by: Ric Waite
Special Effects Foreman
The Sandlot (1993)
Directed by: David Mickey Evans
Cinematography by: Anthony B. Richmond
Edited by: Michael A. Stevenson
Special Effects Foreman
Toy Soldiers (1991)
Directed by: Daniel Petrie Jr.
Cinematography by: Thomas Burstyn
Edited by: Michael Kahn
Special Effects
Madhouse (1990)
Directed by: Tom Ropelewski
Cinematography by: Dennis C. Lewiston
Edited by: Michael Jablow
