Co-producer, Visual Effects Producer
The Predator (2018)
Directed by: Shane Black
Cinematography by: Larry Fong
Edited by: Harry B. Miller III
Co-producer, Visual Effects Producer
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
Co-producer
Night at the Museum: Secret of the Tomb (2014)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Dean Zimmerman
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Visual Effects Producer
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Visual Effects Producer
Mr. Popper's Penguins (2011)
Directed by: Mark Waters
Cinematography by: Florian Ballhaus
Edited by: Bruce Green
Cameras: ARRI ALEXA Camera
Visual Effects Producer
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Visual Effects Producer
Enchanted (2007)
Directed by: Kevin Lima
Cinematography by: Don Burgess
Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Visual Effects Producer
The Shaggy Dog (2006)
Directed by: Brian Robbins
Cinematography by: Gabriel Beristain
Edited by: Ned Bastille
On-set Visual Effects Producer: Asylum
Sky High (2005)
Directed by: Mike Mitchell
Cinematography by: Shelly Johnson
Edited by: Peter Amundson
Visual Effects Executive Producer: Asylum
Man on Fire (2004)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Executive Visual Effects Producer
National Treasure (2004)
Directed by: Jon Turteltaub
Cinematography by: Caleb Deschanel
Edited by: William Goldenberg
Executive Visual Effects Producer
The Phantom of the Opera (2004)
Directed by: Joel Schumacher
Cinematography by: John Mathieson
Edited by: Terry Rawlings
Executive Producer: Asylum
Levity (2003)
Directed by: Ed Solomon
Cinematography by: Roger Deakins
Edited by: Pietro Scalia
Executive Visual Effects Producer: Asylum
Bad Boys II (2003)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Bell & Howell Eyemo Camera, Cine SL-35 Camera, Pan-Arri 435es Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Executive Visual Effects Producer
Kangaroo Jack (2003)
Directed by: David McNally
Cinematography by: Peter Menzies Jr.
Cameras: Panavision Cameras
Executive Visual Effects Producer
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Visual Effects Executive Producer: Asylum
Down with Love (2003)
Directed by: Peyton Reed
Cinematography by: Jeff Cronenweth
Edited by: Larry Bock
Cameras: Panavision Panaflex Platinum Camera
Executive Visual Effects Producer: Asylum
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
Visual Effects Producer
The Master of Disguise (2002)
Directed by: Perry Andelin Blake
Cinematography by: Peter Lyons Collister
Cameras: Panavision Cameras
Effects Producer: Asylum
The Ring (2002)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Edited by: Craig Wood
Editing System: Final Cut Pro Editing System
Executive Visual Effects Producer
Bad Company (2002)
Directed by: Joel Schumacher
Cinematography by: Dariusz Wolski
Visual Effects Executive Producer: Asylum
Phone Booth (2002)
Directed by: Joel Schumacher
Cinematography by: Matthew Libatique
Edited by: Mark Stevens
Visual Effects Producer
Spider-Man (2002)
Directed by: Sam Raimi
Cinematography by: Don Burgess
Cameras: Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Visual Effects Executive Producer: Asylum
Minority Report (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Lenses: Panavision Lenses
Executive Producer: Asylum Visual Effects
Catch Me If You Can (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Executive Producer: Asylum Visual Effects
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
Visual Effects Executive Producer: Asylum Effects
Joe Somebody (2001)
Directed by: John Pasquin
Cinematography by: Daryn Okada
Edited by: David Finfer
Executive Producer: Asylum
Spy Game (2001)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Associate Visual Effects Producer
Hollow Man (2000)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Visual Effects Producer
The Adventures of Elmo in Grouchland (1999)
Directed by: Gary Halvorson
Cinematography by: Alan Caso
Edited by: Alan Baumgarten
Co-producer
Best of the Best 4: Without Warning (1998)
Directed by: Phillip Rhee
Cinematography by: Michael D. Margulies
Edited by: Bert Lovitt
Visual Effects Producer
Beloved (1998)
Directed by: Jonathan Demme
Cinematography by: Tak Fujimoto
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Producer
The Winter Guest (1997)
Directed by: Alan Rickman
Cinematography by: Seamus McGarvey
Edited by: Scott Thomas
Cameras: Panavision Cameras
Digital Efx Producer
That Thing You Do! (1996)
Directed by: Tom Hanks
Cinematography by: Tak Fujimoto
Edited by: Richard Chew
Digital Effects Producer: Digital Rezolution
The Long Kiss Goodnight (1996)
Directed by: Renny Harlin
Cinematography by: Guillermo Navarro
Edited by: William Goldenberg
Production Coordinator: Visual Effects
Fortress (1992)
Directed by: Stuart Gordon
Cinematography by: David Eggby
Edited by: Tim Wellburn
