Rigging Foreman
Need for Speed (2014)
Directed by: Scott Waugh
Cinematography by: Shane Hurlbut
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Anamorphic Lenses, Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens, Cooke S4/i Prime 12mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 180mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Leica Elmarit-R II 28 mm f2.0, Leica Super Angulon-R 21 mm f4.0, Leica Super-Elmarit-R 15 mm f2.8, Leitz Summicron-C 21 mm T2.0 Lens, Zeiss Distagon T* 15mm f2.8 ZE, Zeiss Distagon T* 18mm f3.5 ZE
Pyro Foreperson
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Set Coordinator, Special Effects Set Coordinator
Lone Survivor (2013)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Colby Parker Jr.
Cameras: Phantom Flex Camera, Red Epic Camera
Special Effects Coordinator
127 Hours (2010)
Directed by: Danny Boyle
Edited by: Jon Harris
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, IDT / Redlake Y5 Camera, Moviecam Compact MK2 Camera, Moviecam Superlight Camera, Silicon Imaging SI-2K Mini Camera
Editing System: Avid Editing System
Special Effects Foreman
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES 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 Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Special Effects Foreman
Street Kings (2008)
Directed by: David Ayer
Cinematography by: Gabriel Beristain
Edited by: Jeffrey Ford
Special Effects Second Unit Foreman
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Special Effects Coordinator
School for Scoundrels (2006)
Directed by: Todd Phillips
Cinematography by: Jonathan Brown
Special Effects Foreman
Fun with Dick and Jane (2005)
Directed by: Dean Parisot
Cinematography by: Jerzy Zielinski
Edited by: Don Zimmerman
Special Effects: Second Unit
Garfield (2004)
Directed by: Peter Hewitt
Cinematography by: Dean Cundey
Cameras: Panavision Cameras
Special Effects On Set Foreman: Replacement FX Crew
Cradle 2 the Grave (2003)
Directed by: Andrzej Bartkowiak
Cinematography by: Daryn Okada
Edited by: Derek Brechin
Cameras: Panavision Cameras
Special Effects Coordinator
Old School (2003)
Directed by: Todd Phillips
Cinematography by: Mark Irwin
Edited by: Michael Jablow
Special Effects Supervisor: Second Unit
The Rundown (2003)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Richard Pearson
Special Effects Technician
The Ring (2002)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Edited by: Craig Wood
Editing System: Final Cut Pro Editing System
Special Effects Foreman
The Scorpion King (2002)
Directed by: Chuck Russell
Cinematography by: John R. Leonetti
Special Effects Foreman
Evolution (2001)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Cameras: Panavision Cameras
Special Effects Second Unit Set Coordinator
Pearl Harbor (2001)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera, Photo-Sonics 35mm-4ML Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision Compact Zoom Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Special Effects Set Designer / Special Effects Set Supervisor
Hollow Man (2000)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Special Effects Leadman
Stuart Little (1999)
Directed by: Rob Minkoff
Cinematography by: Guillermo Navarro
Edited by: Tom Finan
Cameras: Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Special Effects Coordinator: Washington/Los Angeles
Snow Falling on Cedars (1999)
Directed by: Scott Hicks
Cinematography by: Robert Richardson
Edited by: Hank Corwin
Cameras: Panavision Panaflex Platinum Camera
Special Effects: Second Unit
Doctor Dolittle (1998)
Directed by: Betty Thomas
Cinematography by: Russell Boyd
Edited by: Peter Teschner
Special Effects Set Lead Man: Dynamic F/X
Mafia! (1998)
Directed by: Jim Abrahams
Cinematography by: Pierre Letarte
Edited by: Terry Stokes
Special Effects: Second Unit
Liar Liar (1997)
Directed by: Tom Shadyac
Cinematography by: Russell Boyd
Edited by: Don Zimmerman
Pyrotechnician
The Fifth Element (1997)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Sylvie Landra
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
Lenses: Zeiss Lenses
Special Effects Shop Foreman
The Crow: City of Angels (1996)
Directed by: Tim Pope
Cinematography by: Jean-Yves Escoffier
Special Effects Powder Man
The Chamber (1996)
Directed by: James Foley
Cinematography by: Ian Baker
Edited by: Mark Warner
Special Effects Foreman
Jingle All the Way (1996)
Directed by: Brian Levant
Cinematography by: Victor J. Kemper
Special Effects Technician
Showgirls (1995)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Special Effects
Beverly Hills Cop III (1994)
Directed by: John Landis
Cinematography by: Mac Ahlberg
Edited by: Dale Beldin
Special Effects Assistant
The Meteor Man (1993)
Directed by: Robert Townsend
Cinematography by: John A. Alonzo
Cameras: Panavision Panaflex Gold Camera
Special Effects Foreman
Demolition Man (1993)
Directed by: Marco Brambilla
Cinematography by: Alex Thomson
Edited by: Stuart Baird
Special Effects
Lethal Weapon 3 (1992)
Directed by: Richard Donner
Cinematography by: Jan de Bont
Cameras: Panavision Panaflex Platinum Camera
Special Effects
Class of 1999 (1990)
Directed by: Mark L. Lester
Cinematography by: Mark Irwin
Edited by: Scott Conrad
Special Effects Foreman
Die Hard (1988)
Directed by: John McTiernan
Cinematography by: Jan de Bont
Cameras: Panavision Panaflex Gold Camera
Lenses: Carl Zeiss Planar 50 mm f0.7 Lens (Modified by Ed DiGiulio), Carl Zeiss Planar 50mm with Kollmorgen Adaptor 36.5 mm f0.7 (Modified by Ed DiGiulio), Cooke Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Lenses, Panavision Ultra Speed MKII Lenses
Special Effects
Planes, Trains & Automobiles (1987)
Directed by: John Hughes
Cinematography by: Donald Peterman
Edited by: Paul Hirsch
Cameras: Panavision Cameras
Special Effects
The Goonies (1985)
Directed by: Richard Donner
Cinematography by: Nick McLean
Cameras: ARRIFLEX 35 III Camera
Editing System: Steenbeck Editing System
Special Effects
The Man with One Red Shoe (1985)
Directed by: Stan Dragoti
Cinematography by: Richard H. Kline
Cameras: Panavision Cameras
Miniature Rigging Crew
1941 (1979)
Directed by: Steven Spielberg
Cinematography by: William A. Fraker
Edited by: Michael Kahn
Cameras: Panavision Panaflex Series Cameras
