Special Effects Crew
'1923' The Rule of Five Hundred (2023)
Directed by: Ben Richardson
Edited by: Christopher Gay
Special Effects Crew
'1923' One Ocean Closer to Destiny (2023)
Directed by: Guy Ferland
Cinematography by: Robert McLachlan
Special Effects Crew
'1923' Ghost of Zebrina (2023)
Directed by: Guy Ferland
Cinematography by: Robert McLachlan
Edited by: Christopher Gay
Special Effects Crew
'1923' The War Has Come Home (2023)
Directed by: Ben Richardson
Edited by: Chad Galster
Special Effects Crew - 8 Episodes, 2022-2023
1923 (2022)
Cameras: ARRI Alexa 35 Camera, ARRI ALEXA Mini Camera
Special Effects Foreman - 10 Episodes, 2021-2022
1883 (2021)
TV Mini Series
Edited by: Chad Galster, Nathan Gunn, Brooke Rupe, Martin Nicholson, John Coniglio, Christopher Gay, Ryan Malanaphy
Special Effects Foreman
The Greatest Showman (2017)
Directed by: Michael Gracey
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Special Effects Foreman
Logan (2017)
Directed by: James Mangold
Cinematography by: John Mathieson
Weapons Expert
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 Crew
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Special Effects Technician / Special Effects Technician: Cleveland / Special Effects Technician: Second Unit
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Special Effects Crew
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
Special Effects Crew
Machete Kills (2013)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Cameras: ARRI ALEXA Plus Camera
Special Effects Technician
The Wolf of Wall Street (2013)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Plus 135 mm T3.0 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens, Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Special Effects Technician
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Special Effects Foreman
Haywire (2011)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Cameras: Red One MX Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
Special Effects Technician
The Hangover Part II (2011)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Pyrotechnics Foreman / Special Effects
Edge of Darkness (2010)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Cameras: Panavision Panaflex Platinum Camera
Special Effects Foreperson, Special Effects Technician
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 Supervisor
Dinner for Schmucks (2010)
Directed by: Jay Roach
Cinematography by: Jim Denault
Editing System: Avid Editing System
Special Effects Foreman / Special Effects Technician
Date Night (2010)
Directed by: Shawn Levy
Cinematography by: Dean Semler
Edited by: Dean Zimmerman
Cameras: Panavision Genesis Camera
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 Supervisor
Underdog (2007)
Directed by: Frederik Du Chau
Cinematography by: David Eggby
Edited by: Tom Finan
Pyrotechnician
Lions for Lambs (2007)
Directed by: Robert Redford
Cinematography by: Philippe Rousselot
Edited by: Joe Hutshing
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Special Effects Technician
3:10 to Yuma (2007)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Edited by: Michael McCusker
Editing System: Avid Editing System
Special Effects Technician
Miami Vice (2006)
Directed by: Michael Mann
Cinematography by: Dion Beebe
Cameras: Thomson Viper Camera
Special Effects Technician
The Legend of Zorro (2005)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Special Effects Technician
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Special Effects Buyer
The Aviator (2004)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Special Effects Technician: Los Angeles
The Last Samurai (2003)
Directed by: Edward Zwick
Cinematography by: John Toll
Special Effects Technician
We Were Soldiers (2002)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: William Hoy
Cameras: Panavision Panaflex Camera
Special Effects Technician
Monkeybone (2001)
Directed by: Henry Selick
Cinematography by: Andrew Dunn
Special Effects Technician
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Special Effects Technician
Charlie's Angels (2000)
Directed by: McG
Cinematography by: Russell Carpenter
Special Effects
Anywhere But Here (1999)
Directed by: Wayne Wang
Cinematography by: Roger Deakins
Edited by: Nicholas C. Smith
Special Effects Assistant
The Limey (1999)
Directed by: Steven Soderbergh
Cinematography by: Edward Lachman
Edited by: Sarah Flack
Leadman: Second Unit
Desperate Measures (1998)
Directed by: Barbet Schroeder
Cinematography by: Luciano Tovoli
Edited by: Lee Percy
Cameras: Panavision Panaflex Platinum Camera
Special Effects Technician
Face/Off (1997)
Directed by: John Woo
Cinematography by: Oliver Wood
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
Special Effects Foreman
Con Air (1997)
Directed by: Simon West
Cinematography by: David Tattersall
Cameras: ARRIFLEX 35 III Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses: Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Lightworks Editing System
Special Effects Crew
Courage Under Fire (1996)
Directed by: Edward Zwick
Cinematography by: Roger Deakins
Edited by: Steven Rosenblum
Special Effects Technician
Spy Hard (1996)
Directed by: Rick Friedberg
Cinematography by: John R. Leonetti
Edited by: Eric A. Sears
Special Effects
The Craft (1996)
Directed by: Andrew Fleming
Cinematography by: Alexander Gruszynski
Edited by: Jeff Freeman
Cameras: Moviecam Compact Camera
Lenses: Zeiss Lenses
Special Effects Technician
A Walk in the Clouds (1995)
Directed by: Alfonso Arau
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Special Effects Technician
Casino (1995)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Special Effects
Three Wishes (1995)
Directed by: Martha Coolidge
Cinematography by: Johnny E. Jensen
Edited by: Steven Cohen
Special Effects Technician
Terminal Velocity (1994)
Directed by: Deran Sarafian
Cinematography by: Oliver Wood
Special Effects Technician
Clear and Present Danger (1994)
Directed by: Phillip Noyce
Cinematography by: Donald McAlpine
Edited by: Neil Travis
Special Effects Technician
Tequila Sunrise (1988)
Directed by: Robert Towne
Cinematography by: Conrad L. Hall
Edited by: Claire Simpson
