Special Effects Technician
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Pyrotechnician
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Pyrotechnician
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 15-40mm T2.6 Lens, Angenieux Optimo 28-340mm T2.9 Lens, Angenieux Optimo 28-76mm T2.6 Lens, Fujinon Alura Zoom 15.5-45mm T2.8 Lens, Fujinon Alura Zoom 30-80mm 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 Technician
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 Technician
Beautiful Creatures (2013)
Directed by: Richard LaGravenese
Cinematography by: Philippe Rousselot
Edited by: David Moritz
Special Effects Technician
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Special Effects Technician
Gangster Squad (2013)
Directed by: Ruben Fleischer
Cinematography by: Dion Beebe
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Editing System: Avid Editing System
Pyrotechnician
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Special Effects Technician
Journey 2: The Mysterious Island (2012)
Directed by: Brad Peyton
Cinematography by: David Tattersall
Edited by: David Rennie
Special Effects Technician
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Special Effects Technician
The Odd Life of Timothy Green (2012)
Directed by: Peter Hedges
Cinematography by: John Toll
Edited by: Andrew Mondshein
Special Effects Technician
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Special Effects Technician
The Green Hornet (2011)
Directed by: Michel Gondry
Cinematography by: John Schwartzman
Edited by: Michael Tronick
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom HD Camera, Red One MX Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Pyrotechnician
Captain America: The First Avenger (2011)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera
Editing System: Avid Editing System
Special Effects Technician
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Special Effects
Our Family Wedding (2010)
Directed by: Rick Famuyiwa
Cinematography by: Julio Macat
Edited by: Dirk Westervelt
Special Effects Coordinator
'Leverage' The Wedding Job (2009)
Directed by: Jonathan Frakes
Cinematography by: David Connell
Edited by: David Siegel
Special Effects Coordinator
'Leverage' The Second David Job (2009)
Directed by: Dean Devlin
Cinematography by: David Connell
Edited by: Sonny Baskin
Special Effects Coordinator
'Leverage' The Juror #6 Job (2009)
Directed by: Jonathan Frakes
Cinematography by: David Connell
Edited by: David Siegel
Special Effects Coordinator
'Leverage' The Stork Job (2009)
Directed by: Marc Roskin
Cinematography by: David Connell
Edited by: Chris A. Peterson
Special Effects Coordinator
'Leverage' The First David Job (2009)
Directed by: Dean Devlin
Cinematography by: David Connell
Edited by: David Siegel
Special Effects Coordinator
'Leverage' The 12-Step Job (2009)
Directed by: Rod Hardy
Cinematography by: David Connell
Edited by: Sonny Baskin
Special Effects Coordinator
'Leverage' The Mile High Job (2009)
Directed by: Rob Minkoff
Cinematography by: David Connell
Edited by: Chris A. Peterson
Special Effects Coordinator - 11 Episodes, 2008-2009
Leverage (2008)
Directed by: Marc Roskin, Dean Devlin, Jonathan Frakes, John Harrison, Arvin Brown, John Rogers, Jeremiah S. Chechik, Peter Winther, Rod Hardy, P.J. Pesce, Tawnia McKiernan, Craig R. Baxley, Tony Bill, Rob Minkoff, Peter O'Fallon, Millicent Shelton, Frank Oz
Editing System: Final Cut Pro Editing System
Special Effects Coordinator
'Leverage' The Nigerian Job (2008)
Directed by: Dean Devlin
Cinematography by: David Connell
Edited by: Sonny Baskin
Special Effects Technician
The Curious Case of Benjamin Button (2008)
Directed by: David Fincher
Cinematography by: Claudio Miranda
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Special Effects Coordinator
'Leverage' The Homecoming Job (2008)
Directed by: Dean Devlin
Cinematography by: David Connell
Edited by: David Siegel
Special Effects Coordinator
'Leverage' The Miracle Job (2008)
Directed by: Arvin Brown
Cinematography by: David Connell
Edited by: Sonny Baskin
Special Effects Technician
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Special Effects Technician
Hancock (2008)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Special Effects Coordinator
'Leverage' The Two-Horse Job (2008)
Directed by: Craig R. Baxley
Cinematography by: David Connell
Edited by: Sonny Baskin
Special Effects Technician
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
On-set Special Effects: Bahamas
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Special Effects Technician
The Benchwarmers (2006)
Directed by: Dennis Dugan
Cinematography by: Thomas E. Ackerman
Special Effects Technician
Bottoms Up (2006)
Directed by: Erik MacArthur
Cinematography by: Massimo Zeri
Edited by: Sherwood Jones
Special Effects On-set Technician
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Special Effects Technician
xXx: State of the Union (2005)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Special Effects Technician
The Family Stone (2005)
Directed by: Thomas Bezucha
Cinematography by: Jonathan Brown
Edited by: Jeffrey Ford
Special Effects Technician
The Island (2005)
Directed by: Michael Bay
Cinematography by: Mauro Fiore
Special Effects Technician
Ocean's Twelve (2004)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Stephen Mirrione
Special Effects Technician
Hidalgo (2004)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Special Effects Technician
50 First Dates (2004)
Directed by: Peter Segal
Cinematography by: Jack N. Green
Edited by: Jeff Gourson
Cameras: Panavision Cameras
Special Effects Technician: Los Angeles
The Last Samurai (2003)
Directed by: Edward Zwick
Cinematography by: John Toll
Effects Technician
Minority Report (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses