Special Effects Foreperson
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
Hancock (2008)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Special Effects Technician
Transformers (2007)
Directed by: Michael Bay
Cinematography by: Mitchell Amundsen
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
Editing System: Avid Editing System, Final Cut Pro Editing System
Special Effects Foreman: Second Unit
S.W.A.T. (2003)
Directed by: Clark Johnson
Cinematography by: Gabriel Beristain
Edited by: Michael Tronick
Special Effects Coordinator
Punch-Drunk Love (2002)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Leslie Jones
Cameras: Panavision Panaflex Platinum Camera
Special Effects Coordinator
The Extreme Adventures of Super Dave (2000)
Directed by: Peter MacDonald
Cinematography by: Bernd Heinl
Edited by: Mike Murphy
Special Effects Coordinator
The Replacements (2000)
Directed by: Howard Deutch
Cinematography by: Tak Fujimoto
Special Effects
Cast Away (2000)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Special Effects Assistant: Additional Photography
Dudley Do-Right (1999)
Directed by: Hugh Wilson
Cinematography by: Donald E. Thorin
Edited by: Don Brochu
Special Effects Coordinator
Species II (1998)
Directed by: Peter Medak
Cinematography by: Matthew F. Leonetti
Edited by: Richard Nord
Special Effects Coordinator
RocketMan (1997)
Directed by: Stuart Gillard
Cinematography by: Steven Poster
Edited by: William D. Gordean
Special Effects Coordinator
Gone Fishin' (1997)
Directed by: Christopher Cain
Cinematography by: Dean Semler
Edited by: Jack Hofstra
Special Effects Coordinator
Species (1995)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Edited by: Conrad Buff IV
Special Effects Coordinator
Nick of Time (1995)
Directed by: John Badham
Cinematography by: Roy H. Wagner
Special Effects Coordinator
Naked Gun 33 1/3: The Final Insult (1994)
Directed by: Peter Segal
Cinematography by: Robert M. Stevens
Edited by: James R. Symons
Cameras: Panavision Cameras
Special Effects Supervisor
RoboCop 3 (1993)
Directed by: Fred Dekker
Cinematography by: Gary B. Kibbe
Edited by: Bert Lovitt
Forest Fire Special Effects Foreman
Always (1989)
Directed by: Steven Spielberg
Cinematography by: Mikael Salomon
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Special Effects Coordinator
Uncle Buck (1989)
Directed by: John Hughes
Cinematography by: Ralf D. Bode
Special Effects Coordinator
Short Circuit 2 (1988)
Directed by: Kenneth Johnson
Cinematography by: John McPherson
Edited by: Conrad Buff IV
Special Effects Coordinator
The Sicilian (1987)
Directed by: Michael Cimino
Cinematography by: Alex Thomson
Edited by: Françoise Bonnot
Special Effects Coordinator
Silver Bullet (1985)
Directed by: Daniel Attias
Cinematography by: Armando Nannuzzi
Edited by: Daniel Loewenthal
Special Effects Supervisor
Blue Thunder (1983)
Directed by: John Badham
Cinematography by: John A. Alonzo
Cameras: Panavision Cameras
Special Effects Foreman
Poltergeist (1982)
Directed by: Tobe Hooper
Cinematography by: Matthew F. Leonetti
Edited by: Michael Kahn
Cameras: Ultracam 35 Camera
Special Effects
Any Which Way You Can (1980)
Directed by: Buddy Van Horn
Cinematography by: David Worth
