Digital Compositor
The Nice Guys (2016)
Directed by: Shane Black
Cinematography by: Philippe Rousselot
Edited by: Joel Negron
Cameras: ARRI ALEXA XT Camera
Digital Compositor
Kilo Two Bravo (2014)
Directed by: Paul Katis
Cinematography by: Chris Goodger
Edited by: Brin
Cameras: ARRI ALEXA XT Camera, Blackmagic Cinema Camera
Lenses: Angenieux Lenses, Red Pro Prime Lenses
Editing System: Avid Editing System
Senior Digital Compositor: Lipsync Post
Calvary (2014)
Directed by: John Michael McDonagh
Cinematography by: Larry Smith
Edited by: Chris Gill
Cameras: ARRI ALEXA Series Cameras
Compositor: Double Negative
Transcendence (2014)
Directed by: Wally Pfister
Cinematography by: Jess Hall
Edited by: David Rosenbloom
Digital Artist: Double Negative
Interstellar (2014)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Hasselblad Lenses, Leitz Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Digital Compositor: Framestore
Winter's Tale (2014)
Directed by: Akiva Goldsman
Cinematography by: Caleb Deschanel
Cameras: ARRI ALEXA Plus 4:3 Camera
Digital Compositor: Double Negative
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
Digital Compositor: Double Negative
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Digital Compositor
Now Is Good (2012)
Directed by: Ol Parker
Cinematography by: Erik Wilson
Edited by: Peter Lambert
Lenses: Zeiss Master Prime Lenses
Digital Compositor: LipSync Post
Byzantium (2012)
Directed by: Neil Jordan
Cinematography by: Sean Bobbitt
Edited by: Tony Lawson
Cameras: ARRI ALEXA Plus Camera
Lenses: Zeiss Master Prime Lenses
Lead Compositor: LipSync Post
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Digital Compositor
Lay the Favorite (2012)
Directed by: Stephen Frears
Cinematography by: Michael McDonough
Edited by: Mick Audsley
Cameras: Sony CineAlta F35 Camera
Lead Compositor
The Great Ghost Rescue (2011)
Directed by: Yann Samuell
Cinematography by: Antoine Roch
Digital Effects Supervisor: Lipsync Post
Shame (2011)
Directed by: Steve McQueen
Cinematography by: Sean Bobbitt
Edited by: Joe Walker
Cameras: ARRICAM Lite (LT) Camera
Lenses: Cooke S4 Lenses
Digital Compositor: LipSync Post
Coriolanus (2011)
Directed by: Ralph Fiennes
Cinematography by: Barry Ackroyd
Edited by: Nicolas Gaster
Cameras: Aaton Penelope Camera
Lenses: Angenieux Optimo Zoom Lenses
Digital Compositor: Lip Sync Post
Jane Eyre (2011)
Directed by: Cary Joji Fukunaga
Cinematography by: Adriano Goldman
Edited by: Melanie Oliver
Cameras: ARRICAM Lite (LT) Camera
Digital Compositor: LipSync Post
My Week with Marilyn (2011)
Directed by: Simon Curtis
Cinematography by: Ben Smithard
Edited by: Adam Recht
Lenses: Cooke 5/i Lenses, Cooke S4 Lenses
Digital Compositor
Ironclad (2011)
Directed by: Jonathan English
Cinematography by: David Eggby
Cameras: Panavision Genesis Camera
Lenses: Panavision Lenses
Sequence Supervisor: LipSync Post
Unknown (2011)
Directed by: Jaume Collet-Serra
Cinematography by: Flavio Martínez Labiano
Edited by: Timothy Alverson
Digital Effects Supervisor: Lip Sync Post
The Deep Blue Sea (2011)
Directed by: Terence Davies
Cinematography by: Florian Hoffmeister
Edited by: David Charap
Digital Compositor
Blitz (2011)
Directed by: Elliott Lester
Cinematography by: Rob Hardy
Edited by: John Gilbert
Digital Compositor
Made in Dagenham (2010)
Directed by: Nigel Cole
Cinematography by: John de Borman
Edited by: Michael Parker
Digital Compositor: LipSync Post
The First Grader (2010)
Directed by: Justin Chadwick
Cinematography by: Rob Hardy
Edited by: Paul Knight
Compositor: LipSync Post
Kick-Ass (2010)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Editing System: Avid Editing System
Compositor: Framestore
Triangle (2009)
Directed by: Christopher Smith
Cinematography by: Robert Humphreys
Edited by: Stuart Gazzard
Cameras: Panavision Genesis Camera
Digital Compositor: LipSync Post
Nowhere Boy (2009)
Directed by: Sam Taylor-Johnson
Cinematography by: Seamus McGarvey
Edited by: Lisa Gunning
Digital Compositor: LipSync Post
Solomon Kane (2009)
Directed by: M.J. Bassett
Cinematography by: Dan Laustsen
Edited by: Andrew MacRitchie
Digital Compositor: Lipsync
Death Race (2008)
Directed by: Paul W.S. Anderson
Cinematography by: Scott Kevan
Edited by: Niven Howie
Roto/prep Artist: MPC
The Chronicles of Narnia: Prince Caspian (2008)
Directed by: Andrew Adamson
Cinematography by: Karl Walter Lindenlaub
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera
Lenses: Zeiss Master Prime Lenses
Digital Compositor: Lipsync
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Compositor
Dean Spanley (2008)
Directed by: Toa Fraser
Cinematography by: Leon Narbey
Edited by: Chris Plummer
Roto/prep: MPC
10,000 BC (2008)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: Alexander Berner
Cameras: ARRI Cameras, Moviecam Cameras
Lenses: Angenieux Lenses, Zeiss Lenses
Roto/prep Artist: MPC
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Roto/prep: MPC
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
