Creative Director
Edge of Tomorrow (2014)
Directed by: Doug Liman
Cinematography by: Dion Beebe
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 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 E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Creative Director
Oblivion (2013)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Richard Francis-Bruce
Cameras: Red Epic Camera, Sony CineAlta F65 Camera
Lenses: Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Editing System: Avid Editing System
Creative Director
Tron (2010)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: James Haygood
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Editing System: Avid Editing System
Visual Effects Supervisor
Aladin (2009)
Directed by: Sujoy Ghosh
Cinematography by: Sirsha Ray
Edited by: Suresh Pai
Matte Paintings
Harry Potter and the Goblet of Fire (2005)
Directed by: Mike Newell
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Matte Painting Design
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Matte Paintings
Around the World in 80 Days (2004)
Directed by: Frank Coraci
Cinematography by: Phil Meheux
Edited by: Tom Lewis
Cameras: Panavision Panaflex Gold II Camera
Matte Painter
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Matte Paintings
Girl with a Pearl Earring (2003)
Directed by: Peter Webber
Cinematography by: Eduardo Serra
Edited by: Kate Evans
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Visual Effects Supervisor: Digital Firepower
S1m0ne (2002)
Directed by: Andrew Niccol
Cinematography by: Edward Lachman
Edited by: Paul Rubell
Digital Matte Painting Supervisor: Digital Firepower
Minority Report (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Lenses: Panavision Lenses
Digital Matte Supervisor: 2d & 3d, Digital Firepower
Equilibrium (2002)
Directed by: Kurt Wimmer
Cinematography by: Dion Beebe
Lenses: Panavision Lenses
Visual Effects Supervisor: Digital Firepower
Frida (2002)
Directed by: Julie Taymor
Cinematography by: Rodrigo Prieto
Edited by: Françoise Bonnot
Cameras: ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Visual Effects Supervisor
Original Sin (2001)
Directed by: Michael Cristofer
Cinematography by: Rodrigo Prieto
Edited by: Eric A. Sears
Digital Supervisor: Digital Firepower
Battlefield Earth (2000)
Directed by: Roger Christian
Cinematography by: Giles Nuttgens
Edited by: Robin Russell
Visual Effects Supervisor
The Crew (2000)
Directed by: Michael Dinner
Cinematography by: Juan Ruiz Anchía
Edited by: Nicholas C. Smith
Digital Matte Supervisor: Digital Firepower
Crouching Tiger, Hidden Dragon (2000)
Directed by: Ang Lee
Cinematography by: Peter Pau
Edited by: Tim Squyres
Cameras: ARRIFLEX 435 ES Camera
Lenses: Zeiss Lenses
Visual Effects Supervisor: Digital Firepower
Dungeons & Dragons (2000)
Directed by: Courtney Solomon
Cinematography by: Douglas Milsome
Edited by: Caroline Ross
Matte Painting Supervisor: Cinesite
The 13th Warrior (1999)
Cinematography by: Peter Menzies Jr.
Edited by: John Wright
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Matte Painting Supervisor
One Man's Hero (1999)
Directed by: Lance Hool
Cinematography by: João Fernandes
Edited by: Mark Conte
Matte Painting: Manex Visual Effects
The Matrix (1999)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Digital Matte Supervisor
Virus (1999)
Directed by: John Bruno
Cinematography by: David Eggby
Edited by: M. Scott Smith
Matte Paintings
Practical Magic (1998)
Directed by: Griffin Dunne
Cinematography by: Andrew Dunn
Edited by: Elizabeth Kling
Visual Effects Designer
The Thin Red Line (1998)
Directed by: Terrence Malick
Cinematography by: John Toll
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses: Panavision C100 100 mm T2.8 Lens, Panavision C40 40 mm T2.8 Lens, Panavision C50 50 mm T2.3 Lens, Panavision C75 75 mm T2.5 Lens, Panavision Primo AL100 100 mm T2.0 Lens, Panavision Primo AL40 40 mm T2.0 Lens, Panavision Primo AL50 50 mm T2.0 Lens, Panavision Primo AL75 75 mm T2.0 Lens
Editing System: Avid Editing System
Matte Painting Supervisor: Cinesite
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Digital Matte Painting Supervisor: Cinesite
Sphere (1998)
Directed by: Barry Levinson
Cinematography by: Adam Greenberg
Edited by: Stu Linder
Matte Effects Supervisor
I Still Know What You Did Last Summer (1998)
Directed by: Danny Cannon
Cinematography by: Vernon Layton
Edited by: Peck Prior
Digital Matte Supervisor
Primary Colors (1998)
Directed by: Mike Nichols
Cinematography by: Michael Ballhaus
Edited by: Arthur Schmidt
Cameras: ARRIFLEX Camera
Matte Effects Supervisor: Digital Firepower
Halloween H20: 20 Years Later (1998)
Directed by: Steve Miner
Cinematography by: Daryn Okada
Edited by: Patrick Lussier
Matte Paintings
The Truman Show (1998)
Directed by: Peter Weir
Cinematography by: Peter Biziou
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Digital Matte Painter: Digital Domain
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Digital Matte Artist
Smilla's Sense of Snow (1997)
Directed by: Bille August
Cinematography by: Jörgen Persson
Edited by: Janus Billeskov Jansen
Digital Matte Supervisor
The Postman (1997)
Directed by: Kevin Costner
Cinematography by: Stephen F. Windon
Edited by: Peter Boyle
Digital Matte Artist
Red Corner (1997)
Directed by: Jon Avnet
Cinematography by: Karl Walter Lindenlaub
Edited by: Peter E. Berger
Digital Artist
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
Digital Matte Artist
Jerry Maguire (1996)
Directed by: Cameron Crowe
Cinematography by: Janusz Kaminski
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Editing System: Lightworks Editing System
Digital Matte Paintings: Cinesite
Space Jam (1996)
Directed by: Joe Pytka
Cinematography by: Michael Chapman
Edited by: Sheldon Kahn
Matte Paintings
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
