Art Director
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Art Director
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Art Director
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Art Director: Second Unit
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
Art Director, Art Director: Second Unit
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Art Director
A Cinderella Story: Once Upon a Song (2011)
Directed by: Damon Santostefano
Cinematography by: John Peters
Edited by: Tony Lombardo
Cameras: Panavised Sony CineAlta F35 Camera
Lenses: Panavision Lenses
Art Director
Hick (2011)
Directed by: Derick Martini
Cinematography by: Frank Godwin
Edited by: Mark Yoshikawa
Head Scenic
The Reaping (2007)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Colby Parker Jr.
Head Scenic Artist
Idlewild (2006)
Directed by: Bryan Barber
Cinematography by: Pascal Rabaud
Edited by: Anne Goursaud
Lenses: Zeiss Ultra Prime Lenses
Head Scenic Artist
The Fighting Temptations (2003)
Directed by: Jonathan Lynn
Cinematography by: Affonso Beato
Edited by: Paul Hirsch
Scenic Chargeman
Radio (2003)
Directed by: Michael Tollin
Cinematography by: Don Burgess
Cameras: Panavision Cameras
Head Scenic Artist
Sweet Home Alabama (2002)
Directed by: Andy Tennant
Cinematography by: Andrew Dunn
Scenic Chargeman
The Dangerous Lives of Altar Boys (2002)
Directed by: Peter Care
Cinematography by: Lance Acord
Edited by: Chris Peppe
Charge Scenic
Hearts in Atlantis (2001)
Directed by: Scott Hicks
Cinematography by: Piotr Sobocinski
Edited by: Pip Karmel
Charge Scenic
Wonder Boys (2000)
Directed by: Curtis Hanson
Cinematography by: Dante Spinotti
Edited by: Dede Allen
Head Scenic Artist
Remember the Titans (2000)
Directed by: Boaz Yakin
Cinematography by: Philippe Rousselot
Edited by: Michael Tronick
Lead Scenic
October Sky (1999)
Directed by: Joe Johnston
Cinematography by: Fred Murphy
Edited by: Robert Dalva
Scenic Chargeman
Virus (1999)
Directed by: John Bruno
Cinematography by: David Eggby
Edited by: M. Scott Smith
Scenic Artist
The Horse Whisperer (1998)
Directed by: Robert Redford
Cinematography by: Robert Richardson
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Head Scenic Artist
Lolita (1997)
Directed by: Adrian Lyne
Cinematography by: Howard Atherton
Cameras: Panavision Panaflex Series Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
Chargeman Scenic Artist
Empire Records (1995)
Directed by: Allan Moyle
Cinematography by: Walt Lloyd
Edited by: Michael Chandler
Scenic Chargeman
The Crow (1994)
Directed by: Alex Proyas
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 35 BL4 Camera
Lenses: Zeiss Lenses
Master Scenic Artist
Nell (1994)
Directed by: Michael Apted
Cinematography by: Dante Spinotti
Edited by: Jim Clark
Scenic Chargeman
Flesh and Bone (1993)
Directed by: Steve Kloves
Cinematography by: Philippe Rousselot
Edited by: Mia Goldman
Chief Scenic Artist
Super Mario Bros. (1993)
Cinematography by: Dean Semler
Edited by: Mark Goldblatt
Scenic Chargeman
A River Runs Through It (1992)
Directed by: Robert Redford
Cinematography by: Philippe Rousselot
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Scenic Construction
School Daze (1988)
Directed by: Spike Lee
Cinematography by: Ernest R. Dickerson
Edited by: Barry Alexander Brown
Scenic Artist
Manhunter (1986)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Edited by: Dov Hoenig
