Visual Effects Supervisor: ILM
Killers of the Flower Moon (2023)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Bell & Howell 2709 Camera, Phantom Flex4K Camera, Sony CineAlta VENICE Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Cooke Speed Panchro Lenses, Panavision T Series Anamorphic Lenses
Editing System: Lightworks Editing System
Visual Effects Supervisor: ILM
The Fabelmans (2022)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Visual Effects Supervisor
Mank (2020)
Directed by: David Fincher
Cinematography by: Erik Messerschmidt
Edited by: Kirk Baxter
Cameras: Red Digital Cinema Cameras
Lenses: Leitz Summilux-C Series Lenses
Visual Effects Supervisor
The Irishman (2019)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Mini Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Red Digital Cinema Cameras
Editing System: Lightworks Editing System
Visual Effects Supervisor: ILM
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Second Unit Director, Visual Effects Supervisor
Teenage Mutant Ninja Turtles (2014)
Directed by: Jonathan Liebesman
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Plus 4:3 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
Visual Effects Supervisor: ILM
Pain & Gain (2013)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: Canon EOS-7D Camera, GoPro HD Hero3 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom HD Gold Camera, Red Epic Camera
Editing System: Avid Editing System
Visual Effects Supervisor
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Visual Effects Supervisor
The Last Airbender (2010)
Directed by: M. Night Shyamalan
Cinematography by: Andrew Lesnie
Edited by: Conrad Buff IV
Aerial Unit Director, Unit Director: Aerial Unit, Visual Effects Supervisor
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Visual Effects Supervisor: ILM
The Spiderwick Chronicles (2008)
Directed by: Mark Waters
Cinematography by: Caleb Deschanel
Edited by: Michael Kahn
Visual Effects Supervisor: ILM
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Visual Effects Supervisor
Munich (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Cooke Cine Varotal Mark II 25-250mm T3.9 Lens, Cooke S4/i Prime 100mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 16mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Moviola Editing System
Visual Effects Supervisor
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Visual Effects Supervisor: ILM
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Visual Effects Supervisor
The Bourne Supremacy (2004)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Cameras: ARRI Cameras
Visual Effects Supervisor: ILM
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Visual Effects Supervisor: ILM
Terminator 3: Rise of the Machines (2003)
Directed by: Jonathan Mostow
Cinematography by: Don Burgess
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Visual Effects Supervisor
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
Visual Effects Supervisor: ILM
The Pledge (2001)
Directed by: Sean Penn
Cinematography by: Chris Menges
Edited by: Jay Cassidy
Associate Visual Effects Supervisor
Space Cowboys (2000)
Directed by: Clint Eastwood
Cinematography by: Jack N. Green
Edited by: Joel Cox
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Effects Artist: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Sabre Supervisor: ILM
October Sky (1999)
Directed by: Joe Johnston
Cinematography by: Fred Murphy
Edited by: Robert Dalva
Sabre Supervisor: ILM
Saving Private Ryan (1998)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Aaton 35-III Camera, Moviecam Superlight Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Editing System: Moviola Editing System
Sabre Supervisor: ILM
Deep Impact (1998)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Cameras: ARRIFLEX 535 Camera
Compositing Supervisor
The Lost World: Jurassic Park (1997)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Digital Effects Artist: ILM
Men in Black (1997)
Directed by: Barry Sonnenfeld
Cinematography by: Donald Peterman
Edited by: Jim Miller
Sabre Artist Supervisor: ILM
Contact (1997)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Digital Compositor: Pacific Ocean Post
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Digital Compositing Supervisor: POP
Independence Day (1996)
Directed by: Roland Emmerich
Cinematography by: Karl Walter Lindenlaub
Edited by: David Brenner
Cameras: Panavision Panaflex Platinum Camera
Lenses: Panavision Lenses
Digital Compositor
Strange Days (1995)
Directed by: Kathryn Bigelow
Cinematography by: Matthew F. Leonetti
Digital Compositor: Digital Domain
Apollo 13 (1995)
Directed by: Ron Howard
Cinematography by: Dean Cundey
