Production Visual Effects Supervisor, Second Unit Director: Additional Photography, Visual Effects Supervisor
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Visual Effects Supervisor
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
Visual Effects Supervisor
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Visual Effects Supervisor
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Second Unit Visual Effects Supervisor
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
Visual Effects Supervisor
Night at the Museum: Battle of the Smithsonian (2009)
Directed by: Shawn Levy
Cinematography by: John Schwartzman
Visual Effects Supervisor: Rhythm & Hues
Night at the Museum (2006)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Don Zimmerman
Visual Effects Supervisor: Rhythm & Hues
The Skeleton Key (2005)
Directed by: Iain Softley
Cinematography by: Dan Mindel
Edited by: Joe Hutshing
Visual Effects Supervisor: Funeral Sequence, Rhythm & Hues Studios
Serenity (2005)
Directed by: Joss Whedon
Cinematography by: Jack N. Green
Edited by: Lisa Lassek
Lenses: Panavision Lenses
Visual Effects Supervisor: Rhythm & Hues
Garfield (2004)
Directed by: Peter Hewitt
Cinematography by: Dean Cundey
Cameras: Panavision Cameras
Co-visual Effects Supervisor
Reign of Fire (2002)
Directed by: Rob Bowman
Cinematography by: Adrian Biddle
Cameras: Panavision Cameras
Digital Effects Supervisor: DQI
Bicentennial Man (1999)
Directed by: Chris Columbus
Cinematography by: Phil Meheux
Cameras: Panavision Panaflex Gold II Camera
Digital Effects Supervisor: Paris Destruction Sequence: DQI
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Associate Visual Effects Supervisor
Mighty Joe Young (1998)
Directed by: Ron Underwood
Edited by: Paul Hirsch
Digital Effects Supervisor: Dream Quest Images
Deep Rising (1998)
Directed by: Stephen Sommers
Cinematography by: Howard Atherton
Digital Effects Supervisor: DQI
The Rock (1996)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Edited by: Richard Francis-Bruce
Digital Effects Supervisor
Crimson Tide (1995)
Directed by: Tony Scott
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Gold II Camera
Technical Director
The Three Musketeers (1993)
Directed by: Stephen Herek
Cinematography by: Dean Semler
Edited by: John F. Link
Cameras: Panavision Cameras
Lenses: Panavision Lenses
