Digital Artist: PowerHouse VFX
'Stranger Things' Chapter Five: The Nina Project (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Sr. Lead Compositor: Netflix/NetFX - 5 Episodes, 2018
Maniac (2018)
Directed by: Cary Joji Fukunaga
Cinematography by: Darren Lew
Cameras: Panavision Millennium DXL Camera
Digital Artist: PowerHouse VFX - 1 Episode, 2022
Stranger Things (2016)
Directed by: Matt Duffer, Ross Duffer, Shawn Levy, Andrew Stanton, Uta Briesewitz, Nimród Antal, Rebecca Thomas, Dan Trachtenberg
Cinematography by: Tim Ives, Caleb Heymann, Tod Campbell, Lachlan Milne, Brett Jutkiewicz, David Franco
Cameras: ARRI ALEXA LF Camera, Red Epic Dragon Camera, Red Helium (Weapon) 8K, Red Monstro 8K Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Avid Editing System
Sr. Compositor
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
Senior Compositor
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Senior Compositor
Pompeii (2014)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Michele Conroy
Cameras: Red Epic Camera
Editing System: Avid Editing System
Compositor: Logan
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
Senior Compositor
Anchorman 2: The Legend Continues (2013)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Cameras: ARRI ALEXA Camera
Senior Compositor
Riddick (2013)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Tracy Adams
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Compositor: Digital Domain
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
Compositor: Pixomondo
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Senior Technical Director
Green Lantern (2011)
Directed by: Martin Campbell
Cinematography by: Dion Beebe
Edited by: Stuart Baird
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Lead And Senior Compositor: Weta Digital
Rise of the Planet of the Apes (2011)
Directed by: Rupert Wyatt
Cinematography by: Andrew Lesnie
Cameras: ARRICAM Lite (LT) Camera
Lead Compositor
The Warrior's Way (2010)
Directed by: Sngmoo Lee
Cinematography by: Woo-hyung Kim
Edited by: Jonathan Woodford-Robinson
Senior S3D Digital Compositor
Step Up 3D (2010)
Directed by: Jon M. Chu
Cinematography by: Ken Seng
Edited by: Andrew Marcus
Cameras: Sony CineAlta F23 Camera
Senior Compositor
Armored (2009)
Directed by: Nimród Antal
Cinematography by: Andrzej Sekula
Edited by: Armen Minasian
Senior Digital Compositor
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Senior Digital Compositor
Gamer (2009)
Cinematography by: Ekkehart Pollack
Cameras: ARRIFLEX 435 Camera, Red One Camera
Editing System: Final Cut Pro Editing System
Compositor: Zoic Studios
Step Brothers (2008)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Edited by: Brent White
Cameras: Panavision Cameras
Digital Compositor
Nights in Rodanthe (2008)
Directed by: George C. Wolfe
Cinematography by: Affonso Beato
Edited by: Brian A. Kates
Compositor: Zoic Studios
Quarantine (2008)
Directed by: John Erick Dowdle
Cinematography by: Ken Seng
Edited by: Elliot Greenberg
Senior Compositor: Prologe Films
Iron Man (2008)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Edited by: Dan Lebental
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Compositor: Asylum
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Senior Compositor: ICO Entertainment
Pulse (2006)
Directed by: Jim Sonzero
Cinematography by: Mark Plummer
Senior Compositor: Pixel Magic
Scary Movie 4 (2006)
Directed by: David Zucker
Cinematography by: Thomas E. Ackerman
Cameras: Panavision Genesis Camera
Senior Compositor
Click (2006)
Directed by: Frank Coraci
Cinematography by: Dean Semler
Edited by: Jeff Gourson
Cameras: Panavision Genesis Camera
Senior Compositor: Rhythm & Hues
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Lead Compositor
The Librarian: Quest for the Spear (2004)
Directed by: Peter Winther
Cinematography by: Alan Caso
Edited by: Ron Rosen
Compositor: Centropolis Effects
Willard (2003)
Directed by: Glen Morgan
Cinematography by: Robert McLachlan
Edited by: James Coblentz
Senior Compositor: Rhythm & Hues
The Rundown (2003)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Richard Pearson
Digital Compositor: Rhythm And Hues
Elf (2003)
Directed by: Jon Favreau
Cinematography by: Greg Gardiner
Edited by: Dan Lebental
Cameras: Panavision Cameras
Visual Effects Compositor: CFX
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Senior Compositor: Rhythm & Hues
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Visual Effects Compositor: CFX
The Scorpion King (2002)
Directed by: Chuck Russell
Cinematography by: John R. Leonetti
Visual Effects Compositor: CFX
Eight Legged Freaks (2002)
Directed by: Ellory Elkayem
Cinematography by: John S. Bartley
Edited by: David Siegel
Visual Effects Composite Artist: CFX LA
Monkeybone (2001)
Directed by: Henry Selick
Cinematography by: Andrew Dunn
Digital Compositor: CFX
61* (2001)
Directed by: Billy Crystal
Cinematography by: Haskell Wexler
Edited by: Michael Jablow
Cameras: ARRIFLEX 435 ES Camera
Visual Effects Compositor: Rhythm & Hues
The Flintstones in Viva Rock Vegas (2000)
Directed by: Brian Levant
Cinematography by: Jamie Anderson
Edited by: Kent Beyda
Digital Compositor: CFX
What Women Want (2000)
Directed by: Nancy Meyers
Cinematography by: Dean Cundey
Visual Effects Composite Artist: CFX
The Patriot (2000)
Directed by: Roland Emmerich
Cinematography by: Caleb Deschanel
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Composite Artist: Cinesite LA
Deep Blue Sea (1999)
Directed by: Renny Harlin
Cinematography by: Stephen F. Windon
Senior Digital Compositor: Cineon
Desperate Measures (1998)
Directed by: Barbet Schroeder
Cinematography by: Luciano Tovoli
Edited by: Lee Percy
Cameras: Panavision Panaflex Platinum Camera
Senior Digital Compositor: Cineon
Dirty Work (1998)
Directed by: Bob Saget
Cinematography by: Arthur Albert
Edited by: George Folsey Jr.
Visual Effects Compositor: POP Film
What Dreams May Come (1998)
Directed by: Vincent Ward
Cinematography by: Eduardo Serra
Compositor
Wrongfully Accused (1998)
Directed by: Pat Proft
Cinematography by: Glen MacPherson
Edited by: James R. Symons
Digital Compositor
Red Corner (1997)
Directed by: Jon Avnet
Cinematography by: Karl Walter Lindenlaub
Edited by: Peter E. Berger
Senior Visual Effects Compositor
Nothing to Lose (1997)
Directed by: Steve Oedekerk
Cinematography by: Donald E. Thorin
Edited by: Malcolm Campbell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor
Independence Day (1996)
Directed by: Roland Emmerich
Cinematography by: Karl Walter Lindenlaub
Edited by: David Brenner
Cameras: Panavision Panaflex Platinum Camera
Lenses: Panavision Lenses
