On Set Visual Effects Supervisor
'Into the Badlands' Chapter XXXII: Seven Strike as One (2019)
Directed by: Paco Cabezas
Cinematography by: Sam McCurdy
Edited by: Jay Prychidny
On Set Visual Effects Supervisor
'Into the Badlands' Chapter XXXI: Requiem for the Fallen (2019)
Directed by: Paco Cabezas
Cinematography by: Sam McCurdy
Edited by: Erin Deck
On Set Visual Effects Supervisor
'Into the Badlands' Chapter XXX: Curse of the Red Rain (2019)
Directed by: Miles Millar
Cinematography by: Owen McPolin
Edited by: Ben Wilkinson
On Set Visual Effects Supervisor
'Into the Badlands' Chapter XXIX: Black Lotus, White Rose (2019)
Directed by: Miles Millar
Cinematography by: Owen McPolin
Edited by: Paul G. Day
On Set Visual Effects Supervisor
'Into the Badlands' Chapter XXVIII: Cobra Fang, Panther Claw (2019)
Directed by: Tricia Brock
Cinematography by: Jean-Philippe Gossart
Edited by: Erin Deck
On Set Visual Effects Supervisor
'Into the Badlands' Chapter XXVII: The Boar and the Butterfly (2019)
Directed by: Tricia Brock
Cinematography by: Jean-Philippe Gossart
Edited by: Jay Prychidny
On Set Visual Effects Supervisor
'Into the Badlands' Chapter XXVI: Raven's Feather, Phoenix Blood (2019)
Directed by: Wayne Yip
Cinematography by: P.J. Dillon
Edited by: Ben Wilkinson
On Set Visual Effects Supervisor
'Into the Badlands' Chapter XXV: Chamber of the Scorpion (2019)
Directed by: Wayne Yip
Cinematography by: P.J. Dillon
Edited by: Paul G. Day
On Set Visual Effects Supervisor - 8 Episodes, 2019
Into the Badlands (2015)
TV Series
Directed by: Paco Cabezas, Toa Fraser, David Dobkin, Guy Ferland, Nick Copus, Stephen Fung, James Marshall, Tricia Brock, Miles Millar, Wayne Yip
Cinematography by: Owen McPolin, Shane Hurlbut, Sam McCurdy, Daniel Aranyó, Nigel Willoughby, Denis Crossan, P.J. Dillon, Jean-Philippe Gossart
Postvis Supervisor: Proof Inc.
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
Visual Effects Supervisor
Riddick (2013)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Tracy Adams
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Visual Effects Supervisor
The Grey (2011)
Directed by: Joe Carnahan
Cinematography by: Masanobu Takayanagi
Compositing Supervisor / Post-visualization Supervisor
Quantum of Solace (2008)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Visual Effects Supervisor: FX Cartel
Across the Universe (2007)
Directed by: Julie Taymor
Cinematography by: Bruno Delbonnel
Edited by: Françoise Bonnot
Cameras: ARRI Cameras, Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor: FX Cartel
Stranger Than Fiction (2006)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Visual Effects Supervisor: Klon Films
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Digital Effects Supervisor: Media Principia
The Blue Butterfly (2004)
Directed by: Léa Pool
Cinematography by: Pierre Mignot
Edited by: Michel Arcand
