Compositing Supervisor: Framestore
Guardians of the Galaxy Vol. 3 (2023)
Directed by: James Gunn
Cinematography by: Henry Braham
Compositing Supervisor
The Matrix Resurrections (2021)
Directed by: Lana Wachowski
Edited by: Joseph Jett Sally
Cameras: Red Komodo Camera
Compositing Sequence Supervisor: Double Negative
Fantastic Beasts and Where to Find Them (2016)
Directed by: David Yates
Cinematography by: Philippe Rousselot
Edited by: Mark Day
Cameras: ARRI ALEXA XT Camera
Compositing Sequence Supervisor
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Compositing Sequence Supervisor: Double Negative
Interstellar (2014)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Hasselblad Lenses, Leitz Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Compositing Sequence Supervisor: Double Negative
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Compositing Sequence Supervisor: Double Negative
Captain Phillips (2013)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Compositing Sequence Supervisor: Double Negative
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Sequence Compositing Supervisor: Double Negative
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Sequence Lead: Double Negative
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Compositor: Double Negative
Green Zone (2010)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Compositor: Double Negative
10,000 BC (2008)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: Alexander Berner
Cameras: ARRI Cameras, Moviecam Cameras
Lenses: Angenieux Lenses, Zeiss Lenses
Digital Compositor: Double Negative
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
2D Sequence Lead: Double Negative
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
Digital Effects Artist
Mutant Chronicles (2008)
Directed by: Simon Hunter
Cinematography by: Geoff Boyle
Lead 2D Artist: Double Negative
Cloverfield (2008)
Directed by: Matt Reeves
Cinematography by: Michael Bonvillain
Edited by: Kevin Stitt
Cameras: Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses: Canon Lenses, Zeiss DigiPrime Lenses
Digital Compositor: Double Negative
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
Digital Compositor: Double Negative
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Digital Effects Artist: Men From Mars
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Digital Effects Artist
Severance (2006)
Directed by: Christopher Smith
Cinematography by: Ed Wild
Edited by: Stuart Gazzard
Cameras: Sony HDW-F900 Camera
Digital Compositor
Archangel (2005)
Directed by: Jon Jones
Cinematography by: Chris Seager
Edited by: Sue Wyatt
Cameras: ARRI Cameras
Digital Effects Artist
Spirit Trap (2005)
Directed by: David Smith
Cinematography by: Nick Sawyer
Edited by: Simon Cozens
Digital Compositor
An American Haunting (2005)
Directed by: Courtney Solomon
Cinematography by: Adrian Biddle
Edited by: Richard Comeau
Digital Compositor
The Girl in the Café (2005)
Directed by: David Yates
Cinematography by: Chris Seager
Edited by: Mark Day
Digital Effects Artist
De-Lovely (2004)
Directed by: Irwin Winkler
Cinematography by: Tony Pierce-Roberts
Edited by: Julie Monroe
Digital Effects Artist
Tooth (2004)
Directed by: Edouard Nammour
Cinematography by: Clive Tickner
Edited by: Alan Strachan
Digital Artist
Below (2002)
Directed by: David Twohy
Cinematography by: Ian Wilson
Edited by: Martin Hunter
