2d Supervisor: Cadence
'Stranger Things' Chapter One: The Hellfire Club (2022)
Cinematography by: Caleb Heymann
Edited by: Dean Zimmerman
2d Supervisor: Cadence
'Stranger Things' Chapter Two: Vecna's Curse (2022)
Cinematography by: Caleb Heymann
2d Supervisor: Cadence
'Stranger Things' Chapter Four: Dear Billy (2022)
Directed by: Shawn Levy
Cinematography by: Brett Jutkiewicz
Edited by: Dean Zimmerman
2d Supervisor: Cadence
'Stranger Things' Chapter Three: The Monster and the Superhero (2022)
Directed by: Shawn Levy
Cinematography by: Brett Jutkiewicz
Compositing Supervisor: Cadence Effects
'Stranger Things' Chapter Five: The Nina Project (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Compositing Supervisor: Cadence Effects
'Stranger Things' Chapter Six: The Dive (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Compositing Supervisor: Cadence Effects
'Stranger Things' Chapter Seven: The Massacre at Hawkins Lab (2022)
Cinematography by: Caleb Heymann
Compositing Supervisor: Cadence Effects
'Stranger Things' Chapter Eight: Papa (2022)
Cinematography by: Caleb Heymann
Edited by: Katheryn Naranjo
2d Supervisor: Cadence / Compositing Supervisor: Cadence Effects - 8 Episodes, 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
Compositor
All I See Is You (2016)
Directed by: Marc Forster
Cinematography by: Matthias Koenigswieser
Edited by: Hughes Winborne
Cameras: ARRI ALEXA XT Camera
Lead Paint & Roto Artist
Southpaw (2015)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: John Refoua
Digital Artist
Transformers: Age of Extinction (2014)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera
Editing System: Avid Editing System
Roto/paint Artist: Digital Domain / Roto/paint Lead: Digital Domain
Oblivion (2013)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Richard Francis-Bruce
Cameras: Red Epic Camera, Sony CineAlta F65 Camera
Lenses: Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 Lens, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Editing System: Avid Editing System
Digital Artist
47 Ronin (2013)
Directed by: Carl Rinsch
Cinematography by: John Mathieson
Edited by: Stuart Baird
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Rotoscope/paint Lead
Here Comes the Boom (2012)
Directed by: Frank Coraci
Cinematography by: Phil Meheux
Edited by: Scott Hill
Cameras: ARRI ALEXA Camera, Sony CineAlta F35 Camera
Rotoscope And Paint Artist: Digital Domain
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Rotoscope/paint Artist
Real Steel (2011)
Directed by: Shawn Levy
Cinematography by: Mauro Fiore
Edited by: Dean Zimmerman
Cameras: Sony CineAlta F35 Camera
Lenses: Cooke Lenses, Cooke S4 Lenses
Editing System: Avid Editing System
Digital Compositor
Piranha 3D (2010)
Directed by: Alexandre Aja
Cinematography by: John R. Leonetti
Edited by: Baxter
Lenses: Angenieux HR Zoom Lenses, Cooke S4 Lenses, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Digital Rotoscope/paint Artist: Digital Domain
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Digital Artist
Letters from Iwo Jima (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Rotoscope Artist
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Dustbuster
Cinderella Man (2005)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Dustbuster
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Render Support
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Render Support
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
