Compositor: Mirada
The Expendables 3 (2014)
Directed by: Patrick Hughes
Cinematography by: Peter Menzies Jr.
Visual Effects
RED 2 (2013)
Directed by: Dean Parisot
Cinematography by: Enrique Chediak
Edited by: Don Zimmerman
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk V-Lite Lenses
Digital Compositor
Knight and Day (2010)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Lead Senior Compositor
Skyline (2010)
Cinematography by: Michael Watson
Edited by: Nicholas Wayman-Harris
Cameras: Red One MX Camera
Digital Compositor: R!OT
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Digital Compositor: Big Red Pixel
A Sound of Thunder (2005)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Edited by: Sylvie Landra
Digital Compositor: Big Red Pixel
Just Like Heaven (2005)
Directed by: Mark Waters
Cinematography by: Daryn Okada
Edited by: Bruce Green
Editing System: Avid Editing System
Digital Compositor: Big Red Pixel
Collateral (2004)
Directed by: Michael Mann
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Sony HDC-F950 Camera, Sony HDW-F900 Camera, Thomson Viper Camera
Editing System: Avid Editing System
Digital Compositor: Creo
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
Digital Compositor: Big Red Pixel
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor: Asylum
Queen of the Damned (2002)
Directed by: Michael Rymer
Cinematography by: Ian Baker
Edited by: Dany Cooper
Digital Compositor: Asylum
Pearl Harbor (2001)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera, Photo-Sonics 35mm-4ML Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision Compact Zoom Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Inferno Artist: Asylum Visual Effects
Planet of the Apes (2001)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Platinum Camera
Digital Compositor: Asylum
Moulin Rouge! (2001)
Directed by: Baz Luhrmann
Cinematography by: Donald McAlpine
Edited by: Jill Bilcock
Editing System: Lightworks Editing System
Inferno Artist: Asylum VFX
Gone in 60 Seconds (2000)
Directed by: Dominic Sena
Cinematography by: Paul Cameron
Digital Compositor: Asylum
X-Men (2000)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Digital Compositor: Asylum
Remember the Titans (2000)
Directed by: Boaz Yakin
Cinematography by: Philippe Rousselot
Edited by: Michael Tronick
Digital Compositor: Asylum
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Digital Compositor: Asylum
Coyote Ugly (2000)
Directed by: David McNally
Cinematography by: Amir Mokri
Edited by: William Goldenberg
Digital Compositor: Imaginary Forces
Titus (1999)
Directed by: Julie Taymor
Cinematography by: Luciano Tovoli
Edited by: Françoise Bonnot
Cameras: ARRIFLEX 35 BL Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Digital Compositor: Planet Blue
Enemy of the State (1998)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Chris Lebenzon
