Visual Effects Executive Producer: Smith & Lee/Filmograph
Tully (2018)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Stefan Grube
Cameras: ARRI ALEXA Mini Camera
Executive Producer: For Filmograph
Insidious: Chapter 3 (2015)
Directed by: Leigh Whannell
Cinematography by: Brian Pearson
Edited by: Timothy Alverson
Cameras: Sony PMW-F55 Camera
Executive Producer: Main And End Titles, Filmograph
The Homesman (2014)
Directed by: Tommy Lee Jones
Cinematography by: Rodrigo Prieto
Edited by: Roberto Silvi
Cameras: ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera
Executive Producer: Main And End Titles
The Legend of Hercules (2014)
Directed by: Renny Harlin
Cinematography by: Sam McCurdy
Edited by: Vincent Tabaillon
Cameras: Red Epic Camera
Visual Effects Producer
Labor Day (2013)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Cameras: Red Epic Camera
Executive Producer: Main Titles
Oldboy (2013)
Directed by: Spike Lee
Cinematography by: Sean Bobbitt
Edited by: Barry Alexander Brown
Lenses: ARRI / Fujinon Lenses, Cooke 5/i Lenses
Editing System: Avid Editing System
Visual Effects Producer: Level 256
The Smurfs 2 (2013)
Directed by: Raja Gosnell
Cinematography by: Phil Meheux
Edited by: Sabrina Plisco
Cameras: Sony CineAlta F65 Camera
Visual Effects Producer: Level 256
R.I.P.D. (2013)
Directed by: Robert Schwentke
Cinematography by: Alwin H. Küchler
Edited by: Mark Helfrich
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Visual Effects Producer: Level 256
G.I. Joe: Retaliation (2013)
Directed by: Jon M. Chu
Cinematography by: Stephen F. Windon
Visual Effects Producer: Level 256
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Visual Effects Producer: Level 256
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Visual Effects Producer: Level 256
Wanderlust (2012)
Directed by: David Wain
Cinematography by: Michael Bonvillain
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Visual Effects Producer
The Five-Year Engagement (2012)
Directed by: Nicholas Stoller
Cinematography by: Javier Aguirresarobe
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Visual Effects Producer
This Is 40 (2012)
Directed by: Judd Apatow
Cinematography by: Phedon Papamichael
Cameras: ARRI ALEXA Camera
Visual Effects Producer: Level 256
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Visual Effects Producer: Level 256
The Dictator (2012)
Directed by: Larry Charles
Cinematography by: Lawrence Sher
Visual Effects Producer: Level 256
Tower Heist (2011)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Edited by: Mark Helfrich
Visual Effects Producer
The Change-Up (2011)
Directed by: David Dobkin
Cinematography by: Eric Alan Edwards
Lenses: Cooke S4 Lenses
Visual Effects Producer: Level 256
Bridesmaids (2011)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Technical Producer: Prologue Films
The Tempest (2010)
Directed by: Julie Taymor
Cinematography by: Stuart Dryburgh
Edited by: Françoise Bonnot
Cameras: ARRICAM Lite (LT) Camera
Technical Director: Level 256
Get Him to the Greek (2010)
Directed by: Nicholas Stoller
Cinematography by: Robert D. Yeoman
Cameras: Panavision Cameras
Producer: Main Titles And Visual Effects
Waiting for Forever (2010)
Directed by: James Keach
Cinematography by: Matthew Irving
Edited by: Pamela March
Technical Director: Level 256
Little Fockers (2010)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Cameras: ARRI Cameras
Producer: Main And End Titles
Ninja Assassin (2009)
Directed by: James McTeigue
Cinematography by: Karl Walter Lindenlaub
Lenses: Zeiss Master Prime Lenses
Compositor: Digital Opticals: Prologue, Producer: Main Titles
The Incredible Hulk (2008)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Editing System: Avid Editing System
Compositor: Studio Logos And End Crawl: Prologue, Producer: Main And End Titles
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Visual Effects Producer: Prologue 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
Titles Producer
Henry Poole Is Here (2008)
Directed by: Mark Pellington
Cinematography by: Eric Schmidt
Edited by: Lisa Zeno Churgin
Producer: Prologue Films
Tropic Thunder (2008)
Directed by: Ben Stiller
Cinematography by: John Toll
Edited by: Greg Hayden
Compositor: Main And End Titles
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Producer: Main And End Titles
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Producer: Prologue
Across the Universe (2007)
Directed by: Julie Taymor
Cinematography by: Bruno Delbonnel
Edited by: Françoise Bonnot
Cameras: ARRI Cameras, Panavision Cameras
Lenses: Panavision Lenses
Technical Producer: Main Titles And Visual Effects Sequences
Blades of Glory (2007)
Cinematography by: Stefan Czapsky
Edited by: Richard Pearson
Technical Producer: Main And End Titles
Bridge to Terabithia (2007)
Directed by: Gabor Csupo
Cinematography by: Michael Chapman
Edited by: John Gilbert
Cameras: Panavision Cameras
Technical Producer, Technical Producer: Titles, Prologue
Superman Returns (2006)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Panavision Genesis Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Associate Producer: Main Titles
Firewall (2006)
Directed by: Richard Loncraine
Cinematography by: Marco Pontecorvo
Edited by: Jim Page
Associate Producer: Main Titles
Freedomland (2006)
Directed by: Joe Roth
Cinematography by: Anastas N. Michos
Edited by: Nick Moore
Producer: Main Titles
The Painted Veil (2006)
Directed by: John Curran
Cinematography by: Stuart Dryburgh
Edited by: Alexandre de Franceschi
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Associate Producer: Main And End Titles
Bewitched (2005)
Directed by: Nora Ephron
Cinematography by: John Lindley
Edited by: Tia Nolan
Associate Producer: Main And End Titles
The New World (2005)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Technical Producer: Main Title - Spider-Man 2.1
Spider-Man 2 (2004)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Cameras: ARRIFLEX 435 Camera, Beaumont Vista Vision Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision System 65 Camera
Editing System: Avid Editing System
