Visual Effects Supervisor: MrX - 4 Episodes, 2018
Maniac (2018)
Directed by: Cary Joji Fukunaga
Cinematography by: Darren Lew
Cameras: Panavision Millennium DXL Camera
Lead Digital Compositor: MPC
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Compositing Supervisor
The Colony (2013)
Directed by: Jeff Renfroe
Cinematography by: Pierre Gill
Edited by: Aaron Marshall
Cameras: ARRI ALEXA Camera
Head Of Compositing
Resident Evil: Retribution (2012)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Niven Howie
Cameras: Red Epic Camera
Lenses: Zeiss Ultra Prime Lenses
Compositing Supervisor: Vision Globale
Upside Down (2012)
Directed by: Juan Solanas
Cinematography by: Pierre Gill
Edited by: Paul Jutras
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Visual Effects Supervisor
Rebelle (2012)
Directed by: Kim Nguyen
Cinematography by: Nicolas Bolduc
Edited by: Richard Comeau
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Ultra Prime Lenses
Comp Supervisor: Vision Globale
Silent Hill: Revelation (2012)
Directed by: M.J. Bassett
Cinematography by: Maxime Alexandre
Edited by: Michele Conroy
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Compositing Supervisor: Digital Dimension
The Warrior's Way (2010)
Directed by: Sngmoo Lee
Cinematography by: Woo-hyung Kim
Edited by: Jonathan Woodford-Robinson
Senior Compositor: Digital Domain
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Compositing Supervisor: Digital Dimension
The Spirit (2008)
Directed by: Frank Miller
Cinematography by: Bill Pope
Edited by: Gregory Nussbaum
Senior Digital Compositor
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Digital Compositor: SPI / Lighting And Compositing Technical Director: SPI
Ghost Rider (2007)
Directed by: Mark Steven Johnson
Cinematography by: Russell Boyd
Edited by: Richard Francis-Bruce
Cameras: Panavision Cameras
Visual Effects: Digital Domain
The Seeker: The Dark Is Rising (2007)
Directed by: David L. Cunningham
Cinematography by: Joel Ransom
Cameras: Panavision Cameras
Lead Digital Compositor: Digital Domain
Transformers (2007)
Directed by: Michael Bay
Cinematography by: Mitchell Amundsen
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Compositor: Digital Domain
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Digital Compositor: Digital Domain
Letters from Iwo Jima (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Digital Compositor: Digital Domain
Æon Flux (2005)
Directed by: Karyn Kusama
Cinematography by: Stuart Dryburgh
Digital Compositor: Digital Domain
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Digital Compositor: Digital Domain
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
Digital Compositor: Kleiser-Walczak
X2: X-Men United (2003)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Digital Compositor
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Digital Compositor
Ghost Ship (2002)
Directed by: Steve Beck
Cinematography by: Gale Tattersall
Edited by: Roger Barton
