Digital Artist: ILM
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Digital Artist: ILM
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Digital Artist: Industrial Light & Magic
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Digital Artist: ILM
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Digital Artist: ILM
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Digital Artist: ILM
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Digital Artist: ILM
WALL·E (2008)
Directed by: Andrew Stanton
Cinematography by: Martin Rosenberg
Edited by: Stephen Schaffer
Digital Artist: ILM
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Digital Artist: ILM
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Matchmover: ILM
Poseidon (2006)
Directed by: Wolfgang Petersen
Cinematography by: John Seale
Edited by: Peter Honess
Digital Artist: ILM
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Digital Artist: ILM
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
3D Camera Matchmove Artist: ILM
Timeline (2003)
Directed by: Richard Donner
Cinematography by: Caleb Deschanel
Edited by: Richard Marks
Lead 3D Matchmove Artist: ILM
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Matchmove Artist: ILM / Motion Capture Artist: ILM
Star Wars: Episode II - Attack of the Clones (2002)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDW-F900 Camera
3D Matchmove Artist: ILM
Men in Black II (2002)
Directed by: Barry Sonnenfeld
Cinematography by: Greg Gardiner
3D Camera Matchmover: ILM
Minority Report (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Location Matchmove Artist: ILM
Jurassic Park III (2001)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Matchmove Artist: ILM
Galaxy Quest (1999)
Directed by: Dean Parisot
Cinematography by: Jerzy Zielinski
Edited by: Don Zimmerman
Cameras: Panavision Cameras
Lenses: Panavision Lenses
3D Camera Matchmover: ILM
Sleepy Hollow (1999)
Directed by: Tim Burton
Cinematography by: Emmanuel Lubezki
Cameras: Panavision Panaflex Platinum Camera
3D Camera Matchmove Artist: ILM
Deep Impact (1998)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Cameras: ARRIFLEX 535 Camera
3D Camera Matchmover: ILM
Snake Eyes (1998)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Bill Pankow
Lenses: Panavision C Series Anamorphic Lenses, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens
Editing System: Avid Editing System
Computer Graphics Camera Matchmover: ILM
Eraser (1996)
Directed by: Chuck Russell
Cinematography by: Adam Greenberg
Edited by: Michael Tronick
3D Matchmove Artist: ILM
101 Dalmatians (1996)
Directed by: Stephen Herek
Cinematography by: Adrian Biddle
Edited by: Trudy Ship
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Camera Engineer: ILM
The Meteor Man (1993)
Directed by: Robert Townsend
Cinematography by: John A. Alonzo
Cameras: Panavision Panaflex Gold Camera
Camera Engineer
Joe Versus the Volcano (1990)
Directed by: John Patrick Shanley
Cinematography by: Stephen Goldblatt
Engineering Service: ILM
Ghost (1990)
Directed by: Jerry Zucker
Cinematography by: Adam Greenberg
Edited by: Walter Murch
Cameras: ARRI ARRIFLEX Series Cameras
Camera Engineer
Back to the Future Part III (1990)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Vistaglide System: ILM
Back to the Future Part II (1989)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Camera Engineer
Who Framed Roger Rabbit (1988)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Edited by: Arthur Schmidt
Lenses: Panavision Lenses
Production Support: ILM
The Witches of Eastwick (1987)
Directed by: George Miller
Cinematography by: Vilmos Zsigmond
Equipment Technician: ILM
The Golden Child (1986)
Directed by: Michael Ritchie
Cinematography by: Donald E. Thorin
Edited by: Richard A. Harris
Equipment Engineering: ILM
The Goonies (1985)
Directed by: Richard Donner
Cinematography by: Nick McLean
Cameras: ARRIFLEX 35 III Camera
Editing System: Steenbeck Editing System
