Visual Effects Supervisor: Magnopus
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Visual Effects Supervisor: Magnopus
The Wolf of Wall Street (2013)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Plus 135 mm T3.0 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens, Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Visual Effects Supervisor: Tippett Studio
After Earth (2013)
Directed by: M. Night Shyamalan
Cinematography by: Peter Suschitzky
Edited by: Steven Rosenblum
Visual Effects Supervisor: Matte World Digital
Battle Los Angeles (2011)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Edited by: Christian Wagner
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Sony PMW-EX3 Camera
Lenses: Panavision Compact Zoom Lenses, Panavision Lightweight Zoom Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Matte Painting Supervision And Visual Effects: Matte World Digital
Hugo (2011)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Camera
Lenses: Cooke 5/i Lenses, Cooke S4 Lenses
Visual Effects Supervisor: Matte World Digital
Captain America: The First Avenger (2011)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera
Editing System: Avid Editing System
Visual Effects Supervisor: Matte World Digital
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Visual Effects Supervisor: Matte World Digital
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Visual Effects Supervisor: Matte World Digital
My Sister's Keeper (2009)
Directed by: Nick Cassavetes
Cinematography by: Caleb Deschanel
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Supervisor: Matte World Digital
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Visual Effects Supervisor: Matte World Digital
The Curious Case of Benjamin Button (2008)
Directed by: David Fincher
Cinematography by: Claudio Miranda
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Visual Effects: Matte World Digital
Zodiac (2007)
Directed by: David Fincher
Cinematography by: Harris Savides
Edited by: Angus Wall
Cameras: Thomson Viper Camera
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Visual Effects Supervisor: Matte World Digital
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Visual Effects Supervisor
The Alamo (2004)
Directed by: John Lee Hancock
Cinematography by: Dean Semler
Edited by: Eric L. Beason
Visual Effects Supervisor: Matte World Digital
Down with Love (2003)
Directed by: Peyton Reed
Cinematography by: Jeff Cronenweth
Edited by: Larry Bock
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Supervisor: Matte World Digital
The Last Samurai (2003)
Directed by: Edward Zwick
Cinematography by: John Toll
Visual Effects Supervisor: Matte World Digital
Murder by Numbers (2002)
Directed by: Barbet Schroeder
Cinematography by: Luciano Tovoli
Edited by: Lee Percy
Visual Effects Supervisor: Matte World Digital
The Ring (2002)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Edited by: Craig Wood
Editing System: Final Cut Pro Editing System
Visual Effects Supervisor: Matte World Digital
The Majestic (2001)
Directed by: Frank Darabont
Cinematography by: David Tattersall
Edited by: Jim Page
Visual Effects Supervisor: Matte World Digital
Jay and Silent Bob Strike Back (2001)
Directed by: Kevin Smith
Cinematography by: Jamie Anderson
Visual Effects Supervisor: Matte World Digital
Jurassic Park III (2001)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Visual Effects Supervisor: Matte World Digital
The Mummy Returns (2001)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Visual Effects Supervisor: Matte World Digital
Antitrust (2001)
Directed by: Peter Howitt
Cinematography by: John Bailey
Edited by: Zach Staenberg
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor: Matte World Digital
Dr. T & the Women (2000)
Directed by: Robert Altman
Cinematography by: Jan Kiesser
Edited by: Geraldine Peroni
Visual Effects Supervisor: Matte World Digital
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Visual Effects Supervisor: Matte World Digital
X-Men (2000)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Visual Effects Supervisor: Matte World Digital
The Green Mile (1999)
Directed by: Frank Darabont
Cinematography by: David Tattersall
Edited by: Richard Francis-Bruce
Cameras: Panavision Panaflex Platinum Camera
Digital Matte Painter: Matte World Digital
The Insider (1999)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Visual Effects Supervisor: Matte World
October Sky (1999)
Directed by: Joe Johnston
Cinematography by: Fred Murphy
Edited by: Robert Dalva
Visual Effects Supervisor: Matte World
The Newton Boys (1998)
Directed by: Richard Linklater
Cinematography by: Peter James
Edited by: Sandra Adair
Visual Effects Supervisor: Matte World Digital
Mighty Joe Young (1998)
Directed by: Ron Underwood
Edited by: Paul Hirsch
Visual Effects Supervisor: Matte World
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Visual Effects Supervisor: Matte World Digital
Great Expectations (1998)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Edited by: Steven Weisberg
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Supervisor: Matte World
The Truman Show (1998)
Directed by: Peter Weir
Cinematography by: Peter Biziou
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Visual Effects Supervisor: Matte World Digital
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Matte Painting Supervisor: Matte World
Con Air (1997)
Directed by: Simon West
Cinematography by: David Tattersall
Cameras: ARRIFLEX 35 III Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Lenses: Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Lightworks Editing System
Visual Effects Supervisor: Matte World Digital
Kundun (1997)
Directed by: Martin Scorsese
Cinematography by: Roger Deakins
Edited by: Thelma Schoonmaker
Cameras: ARRIFLEX 535 B Camera
Visual Effects Supervisor: Matte World Digital
A Simple Wish (1997)
Directed by: Michael Ritchie
Cinematography by: Ralf D. Bode
Edited by: William S. Scharf
Visual Effects Supervisor: Matte World
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Visual Effects Supervisor: Matte World Digital
The Stupids (1996)
Directed by: John Landis
Cinematography by: Manfred Guthe
Edited by: Dale Beldin
Digital Effects Supervisor
Diabolique (1996)
Directed by: Jeremiah S. Chechik
Cinematography by: Peter James
Edited by: Carol Littleton
Visual Effects Supervisor: Matte World
Star Trek: First Contact (1996)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: John W. Wheeler
Visual Effects Supervisor
Dunston Checks In (1996)
Directed by: Ken Kwapis
Cinematography by: Peter Lyons Collister
Edited by: Jon Poll
Cameras: Panavision Cameras
Visual Effects Supervisor: Matte World
Independence Day (1996)
Directed by: Roland Emmerich
Cinematography by: Karl Walter Lindenlaub
Edited by: David Brenner
Cameras: Panavision Panaflex Platinum Camera
Lenses: Panavision Lenses
Visual Effects Supervisor: Matte World
The Evening Star (1996)
Directed by: Robert Harling
Cinematography by: Don Burgess
Visual Effects Supervisor: Matte World
Tall Tale (1995)
Directed by: Jeremiah S. Chechik
Cinematography by: Janusz Kaminski
Edited by: Richard Chew
Visual Effects Supervisor
Operation Dumbo Drop (1995)
Directed by: Simon Wincer
Cinematography by: Russell Boyd
Edited by: O. Nicholas Brown
Visual Effects Supervisor: Matte World
Casino (1995)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Visual Effects Supervisor: Matte World
Hackers (1995)
Directed by: Iain Softley
Cinematography by: Andrzej Sekula
Director Of Matte Photography: Matte World Digital
Clear and Present Danger (1994)
Directed by: Phillip Noyce
Cinematography by: Donald McAlpine
Edited by: Neil Travis
Visual Effects Supervisor: Matte World
The Jungle Book (1994)
Directed by: Stephen Sommers
Cinematography by: Juan Ruiz Anchía
Edited by: Bob Ducsay
Special Visual Effects Supervisor
The Shadow (1994)
Directed by: Russell Mulcahy
Cinematography by: Stephen H. Burum
Edited by: Peter Honess
Director Of Matte Photography: Matte World
City Slickers II: The Legend of Curly's Gold (1994)
Directed by: Paul Weiland
Cinematography by: Adrian Biddle
Visual Effects Supervisor: Matte World
The Real McCoy (1993)
Directed by: Russell Mulcahy
Cinematography by: Denis Crossan
Edited by: Peter Honess
Visual Effects Supervisor
A Far Off Place (1993)
Directed by: Mikael Salomon
Cinematography by: Juan Ruiz Anchía
Edited by: Ray Lovejoy
Cameras: Panavision Panaflex Camera
Visual Effects Supervisor: Matte World
Sommersby (1993)
Directed by: Jon Amiel
Cinematography by: Philippe Rousselot
Edited by: Peter Boyle
Visual Effects Supervisor: Matte World
Demolition Man (1993)
Directed by: Marco Brambilla
Cinematography by: Alex Thomson
Edited by: Stuart Baird
Director Of Matte Photography: Matte World
Dracula (1992)
Directed by: Francis Ford Coppola
Cinematography by: Michael Ballhaus
Cameras: ARRIFLEX 535 Camera
Visual Effects Supervisor: Matte World
Batman Returns (1992)
Directed by: Tim Burton
Cinematography by: Stefan Czapsky
Cameras: Panavision Panaflex Gold II Camera
Visual Effects Supervisor: Matte World
Home Alone 2: Lost in New York (1992)
Directed by: Chris Columbus
Cinematography by: Julio Macat
Edited by: Raja Gosnell
Cameras: Panavision Panaflex Platinum Camera
Director Of Matte Photography: Matte World
Far and Away (1992)
Directed by: Ron Howard
Cinematography by: Mikael Salomon
Cameras: ARRIFLEX 765 Camera, Bell & Howell Eyemo Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision 65mm Prime Lenses, Zeiss Lenses
Special Visual Effects
Captain Ron (1992)
Directed by: Thom Eberhardt
Cinematography by: Daryn Okada
Edited by: Tina Hirsch
Visual Effects Supervisor: Matte World
Robin Hood: Prince of Thieves (1991)
Directed by: Kevin Reynolds
Cinematography by: Douglas Milsome
Edited by: Peter Boyle
Cameras: ARRIFLEX Camera
Lenses: ARRI Lenses
Visual Effects Supervisor: Matte World
Star Trek VI: The Undiscovered Country (1991)
Directed by: Nicholas Meyer
Cinematography by: Hiro Narita
Visual Effects Supervisor: Matte World Digital
Terminator 2: Judgment Day (1991)
Directed by: James Cameron
Cinematography by: Adam Greenberg
Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 35 IIC Camera
Supervising Matte Photographer
All I Want for Christmas (1991)
Directed by: Robert Lieberman
Cinematography by: Robbie Greenberg
Director Of Matte Photography
Arachnophobia (1990)
Directed by: Frank Marshall
Cinematography by: Mikael Salomon
Edited by: Michael Kahn
Visual Effects Supervisor: Matte World Digital
Darkman (1990)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Visual Effects Supervisor: Matte World
RoboCop 2 (1990)
Directed by: Irvin Kershner
Cinematography by: Mark Irwin
Visual Effects Supervisor: Matte World
Gremlins 2: The New Batch (1990)
Directed by: Joe Dante
Cinematography by: John Hora
Edited by: Kent Beyda
Special Visual Effects Supervisor: Matte World
Prancer (1989)
Directed by: John D. Hancock
Cinematography by: Misha Suslov
Director Of Matte Photography
Willow (1988)
Directed by: Ron Howard
Cinematography by: Adrian Biddle
Cameras: Panavision Panaflex Gold Camera
Visual Effects Supervisor
The Last Temptation of Christ (1988)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Cameras: ARRIFLEX Camera
Matte Photography Supervisor
Empire of the Sun (1987)
Directed by: Steven Spielberg
Cinematography by: Allen Daviau
Edited by: Michael Kahn
Matte Photography Supervisor
The Witches of Eastwick (1987)
Directed by: George Miller
Cinematography by: Vilmos Zsigmond
Matte Photography Supervisor
*batteries not included (1987)
Directed by: Matthew Robbins
Cinematography by: John McPherson
Edited by: Cynthia Scheider
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Matte Photography Supervisor
The Money Pit (1986)
Directed by: Richard Benjamin
Cinematography by: Gordon Willis
Edited by: Jacqueline Cambas
Cameras: Panavision Cameras
Matte Photography Supervisor
The Golden Child (1986)
Directed by: Michael Ritchie
Cinematography by: Donald E. Thorin
Edited by: Richard A. Harris
Matte Photography: ILM
Labyrinth (1986)
Directed by: Jim Henson
Cinematography by: Alex Thomson
Edited by: John Grover
Matte Photography Supervisor
Young Sherlock Holmes (1985)
Directed by: Barry Levinson
Cinematography by: Stephen Goldblatt
Edited by: Stu Linder
Matte Photography Supervisor
Explorers (1985)
Directed by: Joe Dante
Cinematography by: John Hora
Edited by: Tina Hirsch
Cameras: Panavision Cameras
Matte Photography Supervisor
Cocoon (1985)
Directed by: Ron Howard
Cinematography by: Donald Peterman
Matte Camera Supervisor: ILM
The Goonies (1985)
Directed by: Richard Donner
Cinematography by: Nick McLean
Cameras: ARRIFLEX 35 III Camera
Editing System: Steenbeck Editing System
Matte Photography Supervisor
Enemy Mine (1985)
Directed by: Wolfgang Petersen
Cinematography by: Tony Imi
Edited by: Hannes Nikel
Matte Camera Supervisor: ILM
Indiana Jones and the Temple of Doom (1984)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Panaflex Gold Camera
Supervising Matte Photographer: ILM
The NeverEnding Story (1984)
Directed by: Wolfgang Petersen
Cinematography by: Jost Vacano
Edited by: Jane Seitz
Lenses: Technovision Lenses
Matte Camera Supervisor: ILM
Starman (1984)
Directed by: John Carpenter
Cinematography by: Donald M. Morgan
Edited by: Marion Rothman
Matte Photography: ILM
Star Wars: Episode VI - Return of the Jedi (1983)
Directed by: Richard Marquand
Matte Photography Assistant: ILM
Star Trek II: The Wrath of Khan (1982)
Directed by: Nicholas Meyer
Cinematography by: Gayne Rescher
Edited by: William Paul Dornisch
Cameras: Dykstraflex Camera, Panavision Cameras
Assistant Matte Photographer: ILM
Poltergeist (1982)
Directed by: Tobe Hooper
Cinematography by: Matthew F. Leonetti
Edited by: Michael Kahn
Cameras: Ultracam 35 Camera
Matte Photography Assistant: ILM
E.T. the Extra-Terrestrial (1982)
Directed by: Steven Spielberg
Cinematography by: Allen Daviau
Edited by: Carol Littleton
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Matte Photography Assistant: ILM
Raiders of the Lost Ark (1981)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Matte Photography Assistant: Miniature And Optical Effects Unit
Star Wars: Episode V - The Empire Strikes Back (1980)
Directed by: Irvin Kershner
Cinematography by: Peter Suschitzky
