2d Compositing Supervisor
The Art of Racing in the Rain (2019)
Directed by: Simon Curtis
Cinematography by: Ross Emery
Edited by: Adam Recht
Cameras: ARRI ALEXA SXT EV Cameras
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk Vantage One 120mm T1 Lens, Hawk Vantage One 17.5mm T1 Lens, Hawk Vantage One 21mm T1 Lens, Hawk Vantage One 25mm T1 Lens, Hawk Vantage One 32mm T1 Lens, Hawk Vantage One 40mm T1 Lens, Hawk Vantage One 50mm T1 Lens, Hawk Vantage One 65mm T1 Lens, Hawk Vantage One 90mm T1 Lens
Digital Artist: Double Negative
The Meg (2018)
Directed by: Jon Turteltaub
Cinematography by: Tom Stern
2D Compositing Supervisor
Geostorm (2017)
Directed by: Dean Devlin
Cinematography by: Roberto Schaefer
Cameras: Red Epic Dragon Camera
2d Compositing Sequence Supervisor
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
2d Compositing Sequence Supervisor
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
2d Compositing Supervisor
Exodus: Gods and Kings (2014)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
2d Compositing Supervisor
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
2d Supervisor
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
2d Sequence Supervisor
Captain Phillips (2013)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Digital Compositor
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Compositing Sequence Lead: Double Negative
Les Misérables (2012)
Directed by: Tom Hooper
Cinematography by: Danny Cohen
2d Supervisor
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
2D Supervisor
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Senior Compositor
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Compositor: Double Negative
Kick-Ass (2010)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Editing System: Avid Editing System
Compositing Supervisor
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
2D Supervisor
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Lead 2D Artist: Double Negative
Cloverfield (2008)
Directed by: Matt Reeves
Cinematography by: Michael Bonvillain
Edited by: Kevin Stitt
Cameras: Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses: Canon Lenses, Zeiss DigiPrime Lenses
Compositor: Double Negative
The Bourne Ultimatum (2007)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
2D Visual Effects Supervisor
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Digital Compositor: Double Negative
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Compositor: Double Negative
Sahara (2005)
Directed by: Breck Eisner
Cinematography by: Seamus McGarvey
Edited by: Andrew MacRitchie
Sequence Lead: Double Negative
Doom (2005)
Directed by: Andrzej Bartkowiak
Cinematography by: Tony Pierce-Roberts
Edited by: Derek Brechin
Compositing Artist: Double Negative
Agent Cody Banks 2: Destination London (2004)
Directed by: Kevin Allen
Cinematography by: Denis Crossan
Edited by: Andrew MacRitchie
Cameras: Panavision Cameras
Digital Compositor
Bridget Jones: The Edge of Reason (2004)
Directed by: Beeban Kidron
Cinematography by: Adrian Biddle
Edited by: Greg Hayden
Sequence Lead
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Sequence Compositor
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Sequence Supervisor
Cold Mountain (2003)
Directed by: Anthony Minghella
Cinematography by: John Seale
Edited by: Walter Murch
Editing System: Final Cut Pro Editing System
Digital Compositor
Ali G Indahouse (2002)
Directed by: Mark Mylod
Cinematography by: Ashley Rowe
Edited by: Paul Knight
Digital Compositor: MPC
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
Digital Compositor: MPC
Lara Croft: Tomb Raider (2001)
Directed by: Simon West
Cinematography by: Peter Menzies Jr.
Compositing Artist: The Moving Picture Company
Snatch (2000)
Directed by: Guy Ritchie
Cinematography by: Tim Maurice-Jones
Edited by: Jon Harris
Digital Compositor
The Golden Bowl (2000)
Directed by: James Ivory
Cinematography by: Tony Pierce-Roberts
Edited by: John David Allen
Digital Compositor: MPC
The World Is Not Enough (1999)
Directed by: Michael Apted
Cinematography by: Adrian Biddle
Edited by: Jim Clark
