Vfx Supervisor: Nvizible
Wounds (2019)
Directed by: Babak Anvari
Cinematography by: Kit Fraser
Edited by: Chris Barwell
Cameras: ARRI ALEXA Mini Camera
Lenses: Leitz Summilux-C Series Lenses
Head Of 2d: Nvizible Vfx
Annihilation (2018)
Directed by: Alex Garland
Cinematography by: Rob Hardy
Edited by: Barney Pilling
Head Of 2d: Nvizible
King Arthur: Legend of the Sword (2017)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Cameras: ARRI ALEXA XT Camera
Head Of 2d: Nvizible
Fantastic Beasts and Where to Find Them (2016)
Directed by: David Yates
Cinematography by: Philippe Rousselot
Edited by: Mark Day
Cameras: ARRI ALEXA XT Camera
Head Of 2d: Nvizible
Jason Bourne (2016)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Head Of 2d: Nvizible
Eddie the Eagle (2015)
Directed by: Dexter Fletcher
Cinematography by: George Richmond
Edited by: Martin Walsh
Compositing Supervisor: Nvizible
Pride (2014)
Directed by: Matthew Warchus
Cinematography by: Tat Radcliffe
Edited by: Melanie Oliver
Editing System: Avid Editing System
Digital Effects Supervisor: Cinesite
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Head Of 2d: Nvizible
Kingsman: The Secret Service (2014)
Directed by: Matthew Vaughn
Cinematography by: George Richmond
Editing System: Avid Editing System
Senior Compositor: Industrial Light And Magic
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Compositing/environment Supervisor: Cinesite
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Senior Compositor
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Composite Supervisor: Cinesite
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
Compositing Supervisor: Cinesite
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Lead Compositor: Cinesite
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Digital Compositor
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Lead Compositor
The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
Directed by: Michael Apted
Cinematography by: Dante Spinotti
Edited by: Rick Shaine
Cameras: Sony CineAlta F23 Camera
Editing System: Avid Editing System
Digital Compositor
Where the Wild Things Are (2009)
Directed by: Spike Jonze
Cinematography by: Lance Acord
Editing System: Final Cut Pro Editing System
Lead Compositor
Knowing (2009)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Edited by: Richard Learoyd
Cameras: Red One Camera
Compositor: Animal Logic
The Black Balloon (2008)
Directed by: Elissa Down
Cinematography by: Denson Baker
Edited by: Veronika Jenet
Compositor
Fool's Gold (2008)
Directed by: Andy Tennant
Cinematography by: Don Burgess
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Compositor
Underdog (2007)
Directed by: Frederik Du Chau
Cinematography by: David Eggby
Edited by: Tom Finan
Compositor: Cinesite
X-Men: The Last Stand (2006)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Digital Compositor
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Compositor
The Marine (2006)
Directed by: John Bonito
Cinematography by: David Eggby
Edited by: Dallas Puett
Compositor: Cinesite
Alex Rider: Operation Stormbreaker (2006)
Directed by: Geoffrey Sax
Cinematography by: Chris Seager
Edited by: Andrew MacRitchie
Cameras: ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, ARRI / Zeiss Lenses
Assistant Compositor: Fuel International
Love's Brother (2004)
Directed by: Jan Sardi
Cinematography by: Andrew Lesnie
Edited by: Veronika Jenet
Compositor
The Rage in Placid Lake (2003)
Directed by: Tony McNamara
Cinematography by: Ellery Ryan
Edited by: Lee Smith
Compositor: Fuel International
Danny Deckchair (2003)
Directed by: Jeff Balsmeyer
Cinematography by: Martin McGrath
Edited by: Suresh Ayyar
Compositor
Garage Days (2002)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Edited by: Richard Learoyd
