Roto/paint Supervisor
Run All Night (2015)
Directed by: Jaume Collet-Serra
Cinematography by: Martin Ruhe
Edited by: Dirk Westervelt
Roto/paint Supervisor
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Roto/paint Supervisor: Luma Pictures
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Roto/paint Supervisor
RED 2 (2013)
Directed by: Dean Parisot
Cinematography by: Enrique Chediak
Edited by: Don Zimmerman
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk V-Lite Lenses
Roto And Paint Supervisor: Luma Pictures
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
Roto/paint Supervisor
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Roto/paint Supervisor
G.I. Joe: Retaliation (2013)
Directed by: Jon M. Chu
Cinematography by: Stephen F. Windon
Roto/paint Supervisor
Oz the Great and Powerful (2013)
Directed by: Sam Raimi
Cinematography by: Peter Deming
Edited by: Bob Murawski
Cameras: Red Epic Camera
Editing System: Avid Editing System
Paint Supervisor: Luma Pictures / Roto Supervisor: Luma Pictures
Prisoners (2013)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Cameras: ARRI ALEXA Studio Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Roto And Paint Supervisor: Luma Pictures
Saving Mr. Banks (2013)
Directed by: John Lee Hancock
Cinematography by: John Schwartzman
Edited by: Mark Livolsi
Roto And Paint Supervisor: Luma Pictures
The Dictator (2012)
Directed by: Larry Charles
Cinematography by: Lawrence Sher
Roto/paint Supervisor
Dredd (2012)
Directed by: Pete Travis
Cinematography by: Anthony Dod Mantle
Edited by: Mark Eckersley
Lenses: Zeiss Ultra Prime Lenses
Roto & Paint Supervisor: Luma Pictures
Underworld Awakening (2012)
Cinematography by: Scott Kevan
Edited by: Jeff McEvoy
Cameras: Red Epic Camera
Roto/paint Supervisor
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Roto/paint Supervisor
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Roto/paint Supervisor
The Green Hornet (2011)
Directed by: Michel Gondry
Cinematography by: John Schwartzman
Edited by: Michael Tronick
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom HD Camera, Red One MX Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Roto/paint Supervisor
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
Roto/paint Supervisor
In Time (2011)
Directed by: Andrew Niccol
Cinematography by: Roger Deakins
Edited by: Zach Staenberg
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Roto/paint Supervisor
Fright Night (2011)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Roto/paint Supervisor
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
Roto And Paint Supervisor: Luma Pictures
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Paint/roto Supervisor: Luma
The Book of Eli (2010)
Cinematography by: Don Burgess
Edited by: Cindy Mollo
Cameras: Red One Camera
Roto/paint Supervisor: Luma Pictures
True Grit (2010)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Visual Effects Producer: Luma Pictures
The Nutcracker in 3D (2010)
Directed by: Andrey Konchalovskiy
Cinematography by: Mike Southon
Roto/paint Supervisor
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Vfx Producer: Luma Pictures
Underworld: Rise of the Lycans (2009)
Directed by: Patrick Tatopoulos
Cinematography by: Ross Emery
Cameras: Panavision Genesis Camera, Red One Camera
Roto/paint Supervisor: Lima Pictures
A Serious Man (2009)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Roto/paint Supervisor
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Roto/paint Supervisor
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Visual Effects Producer: Luma Pictures
Never Back Down (2008)
Directed by: Jeff Wadlow
Cinematography by: Lukas Ettlin
Visual Effects Producer: Luma Pictures
Untraceable (2008)
Directed by: Gregory Hoblit
Cinematography by: Anastas N. Michos
Visual Effects Producer: Luma Pictures
Henry Poole Is Here (2008)
Directed by: Mark Pellington
Cinematography by: Eric Schmidt
Edited by: Lisa Zeno Churgin
Visual Effects Producer: Luma Pictures
The Midnight Meat Train (2008)
Directed by: Ryûhei Kitamura
Cinematography by: Jonathan Sela
Edited by: Toby Yates
Visual Effects Producer: Luma Pictures
City of Ember (2008)
Directed by: Gil Kenan
Cinematography by: Xavier Grobet
Visual Effects Producer: Luma Pictures
Hancock (2008)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Visual Effects Producer: Luma Pictures
Hostel: Part II (2007)
Directed by: Eli Roth
Cinematography by: Milan Chadima
Edited by: George Folsey Jr.
Roto/paint Supervisor
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
Roto/paint Supervisor / Visual Effects Producer
Reign Over Me (2007)
Directed by: Mike Binder
Cinematography by: Russ T. Alsobrook
Cameras: Panavision Genesis Camera
Editing System: Final Cut Pro Editing System
Visual Effects Producer: Luma Pictures
Slipstream (2007)
Directed by: Anthony Hopkins
Cinematography by: Dante Spinotti
Edited by: Michael R. Miller
Visual Effects Producer: Luma Pictures
No Country for Old Men (2007)
Cinematography by: Roger Deakins
Lenses: Cooke S4 Lenses, Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Visual Effects Producer
Tortilla Heaven (2007)
Directed by: Judy Hecht Dumontet
Cinematography by: Chuy Chávez
Roto/paint Supervisor
Hoot (2006)
Directed by: Wil Shriner
Cinematography by: Michael Chapman
Edited by: Alan Edward Bell
Roto/paint Supervisor
Silent Hill (2006)
Directed by: Christophe Gans
Cinematography by: Dan Laustsen
Edited by: Sébastien Prangère
Digital Effects Producer: Luma Pictures
Apocalypto (2006)
Directed by: Mel Gibson
Cinematography by: Dean Semler
Edited by: John Wright
Visual Effects Producer
The Covenant (2006)
Directed by: Renny Harlin
Cinematography by: Pierre Gill
Edited by: Nicolas De Toth
Visual Effects Coordinator
Into the Blue (2005)
Directed by: John Stockwell
Cinematography by: Shane Hurlbut
Visual Effects Coordinator
A Lot Like Love (2005)
Directed by: Nigel Cole
Cinematography by: John de Borman
Edited by: Susan Littenberg
Digital Effects Producer: Luma Pictures
Cursed (2005)
Directed by: Wes Craven
Cinematography by: Robert McLachlan
Visual Effects Coordinator: Luma Pictures
Crash (2004)
Directed by: Paul Haggis
Cinematography by: James M. Muro
Edited by: Hughes Winborne
Lenses: Panavision Super Speed Lenses
Editing System: Avid Editing System
Visual Effects Coordinator
Sky Captain and the World of Tomorrow (2004)
Directed by: Kerry Conran
Cinematography by: Eric Adkins
Edited by: Sabrina Plisco
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
Digital Artist
Wicker Park (2004)
Directed by: Paul McGuigan
Cinematography by: Peter Sova
Edited by: Andrew Hulme
Visual Effects Coordinator
Underworld (2003)
Directed by: Len Wiseman
Cinematography by: Tony Pierce-Roberts
Edited by: Martin Hunter
Digital Artist
The Human Stain (2003)
Directed by: Robert Benton
Cinematography by: Jean-Yves Escoffier
Edited by: Christopher Tellefsen
Digital Compositor: Luma Pictures
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
Digital Compositor
Bad Santa (2003)
Directed by: Terry Zwigoff
Cinematography by: Jamie Anderson
Edited by: Robert Hoffman