Additional Visual Effects Supervisor
Doctor Strange (2016)
Directed by: Scott Derrickson
Cinematography by: Ben Davis
Visual Effects Supervisor: Additional Photography
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Visual Effects Supervisor: China
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
Visual Effects Supervisor
The Hunger Games (2012)
Directed by: Gary Ross
Cinematography by: Tom Stern
Editing System: Avid Editing System
Visual Effects Designer
Sex and the City 2 (2010)
Directed by: Michael Patrick King
Cinematography by: John Thomas
Edited by: Michael Berenbaum
Cameras: Panavision Panaflex Platinum Camera
Visual Effects Supervisor
Body of Lies (2008)
Directed by: Ridley Scott
Cinematography by: Alexander Witt
Edited by: Pietro Scalia
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Visual Effects Plate Supervisor
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Visual Effects Supervisor
Grandma's Boy (2006)
Directed by: Nicholaus Goossen
Cinematography by: Mark Irwin
Edited by: Tom Costain
Visual Effects Plate Supervisor: Baseball Unit
Superman Returns (2006)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Panavision Genesis Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Visual Effects Supervisor
The Prize Winner of Defiance, Ohio (2005)
Directed by: Jane Anderson
Cinematography by: Jonathan Freeman
Edited by: Robert Dalva
Visual Effects Supervisor
Christmas with the Kranks (2004)
Directed by: Joe Roth
Cinematography by: Don Burgess
Edited by: Nick Moore
Visual Effects Supervisor
50 First Dates (2004)
Directed by: Peter Segal
Cinematography by: Jack N. Green
Edited by: Jeff Gourson
Cameras: Panavision Cameras
Visual Effects Supervisor
Anger Management (2003)
Directed by: Peter Segal
Cinematography by: Donald McAlpine
Edited by: Jeff Gourson
Visual Effects Supervisor
Matchstick Men (2003)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Dody Dorn
Visual Effects Supervisor: SPI
Men in Black II (2002)
Directed by: Barry Sonnenfeld
Cinematography by: Greg Gardiner
Visual Effects Supervisor
Riding in Cars with Boys (2001)
Directed by: Penny Marshall
Cinematography by: Miroslav Ondrícek
Creative Head Of HSC: SPI
Cast Away (2000)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Visual Effects Supervisor
Patch Adams (1998)
Directed by: Tom Shadyac
Cinematography by: Phedon Papamichael
Edited by: Don Zimmerman
Cameras: Panavision Cameras
Lenses: Panavision Lenses
High Speed Compositing Supervisor
Contact (1997)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Director Of High Speed Compositing: SPI
Starship Troopers (1997)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Lenses: Zeiss Lenses
Co-visual Effects Supervisor: SPI
The Postman (1997)
Directed by: Kevin Costner
Cinematography by: Stephen F. Windon
Edited by: Peter Boyle
Inferno Artist: SPI
The Craft (1996)
Directed by: Andrew Fleming
Cinematography by: Alexander Gruszynski
Edited by: Jeff Freeman
Cameras: Moviecam Compact Camera
Lenses: Zeiss Lenses
Lead Digital Compositor: SPI
The Cable Guy (1996)
Directed by: Ben Stiller
Cinematography by: Robert Brinkmann
Edited by: Steven Weisberg
Cameras: ARRIFLEX 535 Camera, Moviecam Compact Camera
Flame Artist: ILM / Lead Inferno Artist: ILM
Mission: Impossible (1996)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Cameras: Panavision Panaflex Camera, Wescam Cameras
Editing System: Lightworks Editing System
Inferno Artist: SPI / High Speed Compositing Supervisor
The Ghost and the Darkness (1996)
Directed by: Stephen Hopkins
Cinematography by: Vilmos Zsigmond
Inferno Artist: ILM / Flame Artist: ILM
The Indian in the Cupboard (1995)
Directed by: Frank Oz
Cinematography by: Russell Carpenter
Edited by: Ian Crafford
Flame Artist: ILM
Jumanji (1995)
Directed by: Joe Johnston
Cinematography by: Thomas E. Ackerman
Edited by: Robert Dalva
Cameras: Panavision Cameras
Sabre Artist: ILM
Congo (1995)
Directed by: Frank Marshall
Cinematography by: Allen Daviau
Edited by: Anne V. Coates
Inferno Artist: ILM / Flame Artist: ILM
Village of the Damned (1995)
Directed by: John Carpenter
Cinematography by: Gary B. Kibbe
Edited by: Edward A. Warschilka
Compositor Colorist
Terminal Velocity (1994)
Directed by: Deran Sarafian
Cinematography by: Oliver Wood
Digital Animator/compositor
Super Mario Bros. (1993)
Cinematography by: Dean Semler
Edited by: Mark Goldblatt
Inferno Artist: ILM - 1997 Special Version
Star Wars: Episode IV - A New Hope (1977)
Directed by: George Lucas
Cinematography by: Gilbert Taylor
Cameras: Dykstraflex Camera, Mitchell VistaVision Camera, Panavision Cameras, Panavision Silent Reflex PSR Camera, VistaVision Cameras
Lenses: Panavision Lenses
