Vfx Production Manager
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Vfx Production Manager
Hansel & Gretel: Witch Hunters (2013)
Directed by: Tommy Wirkola
Cinematography by: Michael Bonvillain
Edited by: Jim Page
Cameras: ARRI ALEXA Camera, ARRI ALEXA Plus Camera
Vfx Production Manager
47 Ronin (2013)
Directed by: Carl Rinsch
Cinematography by: John Mathieson
Edited by: Stuart Baird
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Visual Effects Production Manager
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40mm T2.6 Lens, Angenieux Optimo 28-76mm 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 Production Manager
Wrath of the Titans (2012)
Directed by: Jonathan Liebesman
Cinematography by: Ben Davis
Edited by: Martin Walsh
Vfx Production Manager
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
Vfx Production Manager
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Vfx Production Manager
Johnny English Reborn (2011)
Directed by: Oliver Parker
Cinematography by: Danny Cohen
Edited by: Guy Bensley
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Phantom Flex Camera, Phantom HD Gold Camera
Lenses: Zeiss Master Prime Lenses
Vfx Production Manager
War Horse (2011)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Editing System: Avid Editing System
Vfx Production Manager
Sherlock Holmes: A Game of Shadows (2011)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Visual Effects Production Manager
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Vfx Production Manager
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
Visual Effects Production Manager
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Senior Digital Intermediate Producer
The Chronicles of Narnia: Prince Caspian (2008)
Directed by: Andrew Adamson
Cinematography by: Karl Walter Lindenlaub
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera
Lenses: Zeiss Master Prime Lenses
Senior Digital Intermediate Producer: Framestore CFC
Miss Pettigrew Lives for a Day (2008)
Directed by: Bharat Nalluri
Cinematography by: John de Borman
Edited by: Barney Pilling
Cameras: Panavision Cameras
Digital Intermediate Producer
In Bruges (2008)
Directed by: Martin McDonagh
Cinematography by: Eigil Bryld
Edited by: Jon Gregory
Digital Intermediate Senior Producer, Senior Digital Intermediate Producer
The Boy in the Striped Pajamas (2008)
Directed by: Mark Herman
Cinematography by: Benoît Delhomme
Edited by: Michael Ellis
Digital Intermediate Producer: Framestore CFC
Stardust (2007)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
Digital Intermediate Producer: Framestore CFC
Love in the Time of Cholera (2007)
Directed by: Mike Newell
Cinematography by: Affonso Beato
Edited by: Mick Audsley
DI Producer
Goal II: Living the Dream (2007)
Directed by: Jaume Collet-Serra
Cinematography by: Flavio Martínez Labiano
Edited by: Niven Howie
Digital Intermediate Producer
1408 (2007)
Directed by: Mikael Håfström
Cinematography by: Benoît Delhomme
Edited by: Peter Boyle
Producer: Framestore CFC
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Di Producer: Framestore-CFC DI, Digital Intermediate Producer
Casino Royale (2006)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, Cooke S4 Lenses
Digital Intermediate Producer, Producer: Framestore CFC
Breaking and Entering (2006)
Directed by: Anthony Minghella
Cinematography by: Benoît Delhomme
Edited by: Lisa Gunning
Lenses: Zeiss Ultra Prime Lenses
Producer: Framestore CFC
The Tiger's Tail (2006)
Directed by: John Boorman
Cinematography by: Seamus Deasy
Edited by: Ron Davis
Producer: Framestore CFC
The Proposition (2005)
Directed by: John Hillcoat
Cinematography by: Benoît Delhomme
Edited by: Jon Gregory
Digital Intermediate Producer: Framestore CFC
The Constant Gardener (2005)
Directed by: Fernando Meirelles
Cinematography by: César Charlone
Edited by: Claire Simpson
Cameras: Aaton A-Minima Camera, Aaton XTR Prod Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera
Lenses: Angenieux HR Zoom Lenses
Shoot/film Recording Manager: Framestore CFC
Sahara (2005)
Directed by: Breck Eisner
Cinematography by: Seamus McGarvey
Edited by: Andrew MacRitchie
Scanning: Digital Clean-up And Shoot: Framestore CFC
The Libertine (2004)
Directed by: Laurence Dunmore
Cinematography by: Alexander Melman
Edited by: Jill Bilcock
Film Record Coordinator: Framestore CFC
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Film Recording Producer
The Life and Death of Peter Sellers (2004)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: John Smith
Film Recording Producer
Troy (2004)
Directed by: Wolfgang Petersen
Cinematography by: Roger Pratt
Edited by: Peter Honess
Lenses: Cooke S4 Lenses
Scanning: Digital Clean Up And Shoot, Framestore CFC
Bridget Jones: The Edge of Reason (2004)
Directed by: Beeban Kidron
Cinematography by: Adrian Biddle
Edited by: Greg Hayden
Film Recording Manager
Thunderbirds (2004)
Directed by: Jonathan Frakes
Cinematography by: Brendan Galvin
Edited by: Martin Walsh
Film Recording Producer
Layer Cake (2004)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Edited by: Jon Harris
Cameras: Moviecam Compact Camera
Lenses: Cooke Xtal Express Lenses
Scanning: Digital Clean Up And Shoot
Beyond the Sea (2004)
Directed by: Kevin Spacey
Cinematography by: Eduardo Serra
Edited by: Trevor Waite
Film Recording Producer
Cold Mountain (2003)
Directed by: Anthony Minghella
Cinematography by: John Seale
Edited by: Walter Murch
Editing System: Final Cut Pro Editing System
Film Recording Manager
Calendar Girls (2003)
Directed by: Nigel Cole
Cinematography by: Ashley Rowe
Edited by: Michael Parker
Film Recording Producer
Bright Young Things (2003)
Directed by: Stephen Fry
Cinematography by: Henry Braham
Edited by: Alex Mackie
Film Recording Producer
Underworld (2003)
Directed by: Len Wiseman
Cinematography by: Tony Pierce-Roberts
Edited by: Martin Hunter
Digital Grading Production Coordinator / Film Recording Producer
Lara Croft Tomb Raider: The Cradle of Life (2003)
Directed by: Jan de Bont
Cinematography by: David Tattersall
Edited by: Michael Kahn
Film Recording Producer
Dirty Pretty Things (2002)
Directed by: Stephen Frears
Cinematography by: Chris Menges
Edited by: Mick Audsley
Editing System: Lightworks Editing System
Film Recording Producer
Die Another Day (2002)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Lab Operator: Framestore CFC
Blade II (2002)
Directed by: Guillermo del Toro
Cinematography by: Gabriel Beristain
Edited by: Peter Amundson
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Lab: Framestore CFC
Harry Potter and the Chamber of Secrets (2002)
Directed by: Chris Columbus
Cinematography by: Roger Pratt
Edited by: Peter Honess
Digital Lab Operator
Formula 51 (2001)
Directed by: Ronny Yu
Cinematography by: Hang-Sang Poon
Edited by: David Wu
Cameras: Moviecam Cameras
Digital Lab Operator
The Mummy Returns (2001)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Digital Lab Operator: CFC
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
Digital Grading Production Coordinator: CFC
Lara Croft: Tomb Raider (2001)
Directed by: Simon West
Cinematography by: Peter Menzies Jr.
Digital Lab Operator
Enemy at the Gates (2001)
Directed by: Jean-Jacques Annaud
Cinematography by: Robert Fraisse