Lighting Artist: Digital Domain
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Visual Effects Crew: Scanline VFX
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
Compositor: Pixomondo
A Good Day to Die Hard (2013)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Senior Lighting And Compositing Technical Director: SPI
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Lighting And Compositing Technical Director: SPI
Watchmen (2009)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Lighting And Compositing Technical Director: SPI
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Lighting And Compositing Technical Director: SPI
I Am Legend (2007)
Directed by: Francis Lawrence
Cinematography by: Andrew Lesnie
Edited by: Wayne Wahrman
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Lenses
Lead Compositor: SPI
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Digital Artist: Sony Pictures Imageworks
Click (2006)
Directed by: Frank Coraci
Cinematography by: Dean Semler
Edited by: Jeff Gourson
Cameras: Panavision Genesis Camera
Lighting And Compositing Technical Director: SPI
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Visual Effects Technical Director: SPI
The Aviator (2004)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Technical Director: SPI
Spider-Man 2 (2004)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Cameras: ARRIFLEX 435 Camera, Beaumont Vista Vision Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision System 65 Camera
Editing System: Avid Editing System
Technical Director: SPI
Big Fish (2003)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Lighting Artist
Kangaroo Jack (2003)
Directed by: David McNally
Cinematography by: Peter Menzies Jr.
Cameras: Panavision Cameras
Technical Director: SPI
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Compositing Supervisor
Reign of Fire (2002)
Directed by: Rob Bowman
Cinematography by: Adrian Biddle
Cameras: Panavision Cameras
Digital Compositing Supervisor: Dream Quest Images
Mission to Mars (2000)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Digital Effects Supervisor: DQI
Stigmata (1999)
Directed by: Rupert Wainwright
Cinematography by: Jeffrey L. Kimball
Compositor: DQI
Inspector Gadget (1999)
Directed by: David Kellogg
Cinematography by: Adam Greenberg
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Digital Compositing Supervisor: Paris Destruction Sequence: DQI
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Compositing Supervisor: Dream Quest Images
Deep Rising (1998)
Directed by: Stephen Sommers
Cinematography by: Howard Atherton
Compositing Supervisor
The Rock (1996)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Edited by: Richard Francis-Bruce
Compositing Supervisor
Crimson Tide (1995)
Directed by: Tony Scott
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Gold II Camera
Compositor
The Crow (1994)
Directed by: Alex Proyas
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 35 BL4 Camera
Lenses: Zeiss Lenses
Compositing Supervisor
The Mask (1994)
Directed by: Chuck Russell
Cinematography by: John R. Leonetti
Edited by: Arthur Coburn
Cameras: Panavision Panaflex Series Cameras
Lenses: Zeiss Lenses
Compositor
The Three Musketeers (1993)
Directed by: Stephen Herek
Cinematography by: Dean Semler
Edited by: John F. Link
Cameras: Panavision Cameras
Lenses: Panavision Lenses
