John P. Fasal

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Babylon | ShotOnWhat?

Sound Effects Recordist

Babylon (2022)

Directed by: Damien Chazelle

Cinematography by: Linus Sandgren

Edited by: Tom Cross

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera, Bell & Howell 2709 Camera

Lenses: Atlas Orion Anamorphic Series Lenses, Cooke Anamorphic/i Zoom Lenses, Zeiss Super Speed Lenses

The Batman | ShotOnWhat?

Sound Effects Recordist

The Batman (2022)

Directed by: Matt Reeves

Cinematography by: Greig Fraser

Edited by: William Hoy, Tyler Nelson

Cameras: ARRI ALEXA LF Camera, ARRI ALEXA Mini LF Camera, ARRI ALEXA Plus 4:3 Camera

Lenses: ARRI Rental ALFA Lenses, ARRI Rental Prime DNA Lenses, Atlas Orion Anamorphic Series Lenses, Cooke Xtal Express Lenses

Tenet | ShotOnWhat?

Sound Effects Recording Mixer

Tenet (2020)

Directed by: Christopher Nolan

Cinematography by: Hoyte Van Hoytema

Edited by: Jennifer Lame

Cameras: ARRIFLEX 765 Camera, IMAX MKIII Reflex Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision System 65 Camera

Lenses: Hasselblad Lenses, Panavision Sphero 65 Series Lenses

Editing System: Avid Editing System

First Man | ShotOnWhat?

Sound Effects Recordist

First Man (2018)

Directed by: Damien Chazelle

Cinematography by: Linus Sandgren

Edited by: Tom Cross

Cameras: Aaton A-Minima Camera, Aaton Penelope Camera, Aaton Xterà Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 416 Plus Camera, ARRIFLEX 435 Camera, IMAX MSM 9802 Camera

Lenses: CamTec Vintage Series Ultra Prime Lenses, Canon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses, Hasselblad Lenses, Kowa Cine Prominar Anamorphic Lenses

A Star Is Born | ShotOnWhat?

Location Sound Effects Recordist

A Star Is Born (2018)

Directed by: Bradley Cooper

Cinematography by: Matthew Libatique

Edited by: Jay Cassidy

Cameras: ARRI ALEXA Mini Camera

Lenses: Angenieux Optimo Anamorphic Lenses, Cooke Anamorphic/i SF 25mm T2.3 Lens, Cooke Anamorphic/i SF 32mm T2.3 Lens, Cooke Anamorphic/i SF 40mm T2.3 Lens, Cooke Anamorphic/i SF 50mm T2.3 Lens, Cooke Anamorphic/i SF 75mm T2.3 Lens, Cooke Anamorphic/i SF Prime Lenses, Kowa Cine Prominar Anamorphic Lenses

Dunkirk | ShotOnWhat?

Sound Effects Recording Mixer

Dunkirk (2017)

Directed by: Christopher Nolan

Cinematography by: Hoyte Van Hoytema

Edited by: Lee Smith

Cameras: IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera

Lenses: Hasselblad Lenses, Panavision 65mm Prime Lenses, Panavision Sphero 65 Series Lenses

Editing System: Avid Editing System

Coco | ShotOnWhat?

Field Recordist

Coco (2017)

Directed by: Lee Unkrich, Adrian Molina

Edited by: Steve Bloom, Lee Unkrich

Transformers: The Last Knight | ShotOnWhat?

Sound Effects Recordist: E2

Transformers: The Last Knight (2017)

Directed by: Michael Bay

Cinematography by: Jonathan Sela

Edited by: Roger Barton, Adam Gerstel, Debra Neil-Fisher, John Refoua, Mark Sanger, Calvin Wimmer

Cameras: ALEXA IMAX Camera, ARRIFLEX 416 Camera, Red Epic Dragon Camera, Red Epic Helium Camera

Lenses: ARRI Rental Prime 65 Lenses, Hawk Hawk65 Series Lenses, Hawk V-Lite 16 Lens, Hawk Vantage One Lenses, Leitz Summilux-C Series Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

Captain America: The Winter Soldier | ShotOnWhat?

Sound Effects Recordist

Captain America: The Winter Soldier (2014)

Directed by: Anthony Russo, Joe Russo

Cinematography by: Trent Opaloch

Edited by: Jeffrey Ford, Matthew Schmidt

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

Need for Speed | ShotOnWhat?

Sound Effects Recordist

Need for Speed (2014)

Directed by: Scott Waugh

Cinematography by: Shane Hurlbut

Edited by: Paul Rubell, Scott Waugh

Cameras: ARRI ALEXA Camera, Canon EOS-1D C Camera, Canon EOS-C500 Camera, GoPro HD Hero3 Camera

Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Anamorphic Lenses, Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens, Cooke S4/i Prime 12mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 180mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Leica Elmarit-R II 28 mm f2.0, Leica Super Angulon-R 21 mm f4.0, Leica Super-Elmarit-R 15 mm f2.8, Leitz Summicron-C 21 mm T2.0 Lens, Zeiss Distagon T* 15mm f2.8 ZE, Zeiss Distagon T* 18mm f3.5 ZE

Transformers: Age of Extinction | ShotOnWhat?

Sound Effects Recordist

Transformers: Age of Extinction (2014)

Directed by: Michael Bay

Cinematography by: Amir Mokri

Edited by: Roger Barton, William Goldenberg, Paul Rubell

Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera

Lenses: Leitz Summilux-C Series Lenses, Panavision G Series Anamorphic Lenses

Editing System: Avid Editing System

Interstellar | ShotOnWhat?

Sound Effects Recording Mixer

Interstellar (2014)

Directed by: Christopher Nolan

Cinematography by: Hoyte Van Hoytema

Edited by: Lee Smith

Cameras: Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera

Lenses: Hasselblad Lenses, Leitz Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

Editing System: Avid Editing System

Into the Woods | ShotOnWhat?

Sound Effects Recordist

Into the Woods (2014)

Directed by: Rob Marshall

Cinematography by: Dion Beebe

Edited by: Wyatt Smith

Cameras: ARRI ALEXA XT Camera

Lenses: Angenieux Optimo Zoom Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

Gangster Squad | ShotOnWhat?

Sound Effects Recording Mixer

Gangster Squad (2013)

Directed by: Ruben Fleischer

Cinematography by: Dion Beebe

Edited by: Alan Baumgarten, James Herbert

Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera

Lenses: Panavision G Series Anamorphic Lenses

Editing System: Avid Editing System

Man of Steel | ShotOnWhat?

Sound Effects Recording Mixer

Man of Steel (2013)

Directed by: Zack Snyder

Cinematography by: Amir Mokri

Edited by: David Brenner

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera

On the Road | ShotOnWhat?

Sound Recordist: Hudson

On the Road (2012)

Directed by: Walter Salles

Cinematography by: Eric Gautier

Edited by: François Gédigier

Cameras: Aaton Penelope Camera

Lenses: Angenieux Optimo 28-76 mm T2.6 Lens

Life of Pi | ShotOnWhat?

Sound Effects Recordist

Life of Pi (2012)

Directed by: Ang Lee

Cinematography by: Claudio Miranda

Edited by: Tim Squyres

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

J. Edgar | ShotOnWhat?

Sound Effects Mixer: Location

J. Edgar (2011)

Directed by: Clint Eastwood

Cinematography by: Tom Stern

Edited by: Joel Cox, Gary Roach

Cameras: Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision C100 100 mm T2.8 Lens, Panavision C75 75 mm T2.5 Lens, Panavision E Series Anamorphic Lenses, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens

Justin Bieber: Never Say Never | ShotOnWhat?

Sound Effects Recordist

Justin Bieber: Never Say Never (2011)

Directed by: Jon M. Chu

Cinematography by: Reed Smoot

Edited by: Jay Cassidy, Jillian Moul, Avi Youabian

Cameras: ARRI ALEXA Camera, Sony CineAlta F23 Camera, Sony CineAlta F35 Camera

Thor | ShotOnWhat?

Sound Effects Recordist

Thor (2011)

Directed by: Kenneth Branagh

Cinematography by: Haris Zambarloukos

Edited by: Paul Rubell

Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Standard Primes (SP) Lenses

Transformers: Dark of the Moon | ShotOnWhat?

Sound Effects Field Recordist

Transformers: Dark of the Moon (2011)

Directed by: Michael Bay

Cinematography by: Amir Mokri

Edited by: Roger Barton, William Goldenberg, Joel Negron

Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses

Editing System: Avid Editing System

Inception | ShotOnWhat?

Sound Effects Recording Mixer

Inception (2010)

Directed by: Christopher Nolan

Cinematography by: Wally Pfister

Edited by: Lee Smith

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision System 65 Camera, Phantom HD Gold Camera, Photo-Sonics 35mm-4B/4C Camera, Photo-Sonics 35mm-4ER Camera, Super Panavision-70 Camera

Lenses: Panavision 65mm Prime Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision System 65 Lenses

Editing System: Avid Editing System

The Book of Eli | ShotOnWhat?

Sound Effects Field Recordist

The Book of Eli (2010)

Directed by: Albert Hughes, Allen Hughes

Cinematography by: Don Burgess

Edited by: Cindy Mollo

Cameras: Red One Camera

Lenses: Panavision Primo Anamorphic Lenses

Hereafter | ShotOnWhat?

Location Sound Effects Mixer

Hereafter (2010)

Directed by: Clint Eastwood

Cinematography by: Tom Stern

Edited by: Joel Cox, Gary Roach

Cameras: Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Red One Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

Somewhere | ShotOnWhat?

Additional Recordist

Somewhere (2010)

Directed by: Sofia Coppola

Cinematography by: Harris Savides

Edited by: Sarah Flack

The Way Back | ShotOnWhat?

Sound Effects Recordist

The Way Back (2010)

Directed by: Peter Weir

Cinematography by: Russell Boyd

Edited by: Lee Smith

Cameras: ARRIFLEX 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses

Public Enemies | ShotOnWhat?

Sound Effects Recordist

Public Enemies (2009)

Directed by: Michael Mann

Cinematography by: Dante Spinotti

Edited by: Jeffrey Ford, Paul Rubell

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Sony CineAlta F23 Camera, Sony HDC-F950 Camera, Sony PMW-EX1 Camera

Lenses: Cooke S4 Lenses, Fujinon E Series Lenses, Zeiss DigiPrime Lenses

Transformers: Revenge of the Fallen | ShotOnWhat?

Sound Effects Recordist

Transformers: Revenge of the Fallen (2009)

Directed by: Michael Bay

Cinematography by: Ben Seresin

Edited by: Roger Barton, Tom Muldoon, Joel Negron, Paul Rubell

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Iwerks IW5A Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Optimo Zoom Lenses, Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses

Editing System: Avid Editing System

Invictus | ShotOnWhat?

Sound Effects Mixer: Location

Invictus (2009)

Directed by: Clint Eastwood

Cinematography by: Tom Stern

Edited by: Joel Cox, Gary Roach

Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Angenieux Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

Street Kings | ShotOnWhat?

Sound Effects Recordist

Street Kings (2008)

Directed by: David Ayer

Cinematography by: Gabriel Beristain

Edited by: Jeffrey Ford

Changeling | ShotOnWhat?

Sound Effects Mixer: Location

Changeling (2008)

Directed by: Clint Eastwood

Cinematography by: Tom Stern

Edited by: Joel Cox, Gary Roach

Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses

Valkyrie | ShotOnWhat?

Sound Effects Field Recordist

Valkyrie (2008)

Directed by: Bryan Singer

Cinematography by: Newton Thomas Sigel

Edited by: John Ottman

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

Editing System: Avid Editing System

The Dark Knight | ShotOnWhat?

Sound Effects Recording Mixer

The Dark Knight (2008)

Directed by: Christopher Nolan

Cinematography by: Wally Pfister

Edited by: Lee Smith

Cameras: Beaumont Vista Vision Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Hasselblad Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Super Speed Lenses

Editing System: Avid Editing System

Max Payne | ShotOnWhat?

Sound Effects Recordist

Max Payne (2008)

Directed by: John Moore

Cinematography by: Jonathan Sela

Edited by: Dan Zimmerman

Cameras: ARRIFLEX 435 Camera, Phantom HD Camera

Lenses: Cooke S4 Lenses

The Assassination of Jesse James by the Coward Robert Ford | ShotOnWhat?

Adr Mixer

The Assassination of Jesse James by the Coward Robert Ford (2007)

Directed by: Andrew Dominik

Cinematography by: Roger Deakins

Edited by: Curtiss Clayton, Dylan Tichenor

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 535 B Camera

Lenses: Cooke Lenses, Cooke S4 Lenses

Transformers | ShotOnWhat?

Live Free or Die Hard | ShotOnWhat?

Sound Effects Recordist

Live Free or Die Hard (2007)

Directed by: Len Wiseman

Cinematography by: Simon Duggan

Edited by: Nicolas De Toth

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0

Editing System: Avid Editing System

Electroma | ShotOnWhat?

Field Recordist

Electroma (2006)

Directed by: Thomas Bangalter, Guy-Manuel De Homem-Christo

Cinematography by: Thomas Bangalter

Edited by: Cédric Hervet

Mission: Impossible III | ShotOnWhat?

Sound Effects Recordist

Mission: Impossible III (2006)

Directed by: J.J. Abrams

Cinematography by: Dan Mindel

Edited by: Maryann Brandon, Nick Gibbs, Mary Jo Markey

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera

Lenses: Angenieux Optimo Zoom Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Zoom Lenses

Stranger Than Fiction | ShotOnWhat?

Sound Effects Recordist

Stranger Than Fiction (2006)

Directed by: Marc Forster

Cinematography by: Roberto Schaefer

Edited by: Matt Chesse

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera

Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4 Lenses

We Are Marshall | ShotOnWhat?

Sound Effects Mixer: Location

We Are Marshall (2006)

Directed by: McG

Cinematography by: Shane Hurlbut

Edited by: Gregg London, Priscilla Nedd-Friendly

Deja Vu | ShotOnWhat?

Sound Effects Field Recording

Deja Vu (2006)

Directed by: Tony Scott

Cinematography by: Paul Cameron

Edited by: Jason Hellmann, Chris Lebenzon

War of the Worlds | ShotOnWhat?

Sound Effects Recordist

War of the Worlds (2005)

Directed by: Steven Spielberg

Cinematography by: Janusz Kaminski

Edited by: Michael Kahn

Cameras: Panavision Panaflex Millennium XL Camera

Lenses: Panavision Primo Primes Spherical Lenses

Serenity | ShotOnWhat?

Sound Effects Recordist

Serenity (2005)

Directed by: Joss Whedon

Cinematography by: Jack N. Green

Edited by: Lisa Lassek

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Lenses

Constantine | ShotOnWhat?

Sound Effects Editor

Constantine (2005)

Directed by: Francis Lawrence

Cinematography by: Philippe Rousselot

Edited by: Wayne Wahrman

Man on Fire | ShotOnWhat?

Sound Effects Field Recordist

Man on Fire (2004)

Directed by: Tony Scott

Cinematography by: Paul Cameron

Edited by: Christian Wagner

Cameras: Panavision Cameras

Lenses: Panavision Lenses

A Series of Unfortunate Events | ShotOnWhat?

Sound Effects Recordist

Lemony Snicket's A Series of Unfortunate Events (2004)

Directed by: Brad Silberling

Cinematography by: Emmanuel Lubezki

Edited by: Michael Kahn

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

The Matrix Revolutions | ShotOnWhat?

Sound Effects Recordist

The Matrix Revolutions (2003)

Directed by: Lana Wachowski, Lilly Wachowski

Cinematography by: Bill Pope

Edited by: Zach Staenberg

Cameras: Pan-Arri 435es Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

The Italian Job | ShotOnWhat?

Sound Effects Recordist

The Italian Job (2003)

Directed by: F. Gary Gray

Cinematography by: Wally Pfister

Edited by: Richard Francis-Bruce, Christopher Rouse

Cameras: ARRIFLEX 35 III Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo AL35 35 mm T2.0 Lens, Panavision Primo Anamorphic Lenses, Panavision Ultra Speed MKII 35 mm T1.3 Lens, Panavision Ultra Speed MKII Lenses, Panavision Ultra Speed Z Series (Zeiss) Lenses

The League of Extraordinary Gentlemen | ShotOnWhat?

Sound Effects Recordist

The League of Extraordinary Gentlemen (2003)

Directed by: Stephen Norrington

Cinematography by: Dan Laustsen

Edited by: Paul Rubell

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Master and Commander: The Far Side of the World | ShotOnWhat?

Sound Effects Recordist

Master and Commander: The Far Side of the World (2003)

Directed by: Peter Weir

Cinematography by: Russell Boyd

Edited by: Lee Smith

Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

The Matrix Reloaded | ShotOnWhat?

Sound Effects Recordist

The Matrix Reloaded (2003)

Directed by: Lana Wachowski, Lilly Wachowski

Cinematography by: Bill Pope

Edited by: Zach Staenberg

Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

Bad Boys II | ShotOnWhat?

Sound Effects Field Recordist

Bad Boys II (2003)

Directed by: Michael Bay

Cinematography by: Amir Mokri

Edited by: Roger Barton, Mark Goldblatt, Tom Muldoon

Cameras: Bell & Howell Eyemo Camera, Cine SL-35 Camera, Pan-Arri 435es Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses

Editing System: Avid Editing System

The Last Samurai | ShotOnWhat?

Additional Sound

The Last Samurai (2003)

Directed by: Edward Zwick

Cinematography by: John Toll

Edited by: Victor Du Bois, Steven Rosenblum

Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL Camera, Panavision Panastar Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Cradle 2 the Grave | ShotOnWhat?

Sound Effects Designer

Cradle 2 the Grave (2003)

Directed by: Andrzej Bartkowiak

Cinematography by: Daryn Okada

Edited by: Derek Brechin

Cameras: Panavision Cameras

Tears of the Sun | ShotOnWhat?

Sound Effects Recordist

Tears of the Sun (2003)

Directed by: Antoine Fuqua

Cinematography by: Mauro Fiore

Edited by: Conrad Buff IV, Christopher Holmes

Cameras: Panavision Cameras

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Moonlight Mile | ShotOnWhat?

Sound Effects Recordist

Moonlight Mile (2002)

Directed by: Brad Silberling

Cinematography by: Phedon Papamichael

Edited by: Lisa Zeno Churgin

Cameras: Panavision Panaflex Camera

Lenses: Panavision C Series Anamorphic Lenses

Men in Black II | ShotOnWhat?

Sound Effects Editor

Men in Black II (2002)

Directed by: Barry Sonnenfeld

Cinematography by: Greg Gardiner

Edited by: Richard Pearson, Steven Weisberg

Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera

Lenses: Panavision Primo Primes Spherical Lenses

Showtime | ShotOnWhat?

Sound Designer

Showtime (2002)

Directed by: Tom Dey

Cinematography by: Thomas Kloss

Edited by: Billy Weber

Bad Company | ShotOnWhat?

Sound Effects Editor

Bad Company (2002)

Directed by: Joel Schumacher

Cinematography by: Dariusz Wolski

Edited by: Mark Goldblatt, Robert K. Lambert

Signs | ShotOnWhat?

Sound Effects Recordist

Signs (2002)

Directed by: M. Night Shyamalan

Cinematography by: Tak Fujimoto

Edited by: Barbara Tulliver

Road to Perdition | ShotOnWhat?

Sound Effects Recordist

Road to Perdition (2002)

Directed by: Sam Mendes

Cinematography by: Conrad L. Hall

Edited by: Jill Bilcock

Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera

Lenses: Panavision Primo Primes Spherical Lenses

Editing System: Lightworks Editing System

Driven | ShotOnWhat?

Sound Effects Recordist

Driven (2001)

Directed by: Renny Harlin

Cinematography by: Mauro Fiore

Edited by: Steve Gilson, Stuart Levy

Training Day | ShotOnWhat?

Sound Effects Editor

Training Day (2001)

Directed by: Antoine Fuqua

Cinematography by: Mauro Fiore

Edited by: Conrad Buff IV

Cameras: Moviecam Compact Camera, Moviecam Superlight Camera

Lenses: Hawk C-Series Lenses

Pearl Harbor | ShotOnWhat?

Special Sound Recording

Pearl Harbor (2001)

Directed by: Michael Bay

Cinematography by: John Schwartzman

Edited by: Roger Barton, Mark Goldblatt, Chris Lebenzon, Steven Rosenblum

Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera, Photo-Sonics 35mm-4ML Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision Compact Zoom Lenses, Panavision E Series Anamorphic Lenses

Editing System: Avid Editing System

The Royal Tenenbaums | ShotOnWhat?

Sound Effects Recordist

The Royal Tenenbaums (2001)

Directed by: Wes Anderson

Cinematography by: Robert D. Yeoman

Edited by: Dylan Tichenor

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

Swordfish | ShotOnWhat?

Sound Effects Recordist

Swordfish (2001)

Directed by: Dominic Sena

Cinematography by: Paul Cameron

Edited by: Stephen E. Rivkin

Battlefield Earth | ShotOnWhat?

Sound Designer

Battlefield Earth (2000)

Directed by: Roger Christian

Cinematography by: Giles Nuttgens

Edited by: Robin Russell

Hollow Man | ShotOnWhat?

Special Sound Effects

Hollow Man (2000)

Directed by: Paul Verhoeven

Cinematography by: Jost Vacano

Edited by: Mark Goldblatt, Ron Vignone

Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Moviecam Compact Camera

Lenses: Zeiss Standard Speed Prime Lenses

Romeo Must Die | ShotOnWhat?

Sound Effects Recordist

Romeo Must Die (2000)

Directed by: Andrzej Bartkowiak

Cinematography by: Glen MacPherson

Edited by: Derek Brechin

Unbreakable | ShotOnWhat?

Effects Recordist

Unbreakable (2000)

Directed by: M. Night Shyamalan

Cinematography by: Eduardo Serra

Edited by: Dylan Tichenor

Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera

Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Avid Editing System

Bedazzled | ShotOnWhat?

Additional Sound Design

Bedazzled (2000)

Directed by: Harold Ramis

Cinematography by: Bill Pope

Edited by: Craig Herring

Gone in Sixty Seconds | ShotOnWhat?

Special Sound Effects

Gone in 60 Seconds (2000)

Directed by: Dominic Sena

Cinematography by: Paul Cameron

Edited by: Roger Barton, Chris Lebenzon, Tom Muldoon

Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses

The Cell | ShotOnWhat?

Sound Designer

The Cell (2000)

Directed by: Tarsem Singh

Cinematography by: Paul Laufer

Edited by: Robert Duffy, Paul Rubell

Cameras: ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Panavision Panaflex Platinum Camera

Lenses: Cooke S4 Lenses, Panavision Primo Primes Spherical Lenses

Wild Wild West | ShotOnWhat?

Sound Designer

Wild Wild West (1999)

Directed by: Barry Sonnenfeld

Cinematography by: Michael Ballhaus

Edited by: Jim Miller

Cameras: ARRIFLEX 435 ES Camera, ARRIFLEX 535 B Camera, VistaVision Cameras

Lenses: Zeiss Variable Prime VP1 16-30 mm T2.2 Lens, Zeiss Variable Prime VP2 29-60 mm T2.2 Lens, Zeiss Variable Prime VP3 55-150 mm T2.2 Lens

Deep Blue Sea | ShotOnWhat?

Sound Design Sequences

Deep Blue Sea (1999)

Directed by: Renny Harlin

Cinematography by: Stephen F. Windon

Edited by: Derek Brechin, Dallas Puett, Frank J. Urioste

The Thin Red Line | ShotOnWhat?

Sound Designer

The Thin Red Line (1998)

Directed by: Terrence Malick

Cinematography by: John Toll

Edited by: Leslie Jones, Saar Klein, Billy Weber

Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera

Lenses: Panavision C100 100 mm T2.8 Lens, Panavision C40 40 mm T2.8 Lens, Panavision C50 50 mm T2.3 Lens, Panavision C75 75 mm T2.5 Lens, Panavision Primo AL100 100 mm T2.0 Lens, Panavision Primo AL40 40 mm T2.0 Lens, Panavision Primo AL50 50 mm T2.0 Lens, Panavision Primo AL75 75 mm T2.0 Lens

Editing System: Avid Editing System

Deep Impact | ShotOnWhat?

Special Sound Designer

Deep Impact (1998)

Directed by: Mimi Leder

Cinematography by: Dietrich Lohmann

Edited by: Paul Cichocki, David Rosenbloom

Cameras: ARRIFLEX 535 Camera

The Gingerbread Man | ShotOnWhat?

Sound Effects Designer

The Gingerbread Man (1998)

Directed by: Robert Altman

Cinematography by: Changwei Gu

Edited by: Geraldine Peroni

Enemy of the State | ShotOnWhat?

Field Sound Recordist

Enemy of the State (1998)

Directed by: Tony Scott

Cinematography by: Dan Mindel

Edited by: Chris Lebenzon

The Peacemaker | ShotOnWhat?

Sound Effects Editor

The Peacemaker (1997)

Directed by: Mimi Leder

Cinematography by: Dietrich Lohmann

Edited by: David Rosenbloom

The Fifth Element | ShotOnWhat?

Sound Designer

The Fifth Element (1997)

Directed by: Luc Besson

Cinematography by: Thierry Arbogast

Edited by: Sylvie Landra

Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera

Lenses: Zeiss Lenses

Speed 2: Cruise Control | ShotOnWhat?

Special Sound Recording

Speed 2: Cruise Control (1997)

Directed by: Jan de Bont

Cinematography by: Jack N. Green

Edited by: Alan Cody

Fire Down Below | ShotOnWhat?

Sound Design Sequence

Fire Down Below (1997)

Directed by: Félix Enríquez Alcalá

Cinematography by: Tom Houghton

Edited by: Robert A. Ferretti

The Jackal | ShotOnWhat?

Sound Effects Recordist

The Jackal (1997)

Directed by: Michael Caton-Jones

Cinematography by: Karl Walter Lindenlaub

Edited by: Jim Clark

Con Air | ShotOnWhat?

Special Sound Effects

Con Air (1997)

Directed by: Simon West

Cinematography by: David Tattersall

Edited by: Chris Lebenzon, Steve Mirkovich, Glen Scantlebury

Cameras: ARRIFLEX 35 III Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera

Lenses: Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Editing System: Lightworks Editing System

Independence Day | ShotOnWhat?

Sound Designer

Independence Day (1996)

Directed by: Roland Emmerich

Cinematography by: Karl Walter Lindenlaub

Edited by: David Brenner

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Lenses

The Rock | ShotOnWhat?

Special Sound Effects

The Rock (1996)

Directed by: Michael Bay

Cinematography by: John Schwartzman

Edited by: Richard Francis-Bruce

Cameras: Pan-Arri III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses

Jingle All the Way | ShotOnWhat?

Sound Effects Designer

Jingle All the Way (1996)

Directed by: Brian Levant

Cinematography by: Victor J. Kemper

Edited by: Kent Beyda, Wilt Henderson, Adam Weiss

Executive Decision | ShotOnWhat?

Additional Sound

Executive Decision (1996)

Directed by: Stuart Baird

Cinematography by: Alex Thomson

Edited by: Stuart Baird, Derek Brechin, Dallas Puett, Kevin Stitt, Frank J. Urioste

Broken Arrow | ShotOnWhat?

Special Sound Effects

Broken Arrow (1996)

Directed by: John Woo

Cinematography by: Peter Levy

Edited by: Joe Hutshing, Steve Mirkovich, John Wright

Cameras: Panavision Cameras

The Surgeon | ShotOnWhat?

Sound Designer

The Surgeon (1995)

Directed by: Carl Schenkel

Cinematography by: Thomas Burstyn

Edited by: Jimmy B. Frazier

Assassins | ShotOnWhat?

Sound Editor

Assassins (1995)

Directed by: Richard Donner

Cinematography by: Vilmos Zsigmond

Edited by: Lawrence Jordan, Richard Marks

Cameras: Panavision Panaflex Gold II Camera, Panavision Panastar Camera

Lenses: Panavision Primo Primes Spherical Lenses

Crimson Tide | ShotOnWhat?

Special Sound Effects

Crimson Tide (1995)

Directed by: Tony Scott

Cinematography by: Dariusz Wolski

Edited by: Chris Lebenzon

Cameras: Panavision Panaflex Gold II Camera

Lenses: Panavision E Series Anamorphic Lenses

Beverly Hills Cop III | ShotOnWhat?

Processed Sound Effects

Beverly Hills Cop III (1994)

Directed by: John Landis

Cinematography by: Mac Ahlberg

Edited by: Dale Beldin

Stargate | ShotOnWhat?

Special Processed Sound Effects

Stargate (1994)

Directed by: Roland Emmerich

Cinematography by: Karl Walter Lindenlaub

Edited by: Derek Brechin, Michael J. Duthie

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Ri¢hie Ri¢h | ShotOnWhat?

Special Sound Effects

Ri¢hie Ri¢h (1994)

Directed by: Donald Petrie

Cinematography by: Don Burgess

Edited by: Malcolm Campbell

Sliver | ShotOnWhat?

Special Sound Effects Designer

Sliver (1993)

Directed by: Phillip Noyce

Cinematography by: Vilmos Zsigmond

Edited by: Richard Francis-Bruce, William Hoy, Bert Lovitt

The Fugitive | ShotOnWhat?

Processed Flashback Effects

The Fugitive (1993)

Directed by: Andrew Davis

Cinematography by: Michael Chapman

Edited by: Don Brochu, David Finfer, Dean Goodhill, Dov Hoenig, Richard Nord, Dennis Virkler

Universal Soldier | ShotOnWhat?

Sound Effects Designer

Universal Soldier (1992)

Directed by: Roland Emmerich

Cinematography by: Karl Walter Lindenlaub

Edited by: Michael J. Duthie

Honey I Blew Up the Kid | ShotOnWhat?

Special Sound Effects

Honey, I Blew Up the Kid (1992)

Directed by: Randal Kleiser

Cinematography by: John Hora

Edited by: Harry Hitner, Michael A. Stevenson

Cameras: Moviecam SuperAmerica Camera, VistaVision Cameras

Lenses: Canon K35 Prime Lenses

Body of Evidence | ShotOnWhat?

Sound Effects Processing

Body of Evidence (1992)

Directed by: Uli Edel

Cinematography by: Douglas Milsome

Edited by: Thom Noble

Cameras: ARRIFLEX Camera

Lenses: ARRI Lenses

Patriot Games | ShotOnWhat?

Additional Sound Effects

Patriot Games (1992)

Directed by: Phillip Noyce

Cinematography by: Donald McAlpine

Edited by: William Hoy, Neil Travis

The Addams Family | ShotOnWhat?

Additional Sound Effects Creator

The Addams Family (1991)

Directed by: Barry Sonnenfeld

Cinematography by: Owen Roizman

Edited by: Dede Allen, Jim Miller

Cameras: Panavision Cameras

Lenses: Panavision Lenses

Star Trek VI: The Undiscovered Country | ShotOnWhat?

Special Sound Effects

Star Trek VI: The Undiscovered Country (1991)

Directed by: Nicholas Meyer

Cinematography by: Hiro Narita

Edited by: William Hoy, Ronald Roose

King Ralph | ShotOnWhat?

Sound Effects Recordist

King Ralph (1991)

Directed by: David S. Ward

Cinematography by: Kenneth MacMillan

Edited by: John Jympson

Hot Shots! | ShotOnWhat?

Sound Effects Recordist

Hot Shots! (1991)

Directed by: Jim Abrahams

Cinematography by: Bill Butler

Edited by: Jane Kurson, Eric A. Sears

Rocky V | ShotOnWhat?

Special Sound Effects

Rocky V (1990)

Directed by: John G. Avildsen

Cinematography by: Steven Poster

Edited by: John G. Avildsen, Robert A. Ferretti, Michael N. Knue

Days of Thunder | ShotOnWhat?

Additional Sound Effects

Days of Thunder (1990)

Directed by: Tony Scott

Cinematography by: Ward Russell

Edited by: Robert C. Jones, Chris Lebenzon, Bert Lovitt, Michael Tronick, Stuart Waks, Billy Weber

Cameras: Panavision Cameras

Lenses: Panavision Lenses

The Big Picture | ShotOnWhat?

Sound Effects Recordist

The Big Picture (1989)

Directed by: Christopher Guest

Cinematography by: Jeffrey Jur

Edited by: Martin Nicholson

Great Balls of Fire! | ShotOnWhat?

Additional Recordist

Great Balls of Fire! (1989)

Directed by: Jim McBride

Cinematography by: Affonso Beato

Edited by: Lisa Day, Pembroke J. Herring, Bert Lovitt

Cameras: Panavision Cameras

Scrooged | ShotOnWhat?

Electronic Sound Effects

Scrooged (1988)

Directed by: Richard Donner

Cinematography by: Michael Chapman

Edited by: Fredric Steinkamp, William Steinkamp

Cameras: Panavision Panaflex Gold Camera

Masters of the Universe | ShotOnWhat?

Special Sound Effects

Masters of the Universe (1987)

Directed by: Gary Goddard

Cinematography by: Hanania Baer

Edited by: Anne V. Coates

Beverly Hills Cop II | ShotOnWhat?

Sound Effects Recordist

Beverly Hills Cop II (1987)

Directed by: Tony Scott

Cinematography by: Jeffrey L. Kimball

Edited by: Chris Lebenzon, Michael Tronick, Billy Weber

Cameras: Panavision Cameras

Lenses: Panavision Lenses

The Golden Child | ShotOnWhat?

Special Sound Effects

The Golden Child (1986)

Directed by: Michael Ritchie

Cinematography by: Donald E. Thorin

Edited by: Richard A. Harris

Top Gun | ShotOnWhat?

Special Sound Effects

Top Gun (1986)

Directed by: Tony Scott

Cinematography by: Jeffrey L. Kimball

Edited by: Chris Lebenzon, Billy Weber

Cameras: Panavision Cameras

Crossroads | ShotOnWhat?

Special Sound Effects

Crossroads (1986)

Directed by: Walter Hill

Cinematography by: John Bailey

Edited by: Freeman A. Davies

Cameras: Panavision Cameras

Weird Science | ShotOnWhat?

Synthesizer Sound Effects

Weird Science (1985)

Directed by: John Hughes

Cinematography by: Matthew F. Leonetti

Edited by: Chris Lebenzon, Scott K. Wallace, Mark Warner

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