Sound Effects Recordist
First Man (2018)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
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
Sound Effects Recording Mixer
Dunkirk (2017)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Sound Effects Recordist
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
Sound Effects Recordist
Need for Speed (2014)
Directed by: Scott Waugh
Cinematography by: Shane Hurlbut
Lenses: Angenieux Optimo 17-80mm T2.2 Lens, Angenieux Optimo 19.5-94mm 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
Sound Effects Recordist
Transformers: Age of Extinction (2014)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera
Editing System: Avid Editing System
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: 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
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
Sound Effects Recording Mixer
Gangster Squad (2013)
Directed by: Ruben Fleischer
Cinematography by: Dion Beebe
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Editing System: Avid Editing System
Sound Effects Recording Mixer
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Sound Recordist: Hudson
On the Road (2012)
Directed by: Walter Salles
Cinematography by: Eric Gautier
Edited by: François Gédigier
Cameras: Aaton Penelope Camera
Sound Effects Recordist
Life of Pi (2012)
Directed by: Ang Lee
Cinematography by: Claudio Miranda
Edited by: Tim Squyres
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Sound Effects Mixer: Location
J. Edgar (2011)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Sound Effects Recordist
Justin Bieber: Never Say Never (2011)
Directed by: Jon M. Chu
Cinematography by: Reed Smoot
Sound Effects Recordist
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Sound Effects Field Recordist
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
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
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
Editing System: Avid Editing System
Sound Effects Field Recordist
The Book of Eli (2010)
Cinematography by: Don Burgess
Edited by: Cindy Mollo
Cameras: Red One Camera
Location Sound Effects Mixer
Hereafter (2010)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Additional Recordist
Somewhere (2010)
Directed by: Sofia Coppola
Cinematography by: Harris Savides
Edited by: Sarah Flack
Sound Effects Recordist
The Way Back (2010)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Sound Effects Recordist
Public Enemies (2009)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Sound Effects Recordist
Transformers: Revenge of the Fallen (2009)
Directed by: Michael Bay
Cinematography by: Ben Seresin
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
Sound Effects Mixer: Location
Invictus (2009)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Sound Effects Recordist
Street Kings (2008)
Directed by: David Ayer
Cinematography by: Gabriel Beristain
Edited by: Jeffrey Ford
Sound Effects Mixer: Location
Changeling (2008)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
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
Editing System: Avid Editing System
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: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Super Speed Lenses
Editing System: Avid Editing System
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
Adr Mixer
The Assassination of Jesse James by the Coward Robert Ford (2007)
Directed by: Andrew Dominik
Cinematography by: Roger Deakins
Lenses: Cooke Lenses, Cooke S4 Lenses
Sound Effects Recordist
Transformers (2007)
Directed by: Michael Bay
Cinematography by: Mitchell Amundsen
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Angenieux HR 25-250mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
Editing System: Avid Editing System, Final Cut Pro Editing System
Sound Effects Recordist
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
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
Sound Effects Recordist
Mission: Impossible III (2006)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Sound Effects Recordist
Stranger Than Fiction (2006)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Sound Effects Mixer: Location
We Are Marshall (2006)
Directed by: McG
Cinematography by: Shane Hurlbut
Sound Effects Recordist
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Sound Effects Recordist
Serenity (2005)
Directed by: Joss Whedon
Cinematography by: Jack N. Green
Edited by: Lisa Lassek
Lenses: Panavision Lenses
Sound Effects Editor
Constantine (2005)
Directed by: Francis Lawrence
Cinematography by: Philippe Rousselot
Edited by: Wayne Wahrman
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
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
Sound Effects Recordist
The Matrix Revolutions (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Sound Effects Recordist
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
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
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
Sound Effects Recordist
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Sound Effects Field Recordist
Bad Boys II (2003)
Directed by: Michael Bay
Cinematography by: Amir Mokri
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
Editing System: Avid Editing System
Additional Sound
The Last Samurai (2003)
Directed by: Edward Zwick
Cinematography by: John Toll
Sound Effects Designer
Cradle 2 the Grave (2003)
Directed by: Andrzej Bartkowiak
Cinematography by: Daryn Okada
Edited by: Derek Brechin
Cameras: Panavision Cameras
Sound Effects Recordist
Tears of the Sun (2003)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Cameras: Panavision Cameras
Sound Effects Recordist
Moonlight Mile (2002)
Directed by: Brad Silberling
Cinematography by: Phedon Papamichael
Edited by: Lisa Zeno Churgin
Cameras: Panavision Panaflex Camera
Sound Effects Editor
Men in Black II (2002)
Directed by: Barry Sonnenfeld
Cinematography by: Greg Gardiner
Sound Designer
Showtime (2002)
Directed by: Tom Dey
Cinematography by: Thomas Kloss
Edited by: Billy Weber
Sound Effects Editor
Bad Company (2002)
Directed by: Joel Schumacher
Cinematography by: Dariusz Wolski
Sound Effects Recordist
Signs (2002)
Directed by: M. Night Shyamalan
Cinematography by: Tak Fujimoto
Edited by: Barbara Tulliver
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
Editing System: Lightworks Editing System
Sound Effects Editor
Training Day (2001)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: Conrad Buff IV
Lenses: Hawk C-Series Lenses
Special Sound Recording
Pearl Harbor (2001)
Directed by: Michael Bay
Cinematography by: John Schwartzman
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
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
Editing System: Avid Editing System
Sound Effects Recordist
Swordfish (2001)
Directed by: Dominic Sena
Cinematography by: Paul Cameron
Edited by: Stephen E. Rivkin
Sound Designer
Battlefield Earth (2000)
Directed by: Roger Christian
Cinematography by: Giles Nuttgens
Edited by: Robin Russell
Special Sound Effects
Hollow Man (2000)
Directed by: Paul Verhoeven
Cinematography by: Jost Vacano
Sound Effects Recordist
Romeo Must Die (2000)
Directed by: Andrzej Bartkowiak
Cinematography by: Glen MacPherson
Edited by: Derek Brechin
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
Additional Sound Design
Bedazzled (2000)
Directed by: Harold Ramis
Cinematography by: Bill Pope
Edited by: Craig Herring
Special Sound Effects
Gone in 60 Seconds (2000)
Directed by: Dominic Sena
Cinematography by: Paul Cameron
Sound Designer
The Cell (2000)
Directed by: Tarsem Singh
Cinematography by: Paul Laufer
Sound Designer
Wild Wild West (1999)
Directed by: Barry Sonnenfeld
Cinematography by: Michael Ballhaus
Edited by: Jim Miller
Sound Design Sequences
Deep Blue Sea (1999)
Directed by: Renny Harlin
Cinematography by: Stephen F. Windon
Sound Designer
The Thin Red Line (1998)
Directed by: Terrence Malick
Cinematography by: John Toll
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
Special Sound Designer
Deep Impact (1998)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Cameras: ARRIFLEX 535 Camera
Sound Effects Designer
The Gingerbread Man (1998)
Directed by: Robert Altman
Cinematography by: Changwei Gu
Edited by: Geraldine Peroni
Field Sound Recordist
Enemy of the State (1998)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Chris Lebenzon
Sound Effects Editor
The Peacemaker (1997)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Edited by: David Rosenbloom
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
Special Sound Recording
Speed 2: Cruise Control (1997)
Directed by: Jan de Bont
Cinematography by: Jack N. Green
Edited by: Alan Cody
Sound Design Sequence
Fire Down Below (1997)
Directed by: Félix Enríquez Alcalá
Cinematography by: Tom Houghton
Edited by: Robert A. Ferretti
Sound Effects Recordist
The Jackal (1997)
Directed by: Michael Caton-Jones
Cinematography by: Karl Walter Lindenlaub
Edited by: Jim Clark
Special Sound Effects
Con Air (1997)
Directed by: Simon West
Cinematography by: David Tattersall
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
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
Special Sound Effects
The Rock (1996)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Edited by: Richard Francis-Bruce
Sound Effects Designer
Jingle All the Way (1996)
Directed by: Brian Levant
Cinematography by: Victor J. Kemper
Special Sound Effects
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Sound Designer
The Surgeon (1995)
Directed by: Carl Schenkel
Cinematography by: Thomas Burstyn
Edited by: Jimmy B. Frazier
Special Sound Effects
Crimson Tide (1995)
Directed by: Tony Scott
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Gold II Camera
Processed Sound Effects
Beverly Hills Cop III (1994)
Directed by: John Landis
Cinematography by: Mac Ahlberg
Edited by: Dale Beldin
Special Processed Sound Effects
Stargate (1994)
Directed by: Roland Emmerich
Cinematography by: Karl Walter Lindenlaub
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Special Sound Effects
Ri¢hie Ri¢h (1994)
Directed by: Donald Petrie
Cinematography by: Don Burgess
Edited by: Malcolm Campbell
Special Sound Effects Designer
Sliver (1993)
Directed by: Phillip Noyce
Cinematography by: Vilmos Zsigmond
Processed Flashback Effects
The Fugitive (1993)
Directed by: Andrew Davis
Cinematography by: Michael Chapman
Sound Effects Designer
Universal Soldier (1992)
Directed by: Roland Emmerich
Cinematography by: Karl Walter Lindenlaub
Edited by: Michael J. Duthie
Special Sound Effects
Honey, I Blew Up the Kid (1992)
Directed by: Randal Kleiser
Cinematography by: John Hora
Lenses: Canon K35 Prime Lenses
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
Additional Sound Effects
Patriot Games (1992)
Directed by: Phillip Noyce
Cinematography by: Donald McAlpine
Additional Sound Effects Creator
The Addams Family (1991)
Directed by: Barry Sonnenfeld
Cinematography by: Owen Roizman
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Special Sound Effects
Star Trek VI: The Undiscovered Country (1991)
Directed by: Nicholas Meyer
Cinematography by: Hiro Narita
Sound Effects Recordist
King Ralph (1991)
Directed by: David S. Ward
Cinematography by: Kenneth MacMillan
Edited by: John Jympson
Additional Sound Effects
Days of Thunder (1990)
Directed by: Tony Scott
Cinematography by: Ward Russell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Sound Effects Recordist
The Big Picture (1989)
Directed by: Christopher Guest
Cinematography by: Jeffrey Jur
Edited by: Martin Nicholson
Additional Recordist
Great Balls of Fire! (1989)
Directed by: Jim McBride
Cinematography by: Affonso Beato
Cameras: Panavision Cameras
Electronic Sound Effects
Scrooged (1988)
Directed by: Richard Donner
Cinematography by: Michael Chapman
Cameras: Panavision Panaflex Gold Camera
Special Sound Effects
Masters of the Universe (1987)
Directed by: Gary Goddard
Cinematography by: Hanania Baer
Edited by: Anne V. Coates
Sound Effects Recordist
Beverly Hills Cop II (1987)
Directed by: Tony Scott
Cinematography by: Jeffrey L. Kimball
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Special Sound Effects
The Golden Child (1986)
Directed by: Michael Ritchie
Cinematography by: Donald E. Thorin
Edited by: Richard A. Harris
Special Sound Effects
Top Gun (1986)
Directed by: Tony Scott
Cinematography by: Jeffrey L. Kimball
Cameras: Panavision Cameras
Special Sound Effects
Crossroads (1986)
Directed by: Walter Hill
Cinematography by: John Bailey
Edited by: Freeman A. Davies
Cameras: Panavision Cameras
Synthesizer Sound Effects
Weird Science (1985)
Directed by: John Hughes
Cinematography by: Matthew F. Leonetti