Image Science: EFilm
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Image Science: EFilm
End of Watch (2012)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: Dody Dorn
Digital Optical Supervisor
Kill Bill: Vol. 2 (2004)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Cameras: Panavision Panaflex Platinum Camera
Digital Opticals: Pacific Title
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
Digital Opticals: Pacific Title
Confidence (2003)
Directed by: James Foley
Cinematography by: Juan Ruiz Anchía
Edited by: Stuart Levy
Digital Optical Supervisor
Kill Bill: Vol. 1 (2003)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Cameras: Panavision Panaflex Platinum Camera
Digital Artist: Pacific Title/Mirage
The Mummy (1999)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Edited by: Bob Ducsay
Cameras: Panavision Panaflex Platinum Camera
Digital Compositor
Any Given Sunday (1999)
Directed by: Oliver Stone
Cinematography by: Salvatore Totino
Lead Digital Compositor - 1998 Restoration / Visual Effects Supervisor - 1998 Restoration
Touch of Evil (1958)
Directed by: Orson Welles
Cinematography by: Russell Metty
Cameras: Mitchell BNC Camera, Mitchell NC Camera
Digital Compositor - 1998 Restoration
The Wizard of Oz (1939)
Cinematography by: Harold Rosson
Edited by: Blanche Sewell
