Dailies Director
Lessons in Chemistry (2023)
TV Mini Series
Edited by: Matthew Barbato, Geraud Brisson, Laura Zempel, Jack Cunningham, Daniel Martens, Lilly Wild
Cameras: ARRI ALEXA Mini LF Camera
Dailies Producer
Promising Young Woman (2020)
Directed by: Emerald Fennell
Cinematography by: Benjamin Kracun
Edited by: Frédéric Thoraval
Cameras: ARRI ALEXA Mini Camera
Dailies Producer: US
Come Away (2020)
Directed by: Brenda Chapman
Cinematography by: Jules O'Loughlin
Edited by: Dody Dorn
Dailies Producer
Once Upon a Time in Hollywood (2019)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Cameras: Aaton A-Minima Camera, ARRIFLEX Camera, Bolex Cameras, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision T Series Anamorphic Lenses
Editing System: Avid Editing System
Dailies Producer
The Irishman (2019)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Mini Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Red Digital Cinema Cameras
Editing System: Lightworks Editing System
Dailies Producer: EC3
Baywatch (2017)
Directed by: Seth Gordon
Cinematography by: Eric Steelberg
Edited by: Peter S. Elliot
Cameras: ARRI ALEXA XT Plus Camera
Senior Dailies Producer
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Dailies Producer Additional Photography
Bright (2017)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision Lenses
Senior Dailies Producer
Blade Runner 2049 (2017)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera
Lenses: ARRI / Zeiss Zoom Lenses, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Senior Dailies Producer
Mother! (2017)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 416 Camera
Senior Dailies Producer
The Book of Henry (2017)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Lenses: Panavision Lenses
Dailies Producer: Additional Photography
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Senior Dailies Producer
Battle of the Sexes (2017)
Cinematography by: Linus Sandgren
Edited by: Pamela Martin
Dailies Producer: Additional Photography
Thor: Ragnarok (2017)
Directed by: Taika Waititi
Cinematography by: Javier Aguirresarobe
Senior Dailies Producer
Suburbicon (2017)
Directed by: George Clooney
Cinematography by: Robert Elswit
Edited by: Stephen Mirrione
Cameras: ARRI ALEXA XT Plus Camera
Dailies Producer
Roman J. Israel, Esq. (2017)
Directed by: Dan Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Dailies Producer: Additional Photography
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Dailies Producer: Additional Photography
Pelé: Birth of a Legend (2016)
Cinematography by: Matthew Libatique
Cameras: Red Epic Dragon Camera
Dailies Producer
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Senior Dailies Producer
Hail, Caesar! (2016)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Adobe Premiere Editing System
Senior Dailies Producer
Allegiant (2016)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Stuart Levy
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera
Dailies Producer
Term Life (2016)
Directed by: Peter Billingsley
Cinematography by: Roberto Schaefer
Cameras: ARRI ALEXA Camera, Red Epic Dragon Camera
Dailies Producer
Midnight Special (2016)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Senior Dailies Producer / Supervising Dailies Producer-additional Photography
X-Men: Apocalypse (2016)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Supervising Dailies Producer
Triple 9 (2016)
Directed by: John Hillcoat
Cinematography by: Nicolas Karakatsanis
Edited by: Dylan Tichenor
Senior Dailies Producer
La La Land (2016)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Senior Dailies Producer
Star Trek Beyond (2016)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera
Senior Dailies Producer
Ghostbusters (2016)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Supervising Dailies Producer
Why Him? (2016)
Directed by: John Hamburg
Cinematography by: Kris Kachikis
Edited by: William Kerr
Dailies Producer
Jane Got a Gun (2015)
Directed by: Gavin O'Connor
Cinematography by: Mandy Walker
Edited by: Alan Cody
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision B Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Dailies Producer
The SpongeBob Movie: Sponge Out of Water (2015)
Cinematography by: Phil Meheux
Edited by: David Ian Salter
Cameras: ARRI ALEXA Camera
Senior Dailies Producer
Star Wars: Episode VII - The Force Awakens (2015)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRI ALEXA Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Hasselblad Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Retro C 100mm T2.8 Lens, Panavision Retro C 35mm T2.8 Lens, Panavision Retro C 40mm T2.8 Lens, Panavision Retro C 50mm T2.8 Lens, Panavision Retro C 60mm T2.8 Lens, Panavision Retro C 75mm T2.8 Lens
Editing System: Avid Editing System
Senior Dailies Producer
Child 44 (2015)
Directed by: Daniel Espinosa
Cinematography by: Oliver Wood
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk Anamorphic Lenses
Dailies Producer
Entourage (2015)
Directed by: Doug Ellin
Cinematography by: Steven Fierberg
Edited by: Jeff Groth
Cameras: ARRICAM Lite (LT) Camera
Dailies Producer
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Dailies Producer
Sicario (2015)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Dailies Supervisor
Joy (2015)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Lenses: Zeiss Ultra Prime Lenses
Senior Dailies Producer
Straight Outta Compton (2015)
Directed by: F. Gary Gray
Cinematography by: Matthew Libatique
Cameras: Red Epic Dragon Camera
Dailies Producer
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Supervising Dailies Producer
The Ridiculous 6 (2015)
Directed by: Frank Coraci
Cinematography by: Dean Semler
Edited by: Tom Costain
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Dailies Producer
The Gambler (2014)
Directed by: Rupert Wyatt
Cinematography by: Greig Fraser
Edited by: Pete Beaudreau
Cameras: ARRI ALEXA XT Camera
Dailies Producer
The Maze Runner (2014)
Directed by: Wes Ball
Cinematography by: Enrique Chediak
Edited by: Dan Zimmerman
Dailies Producer
The Homesman (2014)
Directed by: Tommy Lee Jones
Cinematography by: Rodrigo Prieto
Edited by: Roberto Silvi
Cameras: ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera
Senior Dailies Producer
Teenage Mutant Ninja Turtles (2014)
Directed by: Jonathan Liebesman
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Plus 4:3 Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Supervising Dailies Producer
Let's Be Cops (2014)
Directed by: Luke Greenfield
Cinematography by: Daryn Okada
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 Camera
Senior Dailies Producer: Los Angeles
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Supervising Dailies Producer
Million Dollar Arm (2014)
Directed by: Craig Gillespie
Cinematography by: Gyula Pados
Edited by: Tatiana S. Riegel
Dailies Producer
Divergent (2014)
Directed by: Neil Burger
Cinematography by: Alwin H. Küchler
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Senior Dailies Producer
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
Dailies Producer
R.I.P.D. (2013)
Directed by: Robert Schwentke
Cinematography by: Alwin H. Küchler
Edited by: Mark Helfrich
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Dailies Producer
Saving Mr. Banks (2013)
Directed by: John Lee Hancock
Cinematography by: John Schwartzman
Edited by: Mark Livolsi
Dailies Producer
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Dailies Producer
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Dailies Producer
Temptation: Confessions of a Marriage Counselor (2013)
Directed by: Tyler Perry
Cinematography by: Alexander Gruszynski
Edited by: Maysie Hoy
Cameras: ARRI ALEXA Camera
Senior Dailies Producer
Jobs (2013)
Directed by: Joshua Michael Stern
Cinematography by: Russell Carpenter
Edited by: Robert Komatsu
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Ultra Prime Lenses
Dailies Producer
End of Watch (2012)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: Dody Dorn
Dailies Producer
Ruby Sparks (2012)
Cinematography by: Matthew Libatique
Edited by: Pamela Martin
Lenses: Cooke Speed Panchro Lenses
Dailies Producer
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Dailies Producer
One for the Money (2012)
Directed by: Julie Anne Robinson
Cinematography by: Jim Whitaker
Edited by: Lisa Zeno Churgin
Dailies Producer
To the Wonder (2012)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Dailies Producer
Joyful Noise (2012)
Directed by: Todd Graff
Cinematography by: David Boyd
Edited by: Kathryn Himoff
Dailies Producer
Good Deeds (2012)
Directed by: Tyler Perry
Cinematography by: Alexander Gruszynski
Edited by: Maysie Hoy
Cameras: ARRI ALEXA Camera
Dailies Producer
People Like Us (2012)
Directed by: Alex Kurtzman
Cinematography by: Salvatore Totino
Edited by: Robert Leighton
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Dailies Producer
What to Expect When You're Expecting (2012)
Directed by: Kirk Jones
Cinematography by: Xavier Grobet
Edited by: Michael Berenbaum
Cameras: ARRI ALEXA Camera
Dailies Producer
The Twilight Saga: Breaking Dawn - Part 2 (2012)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Editing System: Adobe Premiere Editing System, Avid Editing System
Dailies Producer
Jack Reacher (2012)
Directed by: Christopher McQuarrie
Cinematography by: Caleb Deschanel
Edited by: Kevin Stitt
Dailies Producer
Django Unchained (2012)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Cinema Scan Producer: EFilm
Seven Psychopaths (2012)
Directed by: Martin McDonagh
Cinematography by: Ben Davis
Edited by: Lisa Gunning
Dailies Producer
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Dailies Producer
The Guilt Trip (2012)
Directed by: Anne Fletcher
Cinematography by: Oliver Stapleton
Dailies Producer: Cinemascan
Cowboys & Aliens (2011)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Dailies Producer
Madea's Big Happy Family (2011)
Directed by: Tyler Perry
Cinematography by: Toyomichi Kurita
Edited by: Maysie Hoy
Digital Intermediate Producer: CinemaScan
We Bought a Zoo (2011)
Directed by: Cameron Crowe
Cinematography by: Rodrigo Prieto
Edited by: Mark Livolsi
Cameras: ARRICAM Lite (LT) Camera
Lenses: Zeiss Ultra Prime Lenses
Dailies Producer
Water for Elephants (2011)
Directed by: Francis Lawrence
Cinematography by: Rodrigo Prieto
Edited by: Alan Edward Bell
Editing System: Avid Editing System
Dailies Producer
Larry Crowne (2011)
Directed by: Tom Hanks
Cinematography by: Philippe Rousselot
Edited by: Alan Cody
Dailies Producer
In Time (2011)
Directed by: Andrew Niccol
Cinematography by: Roger Deakins
Edited by: Zach Staenberg
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Dailies: Producer, Cinemascan
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Dailies Producer
Abduction (2011)
Directed by: John Singleton
Cinematography by: Peter Menzies Jr.
Edited by: Bruce Cannon
Dailies Producer
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
Dailies Producer: Cinemascan
The Help (2011)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Hughes Winborne
Producer: CinemaScan, EFilm
The Next Three Days (2010)
Directed by: Paul Haggis
Cinematography by: Stéphane Fontaine
Edited by: Jo Francis
Dailies Producer
For Colored Girls (2010)
Directed by: Tyler Perry
Cinematography by: Alexander Gruszynski
Edited by: Maysie Hoy
Dailies Producer
Dinner for Schmucks (2010)
Directed by: Jay Roach
Cinematography by: Jim Denault
Editing System: Avid Editing System
Dailies Producer
Eat Pray Love (2010)
Directed by: Ryan Murphy
Cinematography by: Robert Richardson
Edited by: Bradley Buecker
Editing System: Final Cut Pro Editing System
Dailies Producer
The Tempest (2010)
Directed by: Julie Taymor
Cinematography by: Stuart Dryburgh
Edited by: Françoise Bonnot
Cameras: ARRICAM Lite (LT) Camera
Dailies Producer
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Dailies Producer
Date Night (2010)
Directed by: Shawn Levy
Cinematography by: Dean Semler
Edited by: Dean Zimmerman
Cameras: Panavision Genesis Camera
Dailies Producer
Killers (2010)
Directed by: Robert Luketic
Cinematography by: Russell Carpenter
Cameras: ARRIFLEX D-21 Camera
Lenses: Hawk V-Series Lenses
Dailies Producer
True Grit (2010)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Dailies Producer
Love & Other Drugs (2010)
Directed by: Edward Zwick
Cinematography by: Steven Fierberg
Edited by: Steven Rosenblum
Dailies Producer
Shutter Island (2010)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Cameras: ARRIFLEX 765 Camera, ARRIFLEX D-21 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Editing System: Lightworks Editing System
Dailies Producer, Dailies Producer: EFilm
A Serious Man (2009)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Dailies Producer: Cinemascan, EFilm, Dailies Producer: Dailies
Mother and Child (2009)
Directed by: Rodrigo García
Cinematography by: Xavier Grobet
Edited by: Steven Weisberg
Dailies Producer
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
