Re-recording Mixer
Ambulance (2022)
Directed by: Michael Bay
Cinematography by: Roberto De Angelis
Cameras: Red Epic Helium Camera, Red Komodo Camera
Re-recording Mixer - 8 Episodes, 2022
The Lord of the Rings: The Rings of Power (2022)
Lenses: ARRI Signature Prime Lenses
Re-recording Mixer
Greyhound (2020)
Directed by: Aaron Schneider
Cinematography by: Shelly Johnson
Cameras: Panavision Millennium DXL Camera
Re-recording Mixer
Greenland (2020)
Directed by: Ric Roman Waugh
Cinematography by: Dana Gonzales
Edited by: Gabriel Fleming
Cameras: ARRI ALEXA Mini Camera
Re-recording Mixer
12 Strong (2018)
Directed by: Nicolai Fuglsig
Cinematography by: Rasmus Videbæk
Edited by: Lisa Lassek
Additional Re-recording Mixer: Warner Bros
Transformers: The Last Knight (2017)
Directed by: Michael Bay
Cinematography by: Jonathan Sela
Re-recording Mixer: Formosa Group
Ghost in the Shell (2017)
Directed by: Rupert Sanders
Cinematography by: Jess Hall
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Re-recording Mixer
Swiss Army Man (2016)
Cinematography by: Larkin Seiple
Edited by: Matthew Hannam
Re-recording Mixer
Why Him? (2016)
Directed by: John Hamburg
Cinematography by: Kris Kachikis
Edited by: William Kerr
Re-recording Mixer
Ghostbusters (2016)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Re-recording Mixer: 20th Century Fox Studios
Allegiant (2016)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Stuart Levy
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera
Re-recording Mixer
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Additional Pro Tools Temp Mixing
Need for Speed (2014)
Directed by: Scott Waugh
Cinematography by: Shane Hurlbut
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
Re-recording Mixer
Million Dollar Arm (2014)
Directed by: Craig Gillespie
Cinematography by: Gyula Pados
Edited by: Tatiana S. Riegel
Re-recording Mixer
Foxcatcher (2014)
Directed by: Bennett Miller
Cinematography by: Greig Fraser
Editing System: Avid Editing System
Additional Re-Recording Mixer
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
Re-recording Mixer
The Last Stand (2013)
Directed by: Jee-woon Kim
Cinematography by: Ji-yong Kim
Edited by: Steven Kemper
Cameras: ARRI ALEXA Plus Camera
Re-recording Mixer
Carrie (2013)
Directed by: Kimberly Peirce
Cinematography by: Steve Yedlin
Cameras: ARRI ALEXA Camera
Re-recording Mixer
3 Geezers! (2013)
Directed by: Michelle Schumacher
Cinematography by: Pete Villani
Edited by: Michelle Schumacher
Cameras: ARRI ALEXA Camera, ARRI Cameras
Re-recording Mixer
Lone Survivor (2013)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Colby Parker Jr.
Cameras: Phantom Flex Camera, Red Epic Camera
Re-recording Mixer
Get the Gringo (2012)
Directed by: Adrian Grunberg
Cinematography by: Benoît Debie
Edited by: Steven Rosenblum
Cameras: Red One MX Camera
Lenses: Hawk V-Lite Lenses
Re-recording Mixer
Darling Companion (2012)
Directed by: Lawrence Kasdan
Cinematography by: Michael McDonough
Edited by: Carol Littleton
Re-recording Mixer
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Re-recording Mixer
American Reunion (2012)
Cinematography by: Daryn Okada
Edited by: Jeff Betancourt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Re-recording Mixer
Big Mommas: Like Father, Like Son (2011)
Directed by: John Whitesell
Cinematography by: Anthony B. Richmond
Edited by: Priscilla Nedd-Friendly
Additional Re-recording Mixer: The Lot Stage A Hollywood
Hop (2011)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Re-recording Mixer
The Muppets (2011)
Directed by: James Bobin
Cinematography by: Don Burgess
Edited by: James Thomas
Cameras: Red Epic Camera, Red One MX Camera
Additional Sound Re-recording Mixer
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
Re-recording Mixer
Season of the Witch (2011)
Directed by: Dominic Sena
Cinematography by: Amir Mokri
Additional Sound Re-recording Mixer
The Back-up Plan (2010)
Directed by: Alan Poul
Cinematography by: Xavier Grobet
Edited by: Priscilla Nedd-Friendly
Additional Sound Mixer
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Re-recording Mixer
A Nightmare on Elm Street (2010)
Directed by: Samuel Bayer
Cinematography by: Jeff Cutter
Edited by: Glen Scantlebury
Re-recording Mixer
Unstoppable (2010)
Directed by: Tony Scott
Cinematography by: Ben Seresin
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera
Editing System: Avid Editing System
Re-recording Mixer
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Re-recording Mixer
Secretariat (2010)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: John Wright
Sound Mixer
Public Enemies (2009)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Re-recording Mixer
Hotel for Dogs (2009)
Directed by: Thor Freudenthal
Cinematography by: Michael Grady
Edited by: Sheldon Kahn
Supervising Re-recording Mixer
One Missed Call (2008)
Directed by: Eric Valette
Cinematography by: Glen MacPherson
Edited by: Steve Mirkovich
Re-recording Mixer
The Ruins (2008)
Directed by: Carter Smith
Cinematography by: Darius Khondji
Edited by: Jeff Betancourt
Re-recording Mixer
Stomp the Yard (2007)
Directed by: Sylvain White
Cinematography by: Scott Kevan
Edited by: David Checel
Re-recording Mixer
The Life Before Her Eyes (2007)
Directed by: Vadim Perelman
Cinematography by: Pawel Edelman
Additional Re-recording Mixer
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 25-250 mm 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
Additional Sound Mixer
Talladega Nights: The Ballad of Ricky Bobby (2006)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Edited by: Brent White
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Additional Sound Mixer
The Island (2005)
Directed by: Michael Bay
Cinematography by: Mauro Fiore
Re-recording Mixer
A Christmas Carol: The Musical (2004)
Directed by: Arthur Allan Seidelman
Cinematography by: Hanania Baer
Edited by: Bert Glatstein
Special Sound Effects
Man on Fire (2004)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Special Sound Effects
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
Supervising Sound Editor
Ghosts of the Abyss (2003)
Directed by: James Cameron
Cinematography by: Vince Pace
Sound Effects Editor
The Lord of the Rings: The Return of the King (2003)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX 535 B Camera, Mitchell Cameras, Moviecam Superlight Camera
Editing System: Avid Editing System
Sound Effects Editor
I Spy (2002)
Directed by: Betty Thomas
Cinematography by: Oliver Wood
Edited by: Peter Teschner
Sound Effects Editor
Blood Work (2002)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Sound Design Editor
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 Design Assistant
What Lies Beneath (2000)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Cameras: Panavision Panaflex Platinum Camera
Assistant Sound Editor
Pitch Black (2000)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Rick Shaine
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Assistant Sound Designer, Sound Effects Recordist
Dinosaur (2000)
Edited by: H. Lee Peterson
Cameras: VistaVision Cameras
Assistant Sound Editor
Rules of Engagement (2000)
Directed by: William Friedkin
Edited by: Augie Hess
Assistant Sound Design
The 13th Warrior (1999)
Cinematography by: Peter Menzies Jr.
Edited by: John Wright
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Sound Effects Editor
The Iron Giant (1999)
Directed by: Brad Bird
Cinematography by: Steven Wilzbach
Edited by: Darren T. Holmes
Sound Designer Assistant
Bicentennial Man (1999)
Directed by: Chris Columbus
Cinematography by: Phil Meheux
Cameras: Panavision Panaflex Gold II Camera
Assistant Sound Editor
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Asst. Sound Effects Editor
The Horse Whisperer (1998)
Directed by: Robert Redford
Cinematography by: Robert Richardson
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Assistant Sound Editor
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Apprentice Sound Editor , Sound Effects Apprentice
One Fine Day (1996)
Directed by: Michael Hoffman
Cinematography by: Oliver Stapleton
Edited by: Garth Craven
Sound Effects Assistant
Wedding Bell Blues (1996)
Directed by: Dana Lustig
Cinematography by: Kent L. Wakeford
Edited by: Caroline Ross
Assistant Sound Editor , Sound Technical Assistant
Home for the Holidays (1995)
Directed by: Jodie Foster
Cinematography by: Lajos Koltai
Edited by: Lynzee Klingman
