Adr Mixer
Dune (2021)
Directed by: Denis Villeneuve
Cinematography by: Greig Fraser
Edited by: Joe Walker
Adr Mixer
Greyhound (2020)
Directed by: Aaron Schneider
Cinematography by: Shelly Johnson
Cameras: Panavision Millennium DXL Camera
Adr 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
Editing System: Avid Editing System
Adr Mixer, Adr Mixer: Warner Bros
Pokémon: Detective Pikachu (2019)
Directed by: Rob Letterman
Cinematography by: John Mathieson
Adr Mixer
Bombshell (2019)
Directed by: Jay Roach
Cinematography by: Barry Ackroyd
Edited by: Jon Poll
Cameras: ARRI ALEXA Mini Camera
Adr Mixer
Doctor Sleep (2019)
Directed by: Mike Flanagan
Cinematography by: Michael Fimognari
Edited by: Mike Flanagan
Cameras: ARRI ALEXA 65 Camera
Lenses: Hasselblad Lenses
Adr Mixer
Knives Out (2019)
Directed by: Rian Johnson
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Adr Mixer
Hustlers (2019)
Directed by: Lorene Scafaria
Cinematography by: Todd Banhazl
Edited by: Kayla Emter
Cameras: Panavision Millennium DXL2 Camera
Adr Mixer
Us (2019)
Directed by: Jordan Peele
Cinematography by: Mike Gioulakis
Edited by: Nicholas Monsour
Adr Mixer
First Man (2018)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Adr Mixer
Christopher Robin (2018)
Directed by: Marc Forster
Cinematography by: Matthias Koenigswieser
Edited by: Matt Chesse
Adr Mixer
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
Adr Mixer
Red Sparrow (2018)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Adr Mixer
The Spy Who Dumped Me (2018)
Directed by: Susanna Fogel
Cinematography by: Barry Peterson
Edited by: Jonathan Schwartz
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Adr Mixer
Bad Times at the El Royale (2018)
Directed by: Drew Goddard
Cinematography by: Seamus McGarvey
Edited by: Lisa Lassek
Adr Mixer
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Adr 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
Editing System: Avid Editing System
Adr Mixer
Death Note (2017)
Directed by: Adam Wingard
Cinematography by: David Tattersall
Edited by: Louis Cioffi
Cameras: Panasonic VariCam 35, Panasonic VariCam Camera
Adr Mixer
It (2017)
Directed by: Andy Muschietti
Cinematography by: Chung-hoon Chung
Edited by: Jason Ballantine
Cameras: ARRI ALEXA Mini Camera
Adr Mixer
Suburbicon (2017)
Directed by: George Clooney
Cinematography by: Robert Elswit
Edited by: Stephen Mirrione
Cameras: ARRI ALEXA XT Plus Camera
Adr Mixer
Wind River (2017)
Directed by: Taylor Sheridan
Cinematography by: Ben Richardson
Edited by: Gary Roach
Adr Mixer: Warner Bros. Studios Post Production Creative Services
The Post (2017)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Adr Mixer
Wonder Woman (2017)
Directed by: Patty Jenkins
Cinematography by: Matthew Jensen
Edited by: Martin Walsh
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera
Lenses: ARRI Rental Prime 65 Lenses
Adr Mixer
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Adr Mixer: Warner Bros. Post Production Creative Services
Baywatch (2017)
Directed by: Seth Gordon
Cinematography by: Eric Steelberg
Edited by: Peter S. Elliot
Cameras: ARRI ALEXA XT Plus Camera
Adr Recordist: Warner Bros.
Only the Brave (2017)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Billy Fox
Cameras: Sony CineAlta F65 Camera
Adr Mixer, Adr Mixer: Warner Bros
All I See Is You (2016)
Directed by: Marc Forster
Cinematography by: Matthias Koenigswieser
Edited by: Hughes Winborne
Cameras: ARRI ALEXA XT Camera
Adr Mixer
How to Be Single (2016)
Directed by: Christian Ditter
Cinematography by: Christian Rein
Edited by: Tia Nolan
Adr Mixer
Midnight Special (2016)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Adr Mixer
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
Adr Mixer
Suicide Squad (2016)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: John Gilroy
Adr Mixer
War Dogs (2016)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Jeff Groth
Cameras: ARRI ALEXA XT Camera
Adr Mixer
Mad Max: Fury Road (2015)
Directed by: George Miller
Cinematography by: John Seale
Edited by: Margaret Sixel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Blackmagic Cinema Camera, Canon EOS-5D Mark II Camera, Nikon D800 Camera, Olympus E-P5 Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses, Panavision Ultra Speed MKII Lenses
Editing System: Avid Editing System
Adr Mixer
The SpongeBob Movie: Sponge Out of Water (2015)
Cinematography by: Phil Meheux
Edited by: David Ian Salter
Cameras: ARRI ALEXA Camera
Adr Mixer
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Adr Mixer
Entourage (2015)
Directed by: Doug Ellin
Cinematography by: Steven Fierberg
Edited by: Jeff Groth
Cameras: ARRICAM Lite (LT) Camera
Adr Mixer
Fifty Shades of Grey (2015)
Directed by: Sam Taylor-Johnson
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA XT Plus Camera
Adr Mixer
Get Hard (2015)
Directed by: Etan Cohen
Cinematography by: Tim Suhrstedt
Edited by: Michael L. Sale
Cameras: ARRI ALEXA XT Plus Camera
Adr Mixer
Run All Night (2015)
Directed by: Jaume Collet-Serra
Cinematography by: Martin Ruhe
Edited by: Dirk Westervelt
Adr Mixer
Mission: Impossible - Rogue Nation (2015)
Directed by: Christopher McQuarrie
Cinematography by: Robert Elswit
Edited by: Eddie Hamilton
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera
Editing System: Avid Editing System
Adr Mixer
San Andreas (2015)
Directed by: Brad Peyton
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Adr Mixer
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Adr Mixer
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Adr Mixer
Pitch Perfect 2 (2015)
Directed by: Elizabeth Banks
Cinematography by: Jim Denault
Edited by: Craig Alpert
Cameras: ARRI ALEXA Plus Camera
Adr Mixer
Sicario (2015)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Adr Mixer
Tomorrowland (2015)
Directed by: Brad Bird
Cinematography by: Claudio Miranda
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 Camera
Lenses: Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 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 150 mm T1.3 Lens
Adr Mixer
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
Adr Mixer
Magic Mike XXL (2015)
Directed by: Gregory Jacobs
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Cameras: Red Epic Dragon Camera
Adr Mixer
We Are Your Friends (2015)
Directed by: Max Joseph
Cinematography by: Brett Pawlak
Cameras: Red Epic Dragon Camera
Adr Mixer
The Lego Movie (2014)
Cameras: ARRI ALEXA Series Cameras
Editing System: Final Cut Pro Editing System
Additional Adr Mixer
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Adr Mixer
Winter's Tale (2014)
Directed by: Akiva Goldsman
Cinematography by: Caleb Deschanel
Cameras: ARRI ALEXA Plus 4:3 Camera
Adr Mixer
The Monuments Men (2014)
Directed by: George Clooney
Cinematography by: Phedon Papamichael
Edited by: Stephen Mirrione
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite Lenses, Hawk V-Plus Lenses, Hawk V-Series Lenses, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens
Editing System: Avid Editing System
Adr Mixer
The Hunger Games: Mockingjay - Part 1 (2014)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Adr 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
Adr Mixer
Horrible Bosses 2 (2014)
Directed by: Sean Anders
Cinematography by: Julio Macat
Edited by: Eric Kissack
Cameras: ARRI ALEXA XT Camera
Lenses: Leitz Summilux-C Series Lenses
Adr Mixer
Gone Girl (2014)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Edited by: Kirk Baxter
Cameras: Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Adobe Premiere Editing System
Adr Mixer
This Is Where I Leave You (2014)
Directed by: Shawn Levy
Cinematography by: Terry Stacey
Edited by: Dean Zimmerman
Cameras: ARRI ALEXA XT Camera
Adr Mixer
American Sniper (2014)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Cameras: ARRI ALEXA XT Camera
Adr Mixer
Get on Up (2014)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Michael McCusker
Adr Mixer
Dolphin Tale 2 (2014)
Directed by: Charles Martin Smith
Cinematography by: Daryn Okada
Edited by: Harvey Rosenstock
Cameras: Sony PMW-F55 Camera
Adr Mixer
Pacific Rim (2013)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Cameras: Red Epic Camera
Adr Mixer
Gravity (2013)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRI ALEXA Camera, ARRIFLEX 765 Camera
Lenses: ARRI / Zeiss Lenses, Panavision Primo Close Focus Spherical Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Adr 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
Adr Mixer
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Adr Mixer
A Good Day to Die Hard (2013)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Adr Mixer
Prisoners (2013)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Cameras: ARRI ALEXA Studio Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Adr Mixer
The Incredible Burt Wonderstone (2013)
Directed by: Don Scardino
Cinematography by: Matthew Clark
Edited by: Lee Haxall
Adr Mixer
The Conjuring (2013)
Directed by: James Wan
Cinematography by: John R. Leonetti
Edited by: Kirk M. Morri
Cameras: ARRI ALEXA Camera
Lenses: Leitz Summilux-C Series Lenses
Adr Mixer
The Apparition (2012)
Directed by: Todd Lincoln
Cinematography by: Daniel Pearl
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision Cooke Xtal Xpress (Joe Dunton Camera Millenium Anamorphic) Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Adr Mixer
Underworld Awakening (2012)
Cinematography by: Scott Kevan
Edited by: Jeff McEvoy
Cameras: Red Epic Camera
Adr Mixer
The Lucky One (2012)
Directed by: Scott Hicks
Cinematography by: Alar Kivilo
Edited by: Scott Gray
Adr Mixer
Looper (2012)
Directed by: Rian Johnson
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Adr Mixer
The Odd Life of Timothy Green (2012)
Directed by: Peter Hedges
Cinematography by: John Toll
Edited by: Andrew Mondshein
Adr Mixer
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Adr Mixer
The Dark Knight Rises (2012)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Cameras: ARRIFLEX 235 Camera, Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera, Panavision System 65 Camera
Lenses: Hasselblad Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Adr Mixer
Ruby Sparks (2012)
Cinematography by: Matthew Libatique
Edited by: Pamela Martin
Lenses: Cooke Speed Panchro Lenses
Adr Mixer
ParaNorman (2012)
Cinematography by: Tristan Oliver
Edited by: Christopher Murrie
Cameras: Canon EOS-5D Mark II Camera
Adr Mixer
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Adr Recordist
The Words (2012)
Cinematography by: Antonio Calvache
Edited by: Leslie Jones
Cameras: Panavision Cameras
Editing System: Avid Editing System
Adr Mixer
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
Adr Mixer: Warner Bros. Post Production Services
Lincoln (2012)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Adr Mixer
Won't Back Down (2012)
Directed by: Daniel Barnz
Cinematography by: Roman Osin
Edited by: Kristina Boden
Cameras: ARRICAM Lite (LT) Camera
Adr Mixer
A Cinderella Story: Once Upon a Song (2011)
Directed by: Damon Santostefano
Cinematography by: John Peters
Edited by: Tony Lombardo
Cameras: Panavised Sony CineAlta F35 Camera
Lenses: Panavision Lenses
Adr Mixer
Green Lantern (2011)
Directed by: Martin Campbell
Cinematography by: Dion Beebe
Edited by: Stuart Baird
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Adr Mixer: 424 Inc.
The Rum Diary (2011)
Directed by: Bruce Robinson
Cinematography by: Dariusz Wolski
Edited by: Carol Littleton
Lenses: Zeiss Ultra Prime Lenses
Adr Mixer
The Ides of March (2011)
Directed by: George Clooney
Cinematography by: Phedon Papamichael
Edited by: Stephen Mirrione
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
Unknown (2011)
Directed by: Jaume Collet-Serra
Cinematography by: Flavio Martínez Labiano
Edited by: Timothy Alverson
Adr Mixer
Water for Elephants (2011)
Directed by: Francis Lawrence
Cinematography by: Rodrigo Prieto
Edited by: Alan Edward Bell
Editing System: Avid Editing System
Adr Mixer
Real Steel (2011)
Directed by: Shawn Levy
Cinematography by: Mauro Fiore
Edited by: Dean Zimmerman
Cameras: Sony CineAlta F35 Camera
Lenses: Cooke Lenses, Cooke S4 Lenses
Editing System: Avid Editing System
Adr Mixer
Dolphin Tale (2011)
Directed by: Charles Martin Smith
Cinematography by: Karl Walter Lindenlaub
Edited by: Harvey Rosenstock
Cameras: Red One MX Camera
Adr Mixer
Crazy, Stupid, Love. (2011)
Cinematography by: Andrew Dunn
Edited by: Lee Haxall
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
The Change-Up (2011)
Directed by: David Dobkin
Cinematography by: Eric Alan Edwards
Lenses: Cooke S4 Lenses
Adr 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
ADR Mixer
The Perfect Host (2010)
Directed by: Nick Tomnay
Cinematography by: John Brawley
Edited by: Nick Tomnay
Cameras: Red One Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Adr Mixer
Due Date (2010)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Adr Mixer
Cop Out (2010)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Adr Mixer
The Crazies (2010)
Directed by: Breck Eisner
Cinematography by: Maxime Alexandre
Edited by: Billy Fox
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Adr Mixer
Little Fockers (2010)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Cameras: ARRI Cameras
Adr Mixer
Rabbit Hole (2010)
Directed by: John Cameron Mitchell
Cinematography by: Frank G. DeMarco
Edited by: Joe Klotz
Cameras: Red One Camera
Adr Mixer
Stone (2010)
Directed by: John Curran
Cinematography by: Maryse Alberti
Edited by: Alexandre de Franceschi
Adr Mixer
Hereafter (2010)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Adr Mixer
Ramona and Beezus (2010)
Directed by: Elizabeth Allen Rosenbaum
Cinematography by: John Bailey
Edited by: Jane Moran
Adr Mixer
Life as We Know It (2010)
Directed by: Greg Berlanti
Cinematography by: Andrew Dunn
Edited by: Jim Page
Adr Mixer
Jonah Hex (2010)
Directed by: Jimmy Hayward
Cinematography by: Mitchell Amundsen
Adr Mixer
Handsome Harry (2009)
Directed by: Bette Gordon
Cinematography by: Nigel Bluck
Edited by: Keiko Deguchi
Adr Mixer
Coraline (2009)
Directed by: Henry Selick
Cinematography by: Pete Kozachik
Editing System: Avid Editing System
Adr Mixer
The Unborn (2009)
Directed by: David S. Goyer
Cinematography by: James Hawkinson
Edited by: Jeff Betancourt
Cameras: Panavision Cameras
Adr Mixer
The Macabre World of Lavender Williams (2009)
Directed by: Nick Delgado
Cinematography by: Matt Egan
Edited by: Mark Apicella
Adr Mixer
The Blind Side (2009)
Directed by: John Lee Hancock
Cinematography by: Alar Kivilo
Edited by: Mark Livolsi
Lenses: Zeiss Master Prime Lenses
Adr Mixer
17 Again (2009)
Directed by: Burr Steers
Cinematography by: Tim Suhrstedt
Edited by: Padraic McKinley
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
The Hangover (2009)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Adr Mixer
Up in the Air (2009)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Adr Mixer
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Adr Mixer
Invictus (2009)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Adr Mixer
Watchmen (2009)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Adr Mixer
Changeling (2008)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Adr Mixer
Tropic Thunder (2008)
Directed by: Ben Stiller
Cinematography by: John Toll
Edited by: Greg Hayden
Adr Mixer
Henry Poole Is Here (2008)
Directed by: Mark Pellington
Cinematography by: Eric Schmidt
Edited by: Lisa Zeno Churgin
Adr 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
Adr Mixer
Role Models (2008)
Directed by: David Wain
Cinematography by: Russ T. Alsobrook
Edited by: Eric Kissack
Cameras: Panavision Cameras
Adr Mixer
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Adr Mixer
Leatherheads (2008)
Directed by: George Clooney
Cinematography by: Newton Thomas Sigel
Edited by: Stephen Mirrione
Adr Mixer: Warner Bros. Studios
The Lookout (2007)
Directed by: Scott Frank
Cinematography by: Alar Kivilo
Edited by: Jill Savitt
Adr Mixer
Balls of Fury (2007)
Directed by: Robert Ben Garant
Cinematography by: Thomas E. Ackerman
Edited by: John Refoua
Cameras: Panavision Genesis Camera
Editing System: Final Cut Pro Editing System
Adr Mixer
The Condemned (2007)
Directed by: Scott Wiper
Cinematography by: Ross Emery
Edited by: Derek Brechin
Adr Mixer
Lions for Lambs (2007)
Directed by: Robert Redford
Cinematography by: Philippe Rousselot
Edited by: Joe Hutshing
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
Underdog (2007)
Directed by: Frederik Du Chau
Cinematography by: David Eggby
Edited by: Tom Finan
Adr Mixer
American Gangster (2007)
Directed by: Ridley Scott
Cinematography by: Harris Savides
Edited by: Pietro Scalia
Editing System: Avid Editing System
Adr Mixer
The Bourne Ultimatum (2007)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
Adr Mixer
Evan Almighty (2007)
Directed by: Tom Shadyac
Cinematography by: Ian Baker
Edited by: Scott Hill
Cameras: Panavision Cameras
Editing System: Lightworks Editing System
Adr Mixer
There Will Be Blood (2007)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Adr Mixer
Breach (2007)
Directed by: Billy Ray
Cinematography by: Tak Fujimoto
Edited by: Jeffrey Ford
Cameras: Panavision Cameras
Additional Dialogue Recordist
Ratatouille (2007)
Cinematography by: Robert Anderson
Edited by: Darren T. Holmes
Adr Mixer
Letters from Iwo Jima (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Adr Mixer
American Dreamz (2006)
Directed by: Paul Weitz
Cinematography by: Robert Elswit
Edited by: Myron Kerstein
Adr Mixer
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Adr Mixer
The Prestige (2006)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Adr Mixer
Accepted (2006)
Directed by: Steve Pink
Cinematography by: Matthew F. Leonetti
Edited by: Scott Hill
Cameras: Moviecam Cameras
Adr Mixer
Rescue Dawn (2006)
Directed by: Werner Herzog
Cinematography by: Peter Zeitlinger
Edited by: Joe Bini
Adr Mixer
The Illusionist (2006)
Directed by: Neil Burger
Cinematography by: Dick Pope
Edited by: Naomi Geraghty
Adr Mixer
Are We There Yet? (2005)
Directed by: Brian Levant
Cinematography by: Thomas E. Ackerman
Edited by: Lawrence Jordan
Adr Mixer
The Prize Winner of Defiance, Ohio (2005)
Directed by: Jane Anderson
Cinematography by: Jonathan Freeman
Edited by: Robert Dalva
Adr Mixer
House of Wax (2005)
Directed by: Jaume Collet-Serra
Cinematography by: Stephen F. Windon
Edited by: Joel Negron
Adr Mixer
Brokeback Mountain (2005)
Directed by: Ang Lee
Cinematography by: Rodrigo Prieto
Lenses: Cooke S4 Lenses
Adr Mixer
Lord of War (2005)
Directed by: Andrew Niccol
Cinematography by: Amir Mokri
Edited by: Zach Staenberg
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
Serenity (2005)
Directed by: Joss Whedon
Cinematography by: Jack N. Green
Edited by: Lisa Lassek
Lenses: Panavision Lenses
Adr Mixer: Los Angeles
King Kong (2005)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, Mitchell Cameras
Editing System: Avid Editing System
Adr Mixer
The Island (2005)
Directed by: Michael Bay
Cinematography by: Mauro Fiore
Adr Mixer
Kiss Kiss Bang Bang (2005)
Directed by: Shane Black
Cinematography by: Michael Barrett
Edited by: Jim Page
Adr Mixer
Constantine (2005)
Directed by: Francis Lawrence
Cinematography by: Philippe Rousselot
Edited by: Wayne Wahrman
Adr Mixer
Man on Fire (2004)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
Million Dollar Baby (2004)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
In Good Company (2004)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Edited by: Myron Kerstein
Adr Mixer
Iron Jawed Angels (2004)
Directed by: Katja von Garnier
Cinematography by: Robbie Greenberg
Edited by: Hans Funck
Adr Mixer
A Cinderella Story (2004)
Directed by: Mark Rosman
Cinematography by: Anthony B. Richmond
Edited by: Cara Silverman
Lenses: Panavision Lenses
Adr Mixer
Shall We Dance (2004)
Directed by: Peter Chelsom
Cinematography by: John de Borman
Cameras: ARRI Cameras
Adr Mixer
The Core (2003)
Directed by: Jon Amiel
Cinematography by: John Lindley
Edited by: Terry Rawlings
Adr Mixer
Mystic River (2003)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Editing System: Avid Editing System
Adr Mixer
Bruce Almighty (2003)
Directed by: Tom Shadyac
Cinematography by: Dean Semler
Edited by: Scott Hill
Lenses: Panavision Primo Close Focus Spherical Lenses, Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses
Editing System: Lightworks Editing System
Adr Mixer
The Matrix Revolutions (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Adr Mixer
Runaway Jury (2003)
Directed by: Gary Fleder
Cinematography by: Robert Elswit
Edited by: William Steinkamp
Adr Mixer
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
How to Lose a Guy in 10 Days (2003)
Directed by: Donald Petrie
Cinematography by: John Bailey
Edited by: Debra Neil-Fisher
Adr Mixer
The Matrix Reloaded (2003)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Adr Mixer
The Recruit (2003)
Directed by: Roger Donaldson
Cinematography by: Stuart Dryburgh
Edited by: David Rosenbloom
Adr Mixer
Cradle 2 the Grave (2003)
Directed by: Andrzej Bartkowiak
Cinematography by: Daryn Okada
Edited by: Derek Brechin
Cameras: Panavision Cameras
Adr Mixer
The Salton Sea (2002)
Directed by: D.J. Caruso
Cinematography by: Amir Mokri
Edited by: Jim Page
Adr Recording Mixer
8 Mile (2002)
Directed by: Curtis Hanson
Cinematography by: Rodrigo Prieto
Lenses: Zeiss Ultra Prime Lenses
Adr Mixer
Punch-Drunk Love (2002)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Leslie Jones
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Adr Mixer
Blood Work (2002)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Adr Mixer
Training Day (2001)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: Conrad Buff IV
Lenses: Hawk C-Series Lenses
Adr Mixer
Planet of the Apes (2001)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
The Caveman's Valentine (2001)
Directed by: Kasi Lemmons
Cinematography by: Amy Vincent
Edited by: Terilyn A. Shropshire
Adr Mixer
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
Adr Mixer
Spy Game (2001)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
The Majestic (2001)
Directed by: Frank Darabont
Cinematography by: David Tattersall
Edited by: Jim Page
Adr Mixer
Black Hawk Down (2001)
Directed by: Ridley Scott
Cinematography by: Slawomir Idziak
Edited by: Pietro Scalia
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 ES Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Adr Mixer
Angel Eyes (2001)
Directed by: Luis Mandoki
Cinematography by: Piotr Sobocinski
Edited by: Gerald B. Greenberg
Adr Mixer
What's the Worst That Could Happen? (2001)
Directed by: Sam Weisman
Cinematography by: Anastas N. Michos
Cameras: Panavision Cameras
Adr Mixer
Battlefield Earth (2000)
Directed by: Roger Christian
Cinematography by: Giles Nuttgens
Edited by: Robin Russell
Adr Mixer
Thirteen Days (2000)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Edited by: Conrad Buff IV
Adr Mixer: Los Angeles
Nutty Professor II: The Klumps (2000)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: William Kerr
Adr Mixer
The Whole Nine Yards (2000)
Directed by: Jonathan Lynn
Cinematography by: David Franco
Edited by: Tom Lewis
Adr Mixer
Get Carter (2000)
Directed by: Stephen Kay
Cinematography by: Mauro Fiore
Edited by: Gerald B. Greenberg
Adr Mixer
Romeo Must Die (2000)
Directed by: Andrzej Bartkowiak
Cinematography by: Glen MacPherson
Edited by: Derek Brechin
Adr Mixer
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
Adr Mixer
Gladiator (2000)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Adr Mixer
Miss Congeniality (2000)
Directed by: Donald Petrie
Cinematography by: László Kovács
Edited by: Billy Weber
Adr Mixer
The Way of the Gun (2000)
Directed by: Christopher McQuarrie
Cinematography by: Dick Pope
Edited by: Stephen Semel
Adr Mixer
Space Cowboys (2000)
Directed by: Clint Eastwood
Cinematography by: Jack N. Green
Edited by: Joel Cox
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
Pay It Forward (2000)
Directed by: Mimi Leder
Cinematography by: Oliver Stapleton
Edited by: David Rosenbloom
Cameras: Panavision Cameras
Adr Mixer
The Cell (2000)
Directed by: Tarsem Singh
Cinematography by: Paul Laufer
Adr Mixer
Wild Wild West (1999)
Directed by: Barry Sonnenfeld
Cinematography by: Michael Ballhaus
Edited by: Jim Miller
Adr Mixer
The 13th Warrior (1999)
Cinematography by: Peter Menzies Jr.
Edited by: John Wright
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
The Thomas Crown Affair (1999)
Directed by: John McTiernan
Cinematography by: Tom Priestley Jr.
Edited by: John Wright
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
The Matrix (1999)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Adr Mixer
Virus (1999)
Directed by: John Bruno
Cinematography by: David Eggby
Edited by: M. Scott Smith
Adr Mixer
Magnolia (1999)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Cameras: Panavision Cameras, Pathé Cameras
Lenses: Panavision Lenses
Adr Mixer
Dudley Do-Right (1999)
Directed by: Hugh Wilson
Cinematography by: Donald E. Thorin
Edited by: Don Brochu
Adr Mixer
The Green Mile (1999)
Directed by: Frank Darabont
Cinematography by: David Tattersall
Edited by: Richard Francis-Bruce
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
Forces of Nature (1999)
Directed by: Bronwen Hughes
Edited by: Craig Wood
Cameras: Panavision Cameras
Adr Mixer
Three Kings (1999)
Directed by: David O. Russell
Cinematography by: Newton Thomas Sigel
Edited by: Robert K. Lambert
Cameras: Panavision Cameras
Adr Mixer
Life (1999)
Directed by: Ted Demme
Cinematography by: Geoffrey Simpson
Edited by: Jeffrey Wolf
Adr Mixer
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
Adr Mixer
Patch Adams (1998)
Directed by: Tom Shadyac
Cinematography by: Phedon Papamichael
Edited by: Don Zimmerman
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
One True Thing (1998)
Directed by: Carl Franklin
Cinematography by: Declan Quinn
Edited by: Carole Kravetz Aykanian
Cameras: Moviecam Compact Camera, Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
You've Got Mail (1998)
Directed by: Nora Ephron
Cinematography by: John Lindley
Edited by: Richard Marks
Adr Mixer
Jack Frost (1998)
Directed by: Troy Miller
Cinematography by: László Kovács
Edited by: Lawrence Jordan
Adr Mixer
Enemy of the State (1998)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Chris Lebenzon
Adr Mixer
Practical Magic (1998)
Directed by: Griffin Dunne
Cinematography by: Andrew Dunn
Edited by: Elizabeth Kling
Adr Mixer
City of Angels (1998)
Directed by: Brad Silberling
Cinematography by: John Seale
Edited by: Lynzee Klingman
Adr Mixer
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Adr Mixer
Mercury Rising (1998)
Directed by: Harold Becker
Cinematography by: Michael Seresin
Edited by: Peter Honess
Adr Mixer
Snake Eyes (1998)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Bill Pankow
Lenses: Panavision C Series Anamorphic Lenses, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens
Editing System: Avid Editing System
Adr Mixer
Dead Man on Campus (1998)
Directed by: Alan Cohn
Cinematography by: John Thomas
Edited by: Debra Chiate
Adr Mixer
The Mask of Zorro (1998)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Thom Noble
Lenses: Cooke Lenses
Adr Mixer
Apt Pupil (1998)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Edited by: John Ottman
Adr Mixer
Hope Floats (1998)
Directed by: Forest Whitaker
Cinematography by: Caleb Deschanel
Edited by: Richard Chew
Cameras: Panavision Cameras
Adr Mixer
That Old Feeling (1997)
Directed by: Carl Reiner
Cinematography by: Steve Mason
Edited by: Richard Halsey
Adr Mixer
Dante's Peak (1997)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Adr Mixer
Jackie Brown (1997)
Directed by: Quentin Tarantino
Cinematography by: Guillermo Navarro
Edited by: Sally Menke
Cameras: Moviecam Compact Camera
Lenses: Zeiss Super Speed Lenses
Adr Mixer
The Peacemaker (1997)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Edited by: David Rosenbloom
Adr Mixer: Los Angeles
Liar Liar (1997)
Directed by: Tom Shadyac
Cinematography by: Russell Boyd
Edited by: Don Zimmerman
Adr Mixer
A Simple Wish (1997)
Directed by: Michael Ritchie
Cinematography by: Ralf D. Bode
Edited by: William S. Scharf
Adr Mixer
The Relic (1997)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Edited by: Steven Kemper
Adr Mixer
The Jackal (1997)
Directed by: Michael Caton-Jones
Cinematography by: Karl Walter Lindenlaub
Edited by: Jim Clark
Adr Mixer
Trojan War (1997)
Directed by: George Huang
Cinematography by: Dean Semler
Edited by: Ed Marx
Adr Mixer
As Good as It Gets (1997)
Directed by: James L. Brooks
Cinematography by: John Bailey
Edited by: Richard Marks
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
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
Adr Mixer
The Rock (1996)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Edited by: Richard Francis-Bruce
Adr Mixer
Last Man Standing (1996)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Adr Recordist
The War at Home (1996)
Directed by: Emilio Estevez
Cinematography by: Peter Levy
Edited by: Craig Bassett
Adr Mixer
The Associate (1996)
Directed by: Donald Petrie
Cinematography by: Alex Nepomniaschy
Edited by: Bonnie Koehler
Adr Mixer
Space Jam (1996)
Directed by: Joe Pytka
Cinematography by: Michael Chapman
Edited by: Sheldon Kahn
Adr Mixer
The Glimmer Man (1996)
Directed by: John Gray
Cinematography by: Rick Bota
Edited by: Donn Cambern
Adr Mixer
Matilda (1996)
Directed by: Danny DeVito
Cinematography by: Stefan Czapsky
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
Larger Than Life (1996)
Directed by: Howard Franklin
Cinematography by: Elliot Davis
Edited by: Sidney Levin
Adr Mixer
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Adr Mixer: Los Angeles
The Surgeon (1995)
Directed by: Carl Schenkel
Cinematography by: Thomas Burstyn
Edited by: Jimmy B. Frazier
Adr Mixer
Tommy Boy (1995)
Directed by: Peter Segal
Cinematography by: Victor J. Kemper
Edited by: William Kerr
Adr Mixer
Species (1995)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Edited by: Conrad Buff IV
Adr Mixer
The Usual Suspects (1995)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Edited by: John Ottman
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
Twelve Monkeys (1995)
Directed by: Terry Gilliam
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Cameras: Moviecam Cameras
Lenses: Cooke Lenses
Adr Mixer
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
Adr Mixer
Se7en (1995)
Directed by: David Fincher
Cinematography by: Darius Khondji
Edited by: Richard Francis-Bruce
Adr Mixer
A Walk in the Clouds (1995)
Directed by: Alfonso Arau
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Adr Mixer
Two Bits (1995)
Directed by: James Foley
Cinematography by: Juan Ruiz Anchía
Edited by: Howard E. Smith
Adr Editor
Wild Bill (1995)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Adr Mixer
A Little Princess (1995)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Edited by: Steven Weisberg
Cameras: Panavision Panaflex Platinum Camera
Adr Mixer
The Shawshank Redemption (1994)
Directed by: Frank Darabont
Cinematography by: Roger Deakins
Edited by: Richard Francis-Bruce
Lenses: ARRI / Zeiss Lenses
Adr Mixer
Bad Girls (1994)
Directed by: Jonathan Kaplan
Cinematography by: Ralf D. Bode
Edited by: Jane Kurson
Adr Recordist
Only You (1994)
Directed by: Norman Jewison
Cinematography by: Sven Nykvist
Edited by: Stephen E. Rivkin
Adr Mixer
Blown Away (1994)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Tim Wellburn
Adr Mixer
Speechless (1994)
Directed by: Ron Underwood
Cinematography by: Donald Peterman
Edited by: Richard Francis-Bruce
Adr Mixer
The Getaway (1994)
Directed by: Roger Donaldson
Cinematography by: Peter Menzies Jr.
Edited by: Conrad Buff IV
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
The Specialist (1994)
Directed by: Luis Llosa
Cinematography by: Jeffrey L. Kimball
Edited by: Jack Hofstra
Adr Mixer
Ri¢hie Ri¢h (1994)
Directed by: Donald Petrie
Cinematography by: Don Burgess
Edited by: Malcolm Campbell
Adr Mixer
The Favor (1994)
Directed by: Donald Petrie
Cinematography by: Tim Suhrstedt
Edited by: Harry Keramidas
Adr Mixer
Blue Sky (1994)
Directed by: Tony Richardson
Cinematography by: Steve Yaconelli
Edited by: Robert K. Lambert
Cameras: ARRI Cameras
Adr Mixer
The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom (1993)
Directed by: Michael Ritchie
Cinematography by: Gerry Fisher
Edited by: Eric A. Sears
Adr Mixer
Wrestling Ernest Hemingway (1993)
Directed by: Randa Haines
Cinematography by: Lajos Koltai
Edited by: Paul Hirsch
Adr Mixer
Judgment Night (1993)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Tim Wellburn
Adr Mixer
Diggstown (1992)
Directed by: Michael Ritchie
Cinematography by: Gerry Fisher
Edited by: Don Zimmerman
Adr Mixer
Batman Returns (1992)
Directed by: Tim Burton
Cinematography by: Stefan Czapsky
Cameras: Panavision Panaflex Gold II Camera
Adr Engineer
Honeymoon in Vegas (1992)
Directed by: Andrew Bergman
Cinematography by: William A. Fraker
Edited by: Barry Malkin
Adr Mixer: Los Angeles
Basic Instinct (1992)
Directed by: Paul Verhoeven
Cinematography by: Jan de Bont
Edited by: Frank J. Urioste
Cameras: Panavision Panaflex Camera
Adr Mixer
Pure Country (1992)
Directed by: Christopher Cain
Cinematography by: Richard Bowen
Edited by: Jack Hofstra
Adr Mixer
The Taking of Beverly Hills (1991)
Directed by: Sidney J. Furie
Cinematography by: Frank E. Johnson
Edited by: Antony Gibbs
Foley Mixer
Queens Logic (1991)
Directed by: Steve Rash
Cinematography by: Amir Mokri
Edited by: Patrick Kennedy
Adr Recording / Foley Re-recordist
Point Break (1991)
Directed by: Kathryn Bigelow
Cinematography by: Donald Peterman
Edited by: Howard E. Smith
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Adr Mixer
Frankie and Johnny (1991)
Directed by: Garry Marshall
Cinematography by: Dante Spinotti
Cameras: Panavision Cameras
Adr Recordist
Tremors (1990)
Directed by: Ron Underwood
Cinematography by: Alexander Gruszynski
Edited by: O. Nicholas Brown
Adr Recordist
They Live (1988)
Directed by: John Carpenter
Cinematography by: Gary B. Kibbe
Cameras: Panavision Panaflex Gold Camera
Adr Recordist
The Running Man (1987)
Directed by: Paul Michael Glaser
Cinematography by: Thomas Del Ruth
