Post-production
Don't Breathe (2016)
Directed by: Fede Alvarez
Cinematography by: Pedro Luque
Cameras: ARRI ALEXA XT Camera, Blackmagic Pocket Cinema Camera, Phantom Flex4K Camera, Red Epic Dragon Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 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, Zeiss Super Speed Lenses, Zeiss Super Speeds Mk II 18 mm T1.3 Lens, Zeiss Super Speeds Mk II 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 12 mm T1.3 Lens, Zeiss Ultra 16 Distagon 14 mm T1.3 Lens, Zeiss Ultra 16 Distagon 18 mm T1.3 Lens, Zeiss Ultra 16 Distagon 25 mm T1.3 Lens, Zeiss Ultra 16 Distagon 6 mm T1.3 Lens, Zeiss Ultra 16 Distagon 8 mm T1.3 Lens, Zeiss Ultra 16 Distagon 9.5 mm T1.3 Lens, Zeiss Ultra 16 Planar 35 mm T1.3 Lens
Post-production
The Legend of Tarzan (2016)
Directed by: David Yates
Cinematography by: Henry Braham
Edited by: Mark Day
Cameras: Red Epic Dragon Camera
Post-production
Triple 9 (2016)
Directed by: John Hillcoat
Cinematography by: Nicolas Karakatsanis
Edited by: Dylan Tichenor
Post-production
Hail, Caesar! (2016)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Adobe Premiere Editing System
Post-production
The Intern (2015)
Directed by: Nancy Meyers
Cinematography by: Stephen Goldblatt
Edited by: Robert Leighton
Cameras: ARRI ALEXA XT Camera
Post-production
Sicario (2015)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Post-production
Fifty Shades of Grey (2015)
Directed by: Sam Taylor-Johnson
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA XT Plus Camera
Post-production
Cake (2014)
Directed by: Daniel Barnz
Cinematography by: Rachel Morrison
Cameras: ARRI ALEXA Plus 4:3 Camera
Post-production
Foxcatcher (2014)
Directed by: Bennett Miller
Cinematography by: Greig Fraser
Editing System: Avid Editing System
Additional Post-production Services
St. Vincent (2014)
Directed by: Theodore Melfi
Cinematography by: John Lindley
Editing System: Avid Editing System
Editor: Video
This Is Where I Leave You (2014)
Directed by: Shawn Levy
Cinematography by: Terry Stacey
Edited by: Dean Zimmerman
Cameras: ARRI ALEXA XT Camera
Editor: Video
The Drop (2014)
Directed by: Michaël R. Roskam
Cinematography by: Nicolas Karakatsanis
Edited by: Christopher Tellefsen
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Editor: Video
A Most Violent Year (2014)
Directed by: J.C. Chandor
Cinematography by: Bradford Young
Edited by: Ron Patane
Editing System: Final Cut Pro Editing System
Additional Post-production Services
Ex Machina (2014)
Directed by: Alex Garland
Cinematography by: Rob Hardy
Edited by: Mark Day
Lenses: Angenieux Optimo Zoom Lenses, Panavision Cooke Xtal Xpress (Joe Dunton Camera Millenium Anamorphic) Lenses
Editing System: Avid Editing System
Post-production
The Master (2012)
Directed by: Paul Thomas Anderson
Cinematography by: Mihai Malaimare Jr.
Cameras: Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision 65mm Prime Lenses
Editing System: Avid Editing System
Post-production
Arbitrage (2012)
Directed by: Nicholas Jarecki
Cinematography by: Yorick Le Saux
Edited by: Douglas Crise
Cameras: ARRICAM Lite (LT) Camera
Editor: Video
The Words (2012)
Cinematography by: Antonio Calvache
Edited by: Leslie Jones
Cameras: Panavision Cameras
Editing System: Avid Editing System
Additional Post-production Services / Editor: Video
Killing Them Softly (2012)
Directed by: Andrew Dominik
Cinematography by: Greig Fraser
Lenses: Panavision HS50 50 mm T1.1 Lens
Editor: Video
Horrible Bosses (2011)
Directed by: Seth Gordon
Cinematography by: David Hennings
Edited by: Peter Teschner
Cameras: Panavision Genesis Camera
Additional Post-production Services
New Year's Eve (2011)
Directed by: Garry Marshall
Cinematography by: Charles Minsky
Edited by: Michael Tronick
Cameras: ARRI ALEXA Camera
Additional Post-production Services
Limitless (2011)
Directed by: Neil Burger
Cinematography by: Jo Willems
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Red One Camera
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Post-production
The Beaver (2011)
Directed by: Jodie Foster
Cinematography by: Hagen Bogdanski
Edited by: Lynzee Klingman
Post-production
Water for Elephants (2011)
Directed by: Francis Lawrence
Cinematography by: Rodrigo Prieto
Edited by: Alan Edward Bell
Editing System: Avid Editing System
Editor: Video
Just Go with It (2011)
Directed by: Dennis Dugan
Cinematography by: Theo van de Sande
Edited by: Tom Costain
Post-production
Miss Bala (2011)
Directed by: Gerardo Naranjo
Cinematography by: Mátyás Erdély
Edited by: Gerardo Naranjo
Editor: Video
Thin Ice (2011)
Directed by: Jill Sprecher
Cinematography by: Dick Pope
Edited by: Lee Percy
Additional Post-production Services
Salt (2010)
Directed by: Phillip Noyce
Cinematography by: Robert Elswit
Editor: Video
The Next Three Days (2010)
Directed by: Paul Haggis
Cinematography by: Stéphane Fontaine
Edited by: Jo Francis
Additional Post-production Services
Knight and Day (2010)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Additional Post-production Services
Killers (2010)
Directed by: Robert Luketic
Cinematography by: Russell Carpenter
Cameras: ARRIFLEX D-21 Camera
Lenses: Hawk V-Series Lenses
Additional Editing
Welcome to the Rileys (2010)
Directed by: Jake Scott
Cinematography by: Christopher Soos
Edited by: Nicolas Gaster
Additional Editor
Rabbit Hole (2010)
Directed by: John Cameron Mitchell
Cinematography by: Frank G. DeMarco
Edited by: Joe Klotz
Cameras: Red One Camera
Additional Post-production Services
Brooklyn's Finest (2009)
Directed by: Antoine Fuqua
Cinematography by: Patrick Murguia
Edited by: Barbara Tulliver
Editor: Video
City Island (2009)
Directed by: Raymond De Felitta
Cinematography by: Vanja Cernjul
Edited by: David Leonard
Post-production
Everybody's Fine (2009)
Directed by: Kirk Jones
Cinematography by: Henry Braham
Edited by: Andrew Mondshein
Editor: Video
He's Just Not That Into You (2009)
Directed by: Ken Kwapis
Cinematography by: John Bailey
Edited by: Cara Silverman
Additional Post-production Services
Traitor (2008)
Directed by: Jeffrey Nachmanoff
Cinematography by: James M. Muro
Edited by: Billy Fox
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Final Cut Pro Editing System
Editor: Video
Two Lovers (2008)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Lenses: Cooke S4 Lenses
Additional Editor
100 Feet (2008)
Directed by: Eric Red
Cinematography by: Ken Kelsch
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Additional Post-production Services / Editor: Video
Doubt (2008)
Directed by: John Patrick Shanley
Cinematography by: Roger Deakins
Edited by: Dylan Tichenor
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Additional Post-production Services
Get Smart (2008)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: Richard Pearson
Lenses: Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Editor: Video Tape
The Informers (2008)
Directed by: Gregor Jordan
Cinematography by: Petra Korner
Edited by: Robert Brakey
Editor: Video
What Doesn't Kill You (2008)
Directed by: Brian Goodman
Cinematography by: Christopher Norr
Edited by: Robert Hoffman
Post-production
Mr. Brooks (2007)
Directed by: Bruce A. Evans
Cinematography by: John Lindley
Edited by: Miklos Wright
Additional Post-production Services
King of California (2007)
Directed by: Mike Cahill
Cinematography by: Jim Whitaker
Edited by: Glenn Garland
Additional Post-production Services
The Heartbreak Kid (2007)
Cinematography by: Matthew F. Leonetti
Post-production
Before the Devil Knows You're Dead (2007)
Directed by: Sidney Lumet
Cinematography by: Ron Fortunato
Edited by: Tom Swartwout
Cameras: Panavision Genesis Camera
Additional Post-production Services
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Additional Post-production Services
Charlie Wilson's War (2007)
Directed by: Mike Nichols
Cinematography by: Stephen Goldblatt
Editor: Video
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Additional Post-production Services
Apocalypto (2006)
Directed by: Mel Gibson
Cinematography by: Dean Semler
Edited by: John Wright
Post-production
Babel (2006)
Directed by: Alejandro G. Iñárritu
Cinematography by: Rodrigo Prieto
Editor: Video
300 (2006)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Editing System: Final Cut Pro Editing System
Additional Post-production Services
Friends with Money (2006)
Directed by: Nicole Holofcener
Cinematography by: Terry Stacey
Edited by: Robert Frazen
Additional Post-production Services
The Good Shepherd (2006)
Directed by: Robert De Niro
Cinematography by: Robert Richardson
Edited by: Tariq Anwar
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Editor: Video
'Desperate Housewives' The Sun Won't Set (2005)
Directed by: Stephen Cragg
Cinematography by: Richard M. Rawlings Jr.
Edited by: Jonathan Posell
Editor: Video
Assault on Precinct 13 (2005)
Directed by: Jean-François Richet
Cinematography by: Robert Gantz
Edited by: Bill Pankow
Additional Post-production Services
Be Cool (2005)
Directed by: F. Gary Gray
Cinematography by: Jeffrey L. Kimball
Edited by: Sheldon Kahn
Editor: Video
Rumor Has It... (2005)
Directed by: Rob Reiner
Cinematography by: Peter Deming
Edited by: Robert Leighton
Post-production
The Ice Harvest (2005)
Directed by: Harold Ramis
Cinematography by: Alar Kivilo
Edited by: Lee Percy
Additional Post-production Services
Troy (2004)
Directed by: Wolfgang Petersen
Cinematography by: Roger Pratt
Edited by: Peter Honess
Lenses: Cooke S4 Lenses
Additional Post-production Services
Spanglish (2004)
Directed by: James L. Brooks
Cinematography by: John Seale
Editor: Video
'Desperate Housewives' Pilot (2004)
Directed by: Charles McDougall
Cinematography by: David Franco
Edited by: Michael Berenbaum
Editor: Video
'Desperate Housewives' Pilot (2004)
Directed by: Charles McDougall
Cinematography by: David Franco
Edited by: Michael Berenbaum
Additional Post-production Services
After the Sunset (2004)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Edited by: Mark Helfrich
Cameras: ARRICAM Lite (LT) Camera, Panavision Cameras
Editor: Video - 2 Episodes, 2004-2005
Desperate Housewives (2004)
Directed by: David Grossman, Larry Shaw, David Warren, Arlene Sanford, Bethany Rooney, Wendey Stanzler, Lonny Price, Jeff Melman, Fred Gerber, Randy Zisk, Jeff Greenstein, Tara Nicole Weyr, Robert Duncan McNeill, Matthew Diamond, Andrew Doerfer, Ken Whittingham, Charles McDougall, John David Coles, Stephen Cragg, Tom Cherones, Pam Thomas, Sanaa Hamri, Jay Torres, Scott Ellis, Jennifer Getzinger, Tony Plana, James Hayman, Ron Underwood
Cinematography by: Lowell Peterson, David J. Miller, Richard M. Rawlings Jr., Eric Van Haren Noman, Walt Fraser, Michael Negrin, David Franco, Kenneth Zunder
Edited by: Jonathan Posell, Andrew Doerfer, Karen Castañeda, Nancy Morrison, Brent White, Troy Takaki, Kaja Fehr, Michael Berenbaum, William Marrinson
Cameras: ARRI ALEXA Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses, Panavision Super Speed Lenses, Panavision Ultra Speed MKII Lenses
Editing System: Avid Editing System
Additional Post-production Services
Tears of the Sun (2003)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Cameras: Panavision Cameras
Editor: Video
Beyond Borders (2003)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Nicholas Beauman
Post-production
The Human Stain (2003)
Directed by: Robert Benton
Cinematography by: Jean-Yves Escoffier
Edited by: Christopher Tellefsen
Additional Post-production Services
Ghost Ship (2002)
Directed by: Steve Beck
Cinematography by: Gale Tattersall
Edited by: Roger Barton
Editor: Video
Enemy at the Gates (2001)
Directed by: Jean-Jacques Annaud
Cinematography by: Robert Fraisse
Editor: Video
Gladiator (2000)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Editor: Video
Drop Dead Gorgeous (1999)
Directed by: Michael Patrick Jann
Cinematography by: Michael Spiller
Uncredited
Wild Things (1998)
Directed by: John McNaughton
Cinematography by: Jeffrey L. Kimball
Edited by: Elena Maganini
