Supervising Sound Editor: Formosa Group
John Wick: Chapter 4 (2023)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Nathan Orloff
Supervising Sound Editor
John Wick: Chapter 3 - Parabellum (2019)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Evan Schiff
Supervising Sound Editor
Semper Fi (2019)
Directed by: Henry Alex Rubin
Cinematography by: David Devlin
Cameras: Red Monstro 8K Camera
Supervising Sound Editor
John Wick: Chapter 2 (2017)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Evan Schiff
Cameras: ARRI ALEXA XT Plus Camera
Sound Designer / Sound Supervisor
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Supervising Sound Editor
Miracles from Heaven (2016)
Directed by: Patricia Riggen
Cinematography by: Checco Varese
Edited by: Emma E. Hickox
Cameras: ARRI Cameras
Lenses: ARRI Lenses
Supervising Sound Editor
The Finest Hours (2016)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Supervising Sound Editor
The 33 (2015)
Directed by: Patricia Riggen
Cinematography by: Checco Varese
Edited by: Michael Tronick
Supervising Sound Editor
Straight Outta Compton (2015)
Directed by: F. Gary Gray
Cinematography by: Matthew Libatique
Cameras: Red Epic Dragon Camera
Supervising Sound Editor
John Wick (2014)
Cinematography by: Jonathan Sela
Edited by: Elísabet Ronaldsdóttir
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Additional Audio
Edge of Tomorrow (2014)
Directed by: Doug Liman
Cinematography by: Dion Beebe
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum 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 Sound Editor
Million Dollar Arm (2014)
Directed by: Craig Gillespie
Cinematography by: Gyula Pados
Edited by: Tatiana S. Riegel
Supervising Sound Editor
Walking with Dinosaurs 3D (2013)
Cinematography by: John Brooks
Edited by: John Carnochan
Cameras: Red Epic Camera
Supervising Sound Editor
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
Supervising Sound Editor
Prometheus (2012)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Cameras: ARRI ALEXA Camera, Red Epic Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Supervising Sound Editor
Jack Reacher (2012)
Directed by: Christopher McQuarrie
Cinematography by: Caleb Deschanel
Edited by: Kevin Stitt
Supervising Sound Editor
Fright Night (2011)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Associate Producer, Supervising Sound Editor
Jess + Moss (2011)
Directed by: Clay Jeter
Cinematography by: Will Basanta
Edited by: Isaac Hagy
Supervising Sound Editor
Robin Hood (2010)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Panavision Genesis Camera
Lenses: Angenieux Optimo Zoom Lenses, Optica Elite Lenses, Panavision Compact Zoom Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Supervising Sound Editor
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
Supervising Sound Editor
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Supervising Sound Editor
Law Abiding Citizen (2009)
Directed by: F. Gary Gray
Cinematography by: Jonathan Sela
Edited by: Tariq Anwar
Lenses: Cooke S4 Lenses
Re-recording Mixer / Sound Effects Editor
Good Luck Chuck (2007)
Directed by: Mark Helfrich
Cinematography by: Anthony B. Richmond
Edited by: Julia Wong
Supervising Sound Editor
Gone Baby Gone (2007)
Directed by: Ben Affleck
Cinematography by: John Toll
Edited by: William Goldenberg
Supervising Sound Editor
Mission: Impossible III (2006)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Additional Sound Supervision
Bobby (2006)
Directed by: Emilio Estevez
Cinematography by: Michael Barrett
Edited by: Richard Chew
Supervising Sound Editor
Be Cool (2005)
Directed by: F. Gary Gray
Cinematography by: Jeffrey L. Kimball
Edited by: Sheldon Kahn
Supervising Sound Editor
Two for the Money (2005)
Directed by: D.J. Caruso
Cinematography by: Conrad W. Hall
Edited by: Glen Scantlebury
Supervising Sound Editor
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Additional Sound
Kill Bill: Vol. 1 (2003)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Cameras: Panavision Panaflex Platinum Camera
Supervising Sound Editor
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
Supervising Sound Editor
The Last Samurai (2003)
Directed by: Edward Zwick
Cinematography by: John Toll
Supervising Sound Editor
How to Lose a Guy in 10 Days (2003)
Directed by: Donald Petrie
Cinematography by: John Bailey
Edited by: Debra Neil-Fisher
Sound Designer
We Were Soldiers (2002)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: William Hoy
Cameras: Panavision Panaflex Camera
Supervising Sound Editor
Blow (2001)
Directed by: Ted Demme
Cinematography by: Ellen Kuras
Edited by: Kevin Tent
Supervising Sound Editor
Mission: Impossible II (2000)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
Additional Sound
Gladiator (2000)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Additional Mix Supervision
Body Shots (1999)
Directed by: Michael Cristofer
Cinematography by: Rodrigo García
Edited by: Eric A. Sears
Supervising Sound Editor
Bulworth (1998)
Directed by: Warren Beatty
Cinematography by: Vittorio Storaro
Supervising Sound Editor
The Negotiator (1998)
Directed by: F. Gary Gray
Cinematography by: Russell Carpenter
Edited by: Christian Wagner
Cameras: Panavision Cameras
Supervising Sound Designer
Gone Fishin' (1997)
Directed by: Christopher Cain
Cinematography by: Dean Semler
Edited by: Jack Hofstra
Supervising Sound Editor
Vegas Vacation (1997)
Directed by: Stephen Kessler
Cinematography by: William A. Fraker
Edited by: Seth Flaum
Cameras: Panavision Cameras
Supervising Sound Editor
Face/Off (1997)
Directed by: John Woo
Cinematography by: Oliver Wood
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
Supervising Sound Editor
The Substitute (1996)
Directed by: Robert Mandel
Cinematography by: Bruce Surtees
Edited by: Alex Mackie
Supervising Sound Editor
The Associate (1996)
Directed by: Donald Petrie
Cinematography by: Alex Nepomniaschy
Edited by: Bonnie Koehler
Supervising Sound Editor
Fair Game (1995)
Directed by: Andrew Sipes
Cinematography by: Richard Bowen
Cameras: Panavision Cameras
Supervising Sound Editor
The Specialist (1994)
Directed by: Luis Llosa
Cinematography by: Jeffrey L. Kimball
Edited by: Jack Hofstra
Supervising Sound Designer
Color of Night (1994)
Directed by: Richard Rush
Cinematography by: Dietrich Lohmann
Supervising Adr Editor
Dennis the Menace (1993)
Directed by: Nick Castle
Cinematography by: Thomas E. Ackerman
Edited by: Alan Heim
Supervising Sound Editor
Pure Country (1992)
Directed by: Christopher Cain
Cinematography by: Richard Bowen
Edited by: Jack Hofstra
Re-recording Mixer
The Opposite Sex and How to Live with Them (1992)
Directed by: Matthew Meshekoff
Cinematography by: Jacek Laskus
Edited by: Adam Weiss
Supervising Sound Editor
The Cutting Edge (1992)
Directed by: Paul Michael Glaser
Cinematography by: Elliot Davis
Edited by: Michael E. Polakow
Adr Editor
Stop! Or My Mom Will Shoot (1992)
Directed by: Roger Spottiswoode
Cinematography by: Frank Tidy
Sound Effects Editor
One Good Cop (1991)
Directed by: Heywood Gould
Cinematography by: Ralf D. Bode
Edited by: Richard Marks
Supervising Sound Editor
The Super (1991)
Directed by: Rod Daniel
Cinematography by: Bruce Surtees
Edited by: Jack Hofstra
Sound Effects Editor
Love at Large (1990)
Directed by: Alan Rudolph
Cinematography by: Elliot Davis
Edited by: Lisa Zeno Churgin
Sound Editor
National Lampoon's Christmas Vacation (1989)
Directed by: Jeremiah S. Chechik
Cinematography by: Thomas E. Ackerman
Assistant Sound Editor
Cloak & Dagger (1984)
Directed by: Richard Franklin
Cinematography by: Victor J. Kemper
Edited by: Andrew London
Supervising Sound Effects Editor - 21 Episodes, 1988-1989
Miami Vice (1984)
Directed by: John Nicolella, Richard Compton, Leon Ichaso, Vern Gillum, Don Johnson, Jim Johnston, David Jackson, Colin Bucksey, Virgil W. Vogel, Paul Michael Glaser, Rob Cohen, Jan Eliasberg, Aaron Lipstadt, James Quinn, Georg Stanford Brown, Lee H. Katzin, David Anspaugh, Abel Ferrara, Michael O'Herlihy, Mario DiLeo, Gabrielle Beaumont, Paul Krasny, George Mendeluk, Michelle Manning, Russ Mayberry, Alan Myerson, Thomas Carter, Richard A. Colla, Stan Lathan, Alan J. Levi, John Llewellyn Moxey, Bobby Roth, David Soul, Harry Mastrogeorge, Edward James Olmos, Tim Zinnemann, Daniel Attias, Craig Bolotin, Christopher Crowe, Dick Miller, Fred Walton, Ate de Jong, Tony Wharmby, Bill Duke, Donald L. Gold, Randy Roberts, Chip Chalmers, James A. Contner, Eugene Corr, Michael B. Hoggan, Robert Iscove
Cinematography by: Oliver Wood, Tom Priestley Jr., Duke Callaghan, James A. Contner, Michael McGowan, Robert E. Collins, William Cronjager, Victor Hammer
Edited by: Robert A. Daniels, Michael D. Ornstein, Michael B. Hoggan, Kevin Krasny, Douglas Ibold, Dick Williams, Casey O. Rohrs, Robert L. Sinise, Steve Shultz, Jack Horger, Eric A. Sears, Barry B. Leirer, Gene Foster, Buford F. Hayes, David Rosenbloom, David Solomon, Joel Goodman, Dov Hoenig, Sidney Wolinsky, Lawrence J. Gleason, Richard Leeman
Cameras: Panavision Panaflex Series Cameras
Assistant Sound Editor
The Wild Life (1984)
Directed by: Art Linson
Cinematography by: James Glennon
Edited by: Michael Jablow
