Digital Opticals: EFILM
Baywatch (2017)
Directed by: Seth Gordon
Cinematography by: Eric Steelberg
Edited by: Peter S. Elliot
Cameras: ARRI ALEXA XT Plus Camera
Digital Opticals Editor
Battle of the Sexes (2017)
Cinematography by: Linus Sandgren
Edited by: Pamela Martin
Digital Opticals Editor
La La Land (2016)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Digital Opticals Editor
War Dogs (2016)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Jeff Groth
Cameras: ARRI ALEXA XT Camera
Digital Opticals Editor
The Boss (2016)
Directed by: Ben Falcone
Cinematography by: Julio Macat
Edited by: Craig Alpert
Cameras: ARRI ALEXA 65 Camera
Lenses: Leitz Summilux-C Series Lenses
Digital Intermediate Optical Editor, Digital Opticals Editor
Pete's Dragon (2016)
Directed by: David Lowery
Cinematography by: Bojan Bazelli
Edited by: Lisa Zeno Churgin
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Cooke Anamorphic/i Prime Lenses
Digital Opticals Editor
Sicario (2015)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Digital Opticals Editor
The Big Short (2015)
Directed by: Adam McKay
Cinematography by: Barry Ackroyd
Edited by: Hank Corwin
Digital Opticals Editor
Straight Outta Compton (2015)
Directed by: F. Gary Gray
Cinematography by: Matthew Libatique
Cameras: Red Epic Dragon Camera
Digital Opticals Editor
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
Optical Editor
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Digital Opticals Editor
Selma (2014)
Directed by: Ava DuVernay
Cinematography by: Bradford Young
Edited by: Spencer Averick
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Hawk V-Plus Lenses, Hawk V-Series Lenses
Digital Opticals Editor
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Digital Opticals Editor
Identity Thief (2013)
Directed by: Seth Gordon
Cinematography by: Javier Aguirresarobe
Edited by: Peter Teschner
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Digital Opticals Editor
The Host (2013)
Directed by: Andrew Niccol
Cinematography by: Roberto Schaefer
Edited by: Thomas J. Nordberg
Cameras: ARRI ALEXA Camera
Digital Opticals Editor
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
Digital Opticals Editor: EFilm
Beautiful Creatures (2013)
Directed by: Richard LaGravenese
Cinematography by: Philippe Rousselot
Edited by: David Moritz
Optical Editor
American Hustle (2013)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Digital Opticals Editor
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
Digital Opticals Editor
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
Digital Opticals Editor
To the Wonder (2012)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Opticals Editor
End of Watch (2012)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: Dody Dorn
Digital Opticals Editor
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Digital Optical Editor: EFilm
Mud (2012)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Digital Opticals Editor
Rio (2011)
Directed by: Carlos Saldanha
Cinematography by: Renato Falcão
Edited by: Harry Hitner
Digital Opticals Editor
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
Digital Opticals Editor
Rise of the Planet of the Apes (2011)
Directed by: Rupert Wyatt
Cinematography by: Andrew Lesnie
Cameras: ARRICAM Lite (LT) Camera
Digital Opticals Editor
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Digital Opticals Editor
True Grit (2010)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Digital Opticals Editor
RED (2010)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lenses
Digital Opticals Editor
Wall Street: Money Never Sleeps (2010)
Directed by: Oliver Stone
Cinematography by: Rodrigo Prieto
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Zeiss Master Prime Lenses
Digital Opticals Editor
The A-Team (2010)
Directed by: Joe Carnahan
Cinematography by: Mauro Fiore
Digital Opticals Editor
The Last Airbender (2010)
Directed by: M. Night Shyamalan
Cinematography by: Andrew Lesnie
Edited by: Conrad Buff IV
Digital Opticals Editor
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Digital Opticals Editor
The Twilight Saga: New Moon (2009)
Directed by: Chris Weitz
Cinematography by: Javier Aguirresarobe
Edited by: Peter Lambert
Digital Opticals Editor
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Digital Opticals Editor
Duplicity (2009)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: Panavision Panaflex Platinum Camera
Digital Opticals Editor
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Digital Opticals Editor
Death Race (2008)
Directed by: Paul W.S. Anderson
Cinematography by: Scott Kevan
Edited by: Niven Howie
Digital Opticals Editor
Yes Man (2008)
Directed by: Peyton Reed
Cinematography by: Robert D. Yeoman
Edited by: Craig Alpert
Cameras: Panavision Cameras
Digital Opticals Editor
Miracle at St. Anna (2008)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Digital Opticals Editor
Frost/Nixon (2008)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Lenses: Cooke S4 Lenses, Cooke Varotal Lenses
Editing System: Avid Editing System
Digital Opticals Editor
The Incredible Hulk (2008)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Editing System: Avid Editing System
Digital Opticals Editor
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Digital Opticals Editor
Iron Man (2008)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Edited by: Dan Lebental
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Additional Visual Effects Editor: Rhythm & Hues
Superman Returns (2006)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: Panavision Genesis Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Visual Effects Editor: Rhythm & Hues
The Fast and the Furious: Tokyo Drift (2006)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Additional Visual Effects Editor: Rhythm & Hues
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Visual Effects Editor: Rhythm & Hues
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
Visual Effects Editor: Rhythm & Hues
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Editing System: Avid Editing System
Visual Effects Editor: Rhythm & Hues
Daredevil (2003)
Directed by: Mark Steven Johnson
Cinematography by: Ericson Core
Assistant Editor: Rhythm & Hues
Dr. Dolittle 2 (2001)
Directed by: Steve Carr
Cinematography by: Daryn Okada
Edited by: Craig Herring
Visual Effects Editor: Rhythm & Hues
Uprising (2001)
Directed by: Jon Avnet
Cinematography by: Denis Lenoir
Edited by: Sabrina Plisco
Visual Effects Editor: Digital Domain
Red Planet (2000)
Directed by: Antony Hoffman
Cinematography by: Peter Suschitzky
Visual Effects Editor: Digital Domain
X-Men (2000)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Avid Support: VIFX
Blade (1998)
Directed by: Stephen Norrington
Cinematography by: Theo van de Sande
Edited by: Paul Rubell
Cameras: Moviecam Compact Camera
Media Coordinator
Firestorm (1998)
Directed by: Dean Semler
Cinematography by: Stephen F. Windon
Edited by: Jack Hofstra
Avid Operator: Blue Sky/VIFX
The X Files (1998)
Directed by: Rob Bowman
Cinematography by: Ward Russell
Edited by: Stephen Mark
Media Coordinator
Alien Resurrection (1997)
Directed by: Jean-Pierre Jeunet
Cinematography by: Darius Khondji
Edited by: Hervé Schneid
Film Coordinator: VIFX
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Film Coordinator
The Relic (1997)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Edited by: Steven Kemper
Film Librarian: VIFX
Out to Sea (1997)
Directed by: Martha Coolidge
Cinematography by: Lajos Koltai
Edited by: Anne V. Coates
Visual Effects Editorial
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Media Coordinator: VIFX
Jingle All the Way (1996)
Directed by: Brian Levant
Cinematography by: Victor J. Kemper
Visual Effects Editor: VIFX
Clear and Present Danger (1994)
Directed by: Phillip Noyce
Cinematography by: Donald McAlpine
Edited by: Neil Travis
Visual Effects Editor: VIFX
Miracle on 34th Street (1994)
Directed by: Les Mayfield
Cinematography by: Julio Macat
Edited by: Raja Gosnell
Visual Effects Editor: Video Image
Solar Crisis (1990)
Cinematography by: Russell Carpenter
Edited by: Richard Trevor
Visual Effects Editor: Video Image
Predator 2 (1990)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
