Datasat Sound Mastering Engineer
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Datasat Sound Mastering Engineer
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Datasat Sound Mastering Engineer
Pitch Perfect 2 (2015)
Directed by: Elizabeth Banks
Cinematography by: Jim Denault
Edited by: Craig Alpert
Cameras: ARRI ALEXA Plus Camera
Datasat Sound Mastering Engineer
The Hateful Eight (2015)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Cameras: ARRIFLEX 765 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision APO Panatar 100mm T2.8 Lens, Panavision APO Panatar 135mm T3.0 Lens, Panavision APO Panatar 35mm T2.8 Lens, Panavision APO Panatar 50mm T2.8 Lens, Panavision APO Panatar 75mm T2.8 Lens, Panavision APO Panatar Prism 150mm T3.6 Lens, Panavision APO Panatar Prism 57mm T4.0 Lens, Panavision APO Panatar Prism 75mm T3.5 Lens, Panavision Variable APO Panatar 135mm T3.2 Lens
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Ted 2 (2015)
Directed by: Seth MacFarlane
Cinematography by: Michael Barrett
Edited by: Jeff Freeman
Cameras: Sony CineAlta F65 Camera
Datasat Sound Mastering Engineer
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Datasat Sound Mastering Engineer
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
300: Rise of an Empire (2014)
Directed by: Noam Murro
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Datasat Sound Mastering Engineer
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Datasat Sound Mastering Engineer
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Datasat Sound Mastering Engineer
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Datasat Sound Mastering Engineer
Noah (2014)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Datasat Sound Mastering Engineer
Jack Ryan: Shadow Recruit (2014)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Martin Walsh
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
Datasat Sound Mastering Engineer
Transformers: Age of Extinction (2014)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Divergent (2014)
Directed by: Neil Burger
Cinematography by: Alwin H. Küchler
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Datasat Sound Mastering Engineer
The Hunger Games: Mockingjay - Part 1 (2014)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Datasat Sound Mastering Engineer
The Grand Budapest Hotel (2014)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Barney Pilling
Cameras: ARRICAM Studio (ST) Camera
Lenses: Angenieux Lenses, Cooke S4 Lenses, Cooke Varotal Lenses, Technovision Techno-Cooke Anamorphic Zoom 40-200mm T4.5 Lens
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
Transcendence (2014)
Directed by: Wally Pfister
Cinematography by: Jess Hall
Edited by: David Rosenbloom
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
Lucy (2014)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Julien Rey
Dts Sound Mastering Engineer
Foxcatcher (2014)
Directed by: Bennett Miller
Cinematography by: Greig Fraser
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Tammy (2014)
Directed by: Ben Falcone
Cinematography by: Russ T. Alsobrook
Edited by: Michael L. Sale
Dts Sound Mastering Engineer
Fury (2014)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C1000 1000 mm T5.6 Lens, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Purge: Anarchy (2014)
Directed by: James DeMonaco
Cinematography by: Jacques Jouffret
Cameras: ARRI ALEXA XT Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Equalizer (2014)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: John Refoua
Cameras: ARRI ALEXA Plus 4:3 Camera
Datasat Sound Mastering Engineer
Annabelle (2014)
Directed by: John R. Leonetti
Cinematography by: James Kniest
Edited by: Tom Elkins
Datasat Sound Mastering Engineer
Non-Stop (2014)
Directed by: Jaume Collet-Serra
Cinematography by: Flavio Martínez Labiano
Edited by: Jim May
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
Get on Up (2014)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Michael McCusker
Datasat Sound Mastering Engineer
How to Train Your Dragon 2 (2014)
Directed by: Dean DeBlois
Cinematography by: Gil Zimmerman
Edited by: John K. Carr
Datasat Sound Mastering Engineer
Inherent Vice (2014)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Leslie Jones
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Boxtrolls (2014)
Cinematography by: John Ashlee Prat
Edited by: Edie Ichioka
Cameras: Canon EOS-5D Mark III Camera
Datasat Sound Mastering Engineer
The Hobbit: The Battle of the Five Armies (2014)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Ultra Prime Lenses
Datasat Sound Mastering Engineer
Whiplash (2014)
Directed by: Damien Chazelle
Cinematography by: Sharone Meir
Edited by: Tom Cross
Cameras: ARRI ALEXA Camera, Canon EOS-7D Camera
Datasat Sound Mastering Engineer
If I Stay (2014)
Directed by: R.J. Cutler
Cinematography by: John de Borman
Edited by: Keith Henderson
Datasat Sound Mastering Engineer
Pacific Rim (2013)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Cameras: Red Epic Camera
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
47 Ronin (2013)
Directed by: Carl Rinsch
Cinematography by: John Mathieson
Edited by: Stuart Baird
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Gangster Squad (2013)
Directed by: Ruben Fleischer
Cinematography by: Dion Beebe
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Oblivion (2013)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Richard Francis-Bruce
Cameras: Red Epic Camera, Sony CineAlta F65 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 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
After Earth (2013)
Directed by: M. Night Shyamalan
Cinematography by: Peter Suschitzky
Edited by: Steven Rosenblum
Datasat Sound Mastering Engineer
Evil Dead (2013)
Directed by: Fede Alvarez
Cinematography by: Aaron Morton
Edited by: Bryan Shaw
Cameras: Sony CineAlta F65 Camera
Datasat Sound Mastering Engineer
The Hobbit: The Desolation of Smaug (2013)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: GoPro HD Hero3 Camera, Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
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 C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Datasat Sound Mastering Engineer
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Datasat Sound Mastering Engineer
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Datasat Sound Mastering Engineer
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Datasat Sound Mastering Engineer
G.I. Joe: Retaliation (2013)
Directed by: Jon M. Chu
Cinematography by: Stephen F. Windon
Datasat Sound Mastering Engineer
A Good Day to Die Hard (2013)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Datasat Sound Mastering Engineer
Dark Skies (2013)
Directed by: Scott Stewart
Cinematography by: David Boyd
Edited by: Peter Gvozdas
Cameras: ARRI ALEXA Camera
Lenses: Angenieux Optimo Zoom Lenses
Datasat Sound Mastering Engineer
Jack the Giant Slayer (2013)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Datasat Sound Mastering Engineer
The Host (2013)
Directed by: Andrew Niccol
Cinematography by: Roberto Schaefer
Edited by: Thomas J. Nordberg
Cameras: ARRI ALEXA Camera
Datasat Sound Mastering Engineer
Carrie (2013)
Directed by: Kimberly Peirce
Cinematography by: Steve Yedlin
Cameras: ARRI ALEXA Camera
Datasat Sound Mastering Engineer
This Is the End (2013)
Cinematography by: Brandon Trost
Edited by: Zene Baker
Cameras: Panavision Cameras, Red Epic Camera
Datasat Sound Mastering Engineer
Riddick (2013)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Tracy Adams
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Sound Mastering Engineer: Datasat
Elysium (2013)
Directed by: Neill Blomkamp
Cinematography by: Trent Opaloch
Cameras: Canon EOS-5D Mark II Camera, Red Epic Camera
Lenses: Canon L Series Lenses, Nikon - Nikkor Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Kick-Ass 2 (2013)
Directed by: Jeff Wadlow
Cinematography by: Tim Maurice-Jones
Edited by: Eddie Hamilton
Datasat Sound Mastering Engineer
The Call (2013)
Directed by: Brad Anderson
Cinematography by: Thomas Yatsko
Edited by: Avi Youabian
Cameras: ARRI ALEXA Camera, Phantom Flex Camera
Lenses: Angenieux Optimo Zoom Lenses
Datasat Sound Mastering Engineer
White House Down (2013)
Directed by: Roland Emmerich
Cinematography by: Anna Foerster
Edited by: Adam Wolfe
Datasat Sound Mastering Engineer
The Incredible Burt Wonderstone (2013)
Directed by: Don Scardino
Cinematography by: Matthew Clark
Edited by: Lee Haxall
Datasat Sound Mastering Engineer
Ender's Game (2013)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Cameras: Red Epic Camera
Datasat Sound Mastering Engineer
The Wolf of Wall Street (2013)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Plus 135 mm T3.0 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens, Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Datasat Sound Mastering Engineer
Homefront (2013)
Directed by: Gary Fleder
Cinematography by: Theo van de Sande
Edited by: Padraic McKinley
Cameras: ARRI ALEXA Camera
Datasat Sound Mastering Engineer
The Secret Life of Walter Mitty (2013)
Directed by: Ben Stiller
Cinematography by: Stuart Dryburgh
Edited by: Greg Hayden
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Sound Consultant: Datastat
12 Years a Slave (2013)
Directed by: Steve McQueen
Cinematography by: Sean Bobbitt
Edited by: Joe Walker
Datasat Sound Mastering Engineer
Inside Llewyn Davis (2013)
Cinematography by: Bruno Delbonnel
Cameras: ARRICAM Lite (LT) Camera
Editing System: Adobe Premiere Editing System, Final Cut Pro Editing System
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
The Heat (2013)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Purge (2013)
Directed by: James DeMonaco
Cinematography by: Jacques Jouffret
Edited by: Peter Gvozdas
Cameras: ARRI ALEXA Plus Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
2 Guns (2013)
Directed by: Baltasar Kormákur
Cinematography by: Oliver Wood
Edited by: Michael Tronick
Datasat Sound Mastering Engineer
American Hustle (2013)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Datasat Sound Mastering Engineer
Her (2013)
Directed by: Spike Jonze
Cinematography by: Hoyte Van Hoytema
Datasat Sound Mastering Engineer
Anchorman 2: The Legend Continues (2013)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Cameras: ARRI ALEXA Camera
Datasat Sound Mastering Engineer
Lone Survivor (2013)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Colby Parker Jr.
Cameras: Phantom Flex Camera, Red Epic Camera
Datasat Sound Mastering Engineer
Begin Again (2013)
Directed by: John Carney
Cinematography by: Yaron Orbach
Edited by: Andrew Marcus
Cameras: Red Epic Camera
Editing System: Adobe Premiere Editing System
Datasat Sound Mastering Engineer
August: Osage County (2013)
Directed by: John Wells
Cinematography by: Adriano Goldman
Edited by: Stephen Mirrione
Datasat Sound Mastering Engineer
The Book Thief (2013)
Directed by: Brian Percival
Cinematography by: Florian Ballhaus
Edited by: John Wilson
Cameras: ARRI ALEXA Camera, ARRI ALEXA XT Plus Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Datasat Sound Mastering Engineer
Ted (2012)
Directed by: Seth MacFarlane
Cinematography by: Michael Barrett
Edited by: Jeff Freeman
Cameras: Panavision Genesis Camera, Sony PMW-EX3 Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
21 Jump Street (2012)
Cinematography by: Barry Peterson
Edited by: Joel Negron
Cameras: ARRI ALEXA Camera, ARRIFLEX 435 Camera
Datasat Sound Mastering Engineer
Lawless (2012)
Directed by: John Hillcoat
Cinematography by: Benoît Delhomme
Edited by: Dylan Tichenor
Cameras: ARRI ALEXA Camera
Dts Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
Anna Karenina (2012)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Melanie Oliver
Datasat Sound Mastering Engineer
To the Wonder (2012)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Perks of Being a Wallflower (2012)
Directed by: Stephen Chbosky
Cinematography by: Andrew Dunn
Edited by: Mary Jo Markey
Datasat Sound Mastering Engineer
Pitch Perfect (2012)
Directed by: Jason Moore
Cinematography by: Julio Macat
Edited by: Lisa Zeno Churgin
Cameras: ARRI ALEXA Camera
Datasat Sound Mastering Engineer
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Datasat Sound Consultant
Killing Them Softly (2012)
Directed by: Andrew Dominik
Cinematography by: Greig Fraser
Lenses: Panavision HS50 50 mm T1.1 Lens
Dts Sound Mastering Engineer
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Datasat Sound Mastering Engineer
Magic Mike (2012)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Cameras: Red Epic Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Datasat Sound Mastering Engineer
Dark Shadows (2012)
Directed by: Tim Burton
Cinematography by: Bruno Delbonnel
Edited by: Chris Lebenzon
Datasat Sound Mastering Engineer
The Hunger Games (2012)
Directed by: Gary Ross
Cinematography by: Tom Stern
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Wrath of the Titans (2012)
Directed by: Jonathan Liebesman
Cinematography by: Ben Davis
Edited by: Martin Walsh
Datasat Sound Mastering Engineer
The Lucky One (2012)
Directed by: Scott Hicks
Cinematography by: Alar Kivilo
Edited by: Scott Gray
Datasat Sound Mastering Engineer
Looper (2012)
Directed by: Rian Johnson
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Datasat Sound Mastering Engineer
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Datasat Sound Mastering Engineer
Moonrise Kingdom (2012)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Andrew Weisblum
Cameras: Aaton A-Minima Camera, Aaton Xterà Camera
Lenses: Canon Lenses, Zeiss Super Speed Lenses
Datasat Sound Mastering Engineer
Savages (2012)
Directed by: Oliver Stone
Cinematography by: Dan Mindel
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
The Vow (2012)
Directed by: Michael Sucsy
Cinematography by: Rogier Stoffers
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Datasat Sound Mastering Engineer
Red Tails (2012)
Directed by: Anthony Hemingway
Cinematography by: John B. Aronson
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera
Editing System: Lightworks Editing System
Datasat Sound Mastering Engineer
Katy Perry: Part of Me (2012)
Cameras: Red Epic Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Lenses, Zeiss Ultra Prime Planar 50 mm T1.9 Lens
Datasat Sound Mastering Engineer
The Place Beyond the Pines (2012)
Directed by: Derek Cianfrance
Cinematography by: Sean Bobbitt
Dts Sound Mastering Engineer
Lockout (2012)
Cinematography by: James Mather
Cameras: Red One MX Camera
Lenses: Red Pro Prime Lenses
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
Chronicle (2012)
Directed by: Josh Trank
Cinematography by: Matthew Jensen
Edited by: Elliot Greenberg
Datasat Sound Mastering Engineer
This Is 40 (2012)
Directed by: Judd Apatow
Cinematography by: Phedon Papamichael
Cameras: ARRI ALEXA Camera
Datasat Sound Mastering Engineer
Skyfall (2012)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
The Lorax (2012)
Datasat Sound Mastering Engineer
Taken 2 (2012)
Directed by: Olivier Megaton
Cinematography by: Romain Lacourbas
Datasat Sound Mastering Engineer
The Hobbit: An Unexpected Journey (2012)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Lincoln (2012)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Flight (2012)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Jeremiah O'Driscoll
Cameras: Red Epic Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
The Man with the Iron Fists (2012)
Directed by: RZA
Cinematography by: Chi-Ying Chan
Edited by: Joe D'Augustine
Datasat Sound Mastering Engineer
Promised Land (2012)
Directed by: Gus Van Sant
Cinematography by: Linus Sandgren
Edited by: Billy Rich
Lenses: Hawk V-Lite Lenses
Datasat Sound Mastering Engineer
Les Misérables (2012)
Directed by: Tom Hooper
Cinematography by: Danny Cohen
Datasat Sound Mastering Engineer
Silver Linings Playbook (2012)
Directed by: David O. Russell
Cinematography by: Masanobu Takayanagi
Datasat Sound Mastering Engineer
Zero Dark Thirty (2012)
Directed by: Kathryn Bigelow
Cinematography by: Greig Fraser
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Lenses: Angenieux HP Zoom Lenses, Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Optica Elite Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
In Time (2011)
Directed by: Andrew Niccol
Cinematography by: Roger Deakins
Edited by: Zach Staenberg
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Dts Sound Mastering Engineer
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Datasat Sound Mastering Engineer
Salmon Fishing in the Yemen (2011)
Directed by: Lasse Hallström
Cinematography by: Terry Stacey
Edited by: Lisa Gunning
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Datasat Sound Mastering Engineer
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
The Girl with the Dragon Tattoo (2011)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System, Sony Vegas Editing System
Datasat Sound Mastering Engineer
Red Riding Hood (2011)
Directed by: Catherine Hardwicke
Cinematography by: Mandy Walker
Datasat Sound Mastering Engineer
The Rum Diary (2011)
Directed by: Bruce Robinson
Cinematography by: Dariusz Wolski
Edited by: Carol Littleton
Lenses: Zeiss Ultra Prime Lenses
Datasat Sound Mastering Engineer
The Hangover Part II (2011)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Datasat Sound Mastering Engineer
Hop (2011)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Datasat Sound Mastering Engineer
The Ides of March (2011)
Directed by: George Clooney
Cinematography by: Phedon Papamichael
Edited by: Stephen Mirrione
Cameras: Panavision Panaflex Platinum Camera
Datasat Sound Mastering Engineer
Horrible Bosses (2011)
Directed by: Seth Gordon
Cinematography by: David Hennings
Edited by: Peter Teschner
Cameras: Panavision Genesis Camera
Datasat Sound Mastering Engineer
Unknown (2011)
Directed by: Jaume Collet-Serra
Cinematography by: Flavio Martínez Labiano
Edited by: Timothy Alverson
Datasat Sound Mastering Engineer
J. Edgar (2011)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Dts Sound Mastering Engineer
Alvin and the Chipmunks: Chipwrecked (2011)
Directed by: Mike Mitchell
Cinematography by: Thomas E. Ackerman
Edited by: Peter Amundson
Datasat Sound Mastering Engineer
Priest (2011)
Directed by: Scott Stewart
Cinematography by: Don Burgess
Datasat Sound Mastering Engineer
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Datasat Sound Mastering Engineer
Hanna (2011)
Directed by: Joe Wright
Cinematography by: Alwin H. Küchler
Edited by: Paul Tothill
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Sony Other Camera
Editing System: Lightworks Editing System
Datasat Sound Mastering Engineer
Crazy, Stupid, Love. (2011)
Cinematography by: Andrew Dunn
Edited by: Lee Haxall
Cameras: Panavision Panaflex Platinum Camera
Datasat Sound Mastering Engineer
Battle Los Angeles (2011)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Edited by: Christian Wagner
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Sony PMW-EX3 Camera
Lenses: Panavision Compact Zoom Lenses, Panavision Lightweight Zoom Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Adventures of Tintin (2011)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Cameras
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Grey (2011)
Directed by: Joe Carnahan
Cinematography by: Masanobu Takayanagi
Datasat Sound Mastering Engineer
One Day (2011)
Directed by: Lone Scherfig
Cinematography by: Benoît Delhomme
Edited by: Barney Pilling
Datasat Sound Mastering Engineer
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Datasat Sound Mastering Engineer
Rise of the Planet of the Apes (2011)
Directed by: Rupert Wyatt
Cinematography by: Andrew Lesnie
Cameras: ARRICAM Lite (LT) Camera
Datasat Sound Mastering Engineer
Super 8 (2011)
Directed by: J.J. Abrams
Cinematography by: Larry Fong
Cameras: ARRIFLEX 16SR3 Camera, ARRIFLEX 435 Camera, Beaulieu 4008 ZM 4 Camera, Bell & Howell Eyemo Camera, Canon 1014XL-S Camera, Panavision Panaflex Millennium XL2 Camera, Red One MX 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 Primo Anamorphic Lenses, Zeiss Super Speed Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
A Dangerous Method (2011)
Directed by: David Cronenberg
Cinematography by: Peter Suschitzky
Edited by: Ronald Sanders
Lenses: Cooke S4 Lenses
Datasat Sound Mastering Engineer
War Horse (2011)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Bridesmaids (2011)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Datasat Sound Mastering Engineer
Hugo (2011)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Camera
Lenses: Cooke 5/i Lenses, Cooke S4 Lenses
Datasat Sound Mastering Engineer
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
Sound Mastering Engineer: Datasat
Sherlock Holmes: A Game of Shadows (2011)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Datasat Sound Mastering Engineer
Attack the Block (2011)
Directed by: Joe Cornish
Cinematography by: Thomas Townend
Edited by: Jonathan Amos
Lenses: Cooke S4 Lenses
Datasat Sound Mastering Engineer
The Dilemma (2011)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Datasat Sound Mastering Engineer
Moneyball (2011)
Directed by: Bennett Miller
Cinematography by: Wally Pfister
Edited by: Christopher Tellefsen
Datasat Sound Mastering Engineer
Rango (2011)
Directed by: Gore Verbinski
Cinematography by: Roger Deakins
Edited by: Craig Wood
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
Rio (2011)
Directed by: Carlos Saldanha
Cinematography by: Renato Falcão
Edited by: Harry Hitner
Dts Sound Mastering Engineer
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Datasat Sound Mastering Engineer
Salt (2010)
Directed by: Phillip Noyce
Cinematography by: Robert Elswit
Datasat Sound Mastering Engineer
Kick-Ass (2010)
Directed by: Matthew Vaughn
Cinematography by: Ben Davis
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Tourist (2010)
Directed by: Florian Henckel von Donnersmarck
Cinematography by: John Seale
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, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Fighter (2010)
Directed by: David O. Russell
Cinematography by: Hoyte Van Hoytema
Edited by: Pamela Martin
Datasat Sound Mastering Engineer
The Company Men (2010)
Directed by: John Wells
Cinematography by: Roger Deakins
Edited by: Robert Frazen
Datasat Sound Mastering Engineer
Toy Story 3 (2010)
Directed by: Lee Unkrich
Cinematography by: Jeremy Lasky
Edited by: Ken Schretzmann
Datasat Sound Mastering Engineer
Scott Pilgrim vs. the World (2010)
Directed by: Edgar Wright
Cinematography by: Bill Pope
Datasat Sound Mastering Engineer
Clash of the Titans (2010)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Datasat Sound Mastering Engineer
Tron (2010)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: James Haygood
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The Social Network (2010)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Cameras: Red One MX Camera
Editing System: Adobe Premiere Editing System
Datasat Sound Mastering Engineer
Biutiful (2010)
Directed by: Alejandro G. Iñárritu
Cinematography by: Rodrigo Prieto
Edited by: Stephen Mirrione
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
Never Let Me Go (2010)
Directed by: Mark Romanek
Cinematography by: Adam Kimmel
Edited by: Barney Pilling
Datasat Sound Mastering Engineer
Green Zone (2010)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Datasat Sound Mastering Engineer
The Next Three Days (2010)
Directed by: Paul Haggis
Cinematography by: Stéphane Fontaine
Edited by: Jo Francis
Datasat Sound Mastering Engineer
Date Night (2010)
Directed by: Shawn Levy
Cinematography by: Dean Semler
Edited by: Dean Zimmerman
Cameras: Panavision Genesis Camera
Datasat Sound Mastering Engineer
Due Date (2010)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Datasat Sound Mastering Engineer
Love & Other Drugs (2010)
Directed by: Edward Zwick
Cinematography by: Steven Fierberg
Edited by: Steven Rosenblum
Datasat Sound Mastering Engineer
Repo Men (2010)
Directed by: Miguel Sapochnik
Cinematography by: Enrique Chediak
Edited by: Richard Francis-Bruce
Datasat Sound Mastering Engineer
The Town (2010)
Directed by: Ben Affleck
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Datasat Sound Mastering Engineer
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Datasat Sound Consultant
Rabbit Hole (2010)
Directed by: John Cameron Mitchell
Cinematography by: Frank G. DeMarco
Edited by: Joe Klotz
Cameras: Red One Camera
Datasat Sound Mastering Engineer
Black Swan (2010)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRIFLEX 416 Camera, Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera
Lenses: Zeiss Ultra 16 Lenses
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
127 Hours (2010)
Directed by: Danny Boyle
Edited by: Jon Harris
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, IDT / Redlake Y5 Camera, Moviecam Compact MK2 Camera, Moviecam Superlight Camera, Silicon Imaging SI-2K Mini Camera
Editing System: Avid Editing System
Datasat Sound Mastering Engineer
The King's Speech (2010)
Directed by: Tom Hooper
Cinematography by: Danny Cohen
Edited by: Tariq Anwar
Lenses: Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Datasat Sound Mastering Engineer
True Grit (2010)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Datasat Sound Mastering Engineer
Let Me In (2010)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Edited by: Stan Salfas
Datasat Sound Mastering Engineer
The Wolfman (2010)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Datasat Sound Mastering Engineer
Jonah Hex (2010)
Directed by: Jimmy Hayward
Cinematography by: Mitchell Amundsen
Datasat Sound Mastering Engineer
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
Datasat Sound Mastering Engineer
Valentine's Day (2010)
Directed by: Garry Marshall
Cinematography by: Charles Minsky
Edited by: Bruce Green
Datasat Sound Mastering Engineer
Dinner for Schmucks (2010)
Directed by: Jay Roach
Cinematography by: Jim Denault
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Precious (2009)
Directed by: Lee Daniels
Cinematography by: Andrew Dunn
Edited by: Joe Klotz
Lenses: Angenieux Lenses, Cooke S4 Lenses
Dts Sound Mastering Engineer
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Dts Sound Mastering Engineer
Duplicity (2009)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: Panavision Panaflex Platinum Camera
Dts Sound Mastering Engineer
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Dts Sound Mastering Engineer
The Road (2009)
Directed by: John Hillcoat
Cinematography by: Javier Aguirresarobe
Edited by: Jon Gregory
Cameras: ARRICAM Lite (LT) Camera
Datasat Sound Mastering Engineer
The Lovely Bones (2009)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Dts Sound Mastering Engineer
Funny People (2009)
Directed by: Judd Apatow
Cinematography by: Janusz Kaminski
Cameras: Panavision Panaflex Platinum Camera
Dts Sound Mastering Engineer
The Uninvited (2009)
Cinematography by: Daniel Landin
Cameras: Panavision Cameras
Dts Sound Mastering Engineer
A Serious Man (2009)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Dts Sound Mastering Engineer
Public Enemies (2009)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Dts Sound Mastering Engineer
State of Play (2009)
Directed by: Kevin Macdonald
Cinematography by: Rodrigo Prieto
Edited by: Justine Wright
Dts Sound Mastering Engineer
Fantastic Mr. Fox (2009)
Directed by: Wes Anderson
Cinematography by: Tristan Oliver
Cameras: Nikon D3 Camera
Lenses: Cooke Varotal Lenses
Dts Sound Mastering Engineer
Whip It (2009)
Directed by: Drew Barrymore
Cinematography by: Robert D. Yeoman
Edited by: Dylan Tichenor
Dts Sound Mastering Engineer
Avatar (2009)
Directed by: James Cameron
Cinematography by: Mauro Fiore
Dts Sound Mastering Engineer
Knowing (2009)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Edited by: Richard Learoyd
Cameras: Red One Camera
Dts Sound Mastering Engineer
Sherlock Holmes (2009)
Directed by: Guy Ritchie
Cinematography by: Philippe Rousselot
Edited by: James Herbert
Dts Sound Mastering Engineer
Night at the Museum: Battle of the Smithsonian (2009)
Directed by: Shawn Levy
Cinematography by: John Schwartzman
Dts Sound Mastering Engineer
The Twilight Saga: New Moon (2009)
Directed by: Chris Weitz
Cinematography by: Javier Aguirresarobe
Edited by: Peter Lambert
Dts Sound Mastering Engineer
The Soloist (2009)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Paul Tothill
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
Editing System: Lightworks Editing System
Dts Sound Mastering Engineer
Pandorum (2009)
Directed by: Christian Alvart
Cinematography by: Wedigo von Schultzendorff
Dts Sound Mastering Engineer
Fighting (2009)
Directed by: Dito Montiel
Cinematography by: Stefan Czapsky
Dts Sound Mastering Engineer
Drag Me to Hell (2009)
Directed by: Sam Raimi
Cinematography by: Peter Deming
Edited by: Bob Murawski
Editing System: Avid Editing System, Final Cut Pro Editing System
Dts Sound Mastering Engineer
The Hangover (2009)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Dts Sound Mastering Engineer
District 9 (2009)
Directed by: Neill Blomkamp
Cinematography by: Trent Opaloch
Edited by: Julian Clarke
Cameras: Phantom HD Gold Camera, Red One Camera, Sony HDC-F950 Camera, Sony PMW-EX1 Camera, Sony PMW-EX3 Camera
Lenses: Angenieux Lenses, Cooke S4 Lenses
Editing System: Adobe Premiere Editing System
Dts Sound Mastering Engineer
Alvin and the Chipmunks: The Squeakquel (2009)
Directed by: Betty Thomas
Cinematography by: Anthony B. Richmond
Edited by: Matt Friedman
Lenses: Cooke S4 Lenses
Dts Sound Mastering Engineer
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Dts Sound Mastering Engineer
Transformers: Revenge of the Fallen (2009)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Iwerks IW5A Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Invictus (2009)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Dts Sound Mastering Engineer
Ice Age: Dawn of the Dinosaurs (2009)
Dts Sound Mastering Engineer
Push (2009)
Directed by: Paul McGuigan
Cinematography by: Peter Sova
Edited by: Nicolas Trembasiewicz
Dts Sound Mastering Engineer
Watchmen (2009)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Dts Sound Mastering Engineer
Street Kings (2008)
Directed by: David Ayer
Cinematography by: Gabriel Beristain
Edited by: Jeffrey Ford
Dts Sound Mastering Engineer
The Incredible Hulk (2008)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Blindness (2008)
Directed by: Fernando Meirelles
Cinematography by: César Charlone
Edited by: Daniel Rezende
Dts Sound Mastering Engineer
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Dts Sound Mastering Engineer
Mamma Mia! (2008)
Directed by: Phyllida Lloyd
Cinematography by: Haris Zambarloukos
Edited by: Lesley Walker
Editing System: Lightworks Editing System
Dts Sound Mastering Engineer
Seven Pounds (2008)
Directed by: Gabriele Muccino
Cinematography by: Philippe Le Sourd
Edited by: Hughes Winborne
Cameras: Panavision Cameras
Dts Sound Mastering Engineer
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Dts Sound Mastering Engineer
Changeling (2008)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Dts Sound Mastering Engineer
Valkyrie (2008)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Edited by: John Ottman
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Jumper (2008)
Directed by: Doug Liman
Cinematography by: Barry Peterson
Cameras: Panavision Cameras, Red One Camera
Dts Sound Mastering Engineer
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
Dts Sound Mastering Engineer
Revolutionary Road (2008)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Tariq Anwar
Lenses: Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Dts Sound Mastering Engineer
Slumdog Millionaire (2008)
Cinematography by: Anthony Dod Mantle
Edited by: Chris Dickens
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 BL4s Camera, Canon EOS-1D Mark III Camera, Silicon Imaging SI-2K Mini Camera
Editing System: Avid Editing System
Dts Sound Mastering Engineer
The Wrestler (2008)
Directed by: Darren Aronofsky
Cinematography by: Maryse Alberti
Edited by: Andrew Weisblum
Cameras: ARRIFLEX 416 Camera
Dts Sound Mastering Engineer
Gran Torino (2008)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Made of Honor (2008)
Directed by: Paul Weiland
Cinematography by: Tony Pierce-Roberts
Edited by: Richard Marks
Cameras: Panavision Cameras
Dts Sound Mastering Engineer
RocknRolla (2008)
Directed by: Guy Ritchie
Cinematography by: David Higgs
Edited by: James Herbert
Cameras: ARRIFLEX D-20 Camera
Dts Sound Mastering Engineer
Body of Lies (2008)
Directed by: Ridley Scott
Cinematography by: Alexander Witt
Edited by: Pietro Scalia
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Stop-Loss (2008)
Directed by: Kimberly Peirce
Cinematography by: Chris Menges
Edited by: Claire Simpson
Dts Sound Mastering Engineer
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Dts Sound Mastering Engineer
The Chronicles of Narnia: Prince Caspian (2008)
Directed by: Andrew Adamson
Cinematography by: Karl Walter Lindenlaub
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera
Lenses: Zeiss Master Prime Lenses
Datasat Sound Mastering Engineer
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
Dts Sound Mastering Engineer
Max Payne (2008)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Cameras: ARRIFLEX 435 Camera, Phantom HD Camera
Lenses: Cooke S4 Lenses
Dts Sound Mastering Engineer
The Curious Case of Benjamin Button (2008)
Directed by: David Fincher
Cinematography by: Claudio Miranda
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Dts Sound Mastering Engineer
Step Brothers (2008)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Edited by: Brent White
Cameras: Panavision Cameras
Dts Sound Mastering Engineer
Death Race (2008)
Directed by: Paul W.S. Anderson
Cinematography by: Scott Kevan
Edited by: Niven Howie
Datasat Sound Mastering Engineer
The Forbidden Kingdom (2008)
Directed by: Rob Minkoff
Cinematography by: Peter Pau
Edited by: Eric Strand
Cameras: Panavision Genesis Camera
Dts Sound Mastering Engineer
Twilight (2008)
Directed by: Catherine Hardwicke
Cinematography by: Elliot Davis
Edited by: Nancy Richardson
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Cloverfield (2008)
Directed by: Matt Reeves
Cinematography by: Michael Bonvillain
Edited by: Kevin Stitt
Cameras: Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses: Canon Lenses, Zeiss DigiPrime Lenses
Dts Sound Mastering Engineer
Saw V (2008)
Directed by: David Hackl
Cinematography by: David A. Armstrong
Edited by: Kevin Greutert
Dts Sound Mastering Engineer
Defiance (2008)
Directed by: Edward Zwick
Cinematography by: Eduardo Serra
Edited by: Steven Rosenblum
Dts Sound Mastering Engineer
Milk (2008)
Directed by: Gus Van Sant
Cinematography by: Harris Savides
Edited by: Elliot Graham
Datasat Sound Mastering Engineer
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
Dts Sound Mastering Engineer
Kung Fu Panda (2008)
Cinematography by: Yong Duk Jhun
Edited by: Clare Knight
Dts Sound Mastering Engineer
WALL·E (2008)
Directed by: Andrew Stanton
Cinematography by: Martin Rosenberg
Edited by: Stephen Schaffer
Dts Sound Mastering Engineer
August Rush (2007)
Directed by: Kirsten Sheridan
Cinematography by: John Mathieson
Edited by: William Steinkamp
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Dts Sound Mastering Engineer
Paranormal Activity (2007)
Directed by: Oren Peli
Cinematography by: Oren Peli
Edited by: Oren Peli
Cameras: Sony HDR-FX1 Camera
Lenses: Zeiss Zoom Lenses
Editing System: Sony Vegas Editing System
Dts Sound Mastering Engineer
Fantastic Four: Rise of the Silver Surfer (2007)
Directed by: Tim Story
Cinematography by: Larry Blanford
Cameras: Pan-Arri 235 Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Wescam Cameras
Editing System: Avid Editing System, Sony Vegas Editing System
Dts Sound Mastering Engineer
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Shoot 'Em Up (2007)
Directed by: Michael Davis
Cinematography by: Peter Pau
Edited by: Peter Amundson
Dts Sound Mastering Engineer
Superbad (2007)
Directed by: Greg Mottola
Cinematography by: Russ T. Alsobrook
Edited by: William Kerr
Cameras: Phantom HD Camera
Editing System: Avid Editing System
Dts Sound Mastering Engineer
The Kite Runner (2007)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Dts Sound Mastering Engineer
Atonement (2007)
Directed by: Joe Wright
Cinematography by: Seamus McGarvey
Edited by: Paul Tothill
Lenses: Panavision Hylén System Lens, Panavision Primo Primes Spherical Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens
Editing System: Avid Editing System
Dts Sound Mastering Engineer
The Bucket List (2007)
Directed by: Rob Reiner
Cinematography by: John Schwartzman
Edited by: Robert Leighton
Cameras: Panavision Cameras
Dts Sound Mastering Engineer
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Dts Sound Mastering Engineer
Hostel: Part II (2007)
Directed by: Eli Roth
Cinematography by: Milan Chadima
Edited by: George Folsey Jr.
Dts Sound Mastering Engineer
Into the Wild (2007)
Directed by: Sean Penn
Cinematography by: Eric Gautier
Edited by: Jay Cassidy
Lenses: Canon Lenses, Zeiss Ultra Prime Lenses
Dts Sound Mastering Engineer
I Am Legend (2007)
Directed by: Francis Lawrence
Cinematography by: Andrew Lesnie
Edited by: Wayne Wahrman
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Lenses
Dts Sound Mastering Engineer
Ocean's Thirteen (2007)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Stephen Mirrione
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Dts Sound Mastering Engineer
American Gangster (2007)
Directed by: Ridley Scott
Cinematography by: Harris Savides
Edited by: Pietro Scalia
Editing System: Avid Editing System
Dts Sound Mastering Engineer
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
Dts Sound Mastering Engineer
Charlie Wilson's War (2007)
Directed by: Mike Nichols
Cinematography by: Stephen Goldblatt
Dts Sound Mastering Engineer
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
Dts Sound Mastering Engineer
3:10 to Yuma (2007)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Edited by: Michael McCusker
Editing System: Avid Editing System
Dts Sound Mastering Engineer
In the Valley of Elah (2007)
Directed by: Paul Haggis
Cinematography by: Roger Deakins
Edited by: Jo Francis
Lenses: Zeiss Master Prime Lenses
Dts Sound Mastering Engineer
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Rendition (2007)
Directed by: Gavin Hood
Cinematography by: Dion Beebe
Edited by: Megan Gill
Dts Sound Mastering Engineer
Elizabeth: The Golden Age (2007)
Directed by: Shekhar Kapur
Cinematography by: Remi Adefarasin
Edited by: Jill Bilcock
Dts Sound Mastering Engineer
Michael Clayton (2007)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Dts Sound Mastering Engineer
Eastern Promises (2007)
Directed by: David Cronenberg
Cinematography by: Peter Suschitzky
Edited by: Ronald Sanders
Lenses: Zeiss Master Prime Lenses
Datasat Sound Mastering Engineer
Sydney White (2007)
Directed by: Joe Nussbaum
Cinematography by: Mark Irwin
Edited by: Danny Saphire
Datasat Sound Mastering Engineer
Evan Almighty (2007)
Directed by: Tom Shadyac
Cinematography by: Ian Baker
Edited by: Scott Hill
Cameras: Panavision Cameras
Editing System: Lightworks Editing System
Sound Mastering Engineer: DTS
There Will Be Blood (2007)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Dts Sound Mastering Engineer
Lars and the Real Girl (2007)
Directed by: Craig Gillespie
Cinematography by: Adam Kimmel
Edited by: Tatiana S. Riegel
Lenses: Cooke S4 Lenses
Dts Sound Mastering Engineer
The Darjeeling Limited (2007)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Andrew Weisblum
Cameras: Panavision Cameras
Dts Sound Mastering Engineer
No Country for Old Men (2007)
Cinematography by: Roger Deakins
Lenses: Cooke S4 Lenses, Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Dts Sound Mastering Engineer
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Dts Sound Mastering Engineer
Beowulf (2007)
Directed by: Robert Zemeckis
Cinematography by: Robert Presley
Edited by: Jeremiah O'Driscoll
Dts Sound Mastering Engineer
Ratatouille (2007)
Cinematography by: Robert Anderson
Edited by: Darren T. Holmes
Dts Sound Mastering Engineer
Babel (2006)
Directed by: Alejandro G. Iñárritu
Cinematography by: Rodrigo Prieto
Dts Sound Mastering Engineer
Miami Vice (2006)
Directed by: Michael Mann
Cinematography by: Dion Beebe
Cameras: Thomson Viper Camera
Dts Sound Mastering Engineer
Letters from Iwo Jima (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Dts Sound Mastering Engineer
Night at the Museum (2006)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Don Zimmerman
Dts Sound Mastering Engineer
Children of Men (2006)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Dts Sound Mastering Engineer
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
Dts Sound Mastering Engineer
The Departed (2006)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses, Zeiss Variable Prime Lenses
Editing System: Lightworks Editing System
Dts Sound Mastering Engineer
The Good German (2006)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Dts Sound Mastering Engineer
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
Dts Sound Mastering Engineer
The Black Dahlia (2006)
Directed by: Brian De Palma
Cinematography by: Vilmos Zsigmond
Edited by: Bill Pankow
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Flags of our Fathers (2006)
Directed by: Clint Eastwood
Cinematography by: Tom Stern
Edited by: Joel Cox
Dts Sound Mastering Engineer
The Pink Panther (2006)
Directed by: Shawn Levy
Cinematography by: Jonathan Brown
Dts Sound Mastering Engineer
All the King's Men (2006)
Directed by: Steven Zaillian
Cinematography by: Pawel Edelman
Edited by: Wayne Wahrman
Dts Sound Mastering Engineer
Black Snake Moan (2006)
Directed by: Craig Brewer
Cinematography by: Amy Vincent
Edited by: Billy Fox
Editing System: Final Cut Pro Editing System
Dts Sound Mastering Engineer
The Last King of Scotland (2006)
Directed by: Kevin Macdonald
Cinematography by: Anthony Dod Mantle
Edited by: Justine Wright
Lenses: Panavision Lenses
Dts Sound Mastering Engineer
Mission: Impossible III (2006)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Dts Sound Mastering Engineer
Casino Royale (2006)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Dts Sound Mastering Engineer
Nacho Libre (2006)
Directed by: Jared Hess
Cinematography by: Xavier Grobet
Edited by: Billy Weber
Dts Sound Mastering Engineer
Rescue Dawn (2006)
Directed by: Werner Herzog
Cinematography by: Peter Zeitlinger
Edited by: Joe Bini
Dts Sound Mastering Engineer
United 93 (2006)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Dts Sound Mastering Engineer
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Dts Sound Mastering Engineer
Saw III (2006)
Directed by: Darren Lynn Bousman
Cinematography by: David A. Armstrong
Edited by: Kevin Greutert
Dts Sound Mastering Engineer
Stranger Than Fiction (2006)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Dts Sound Mastering Engineer
Little Children (2006)
Directed by: Todd Field
Cinematography by: Antonio Calvache
Edited by: Leo Trombetta
Dts Sound Mastering Engineer
Penelope (2006)
Directed by: Mark Palansky
Cinematography by: Michel Amathieu
Edited by: Jon Gregory
Dts Sound Mastering Engineer
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
Dts Sound Mastering Engineer
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Dts Sound Mastering Engineer
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Dts Sound Mastering Engineer
Flightplan (2005)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Dts Sound Mastering Engineer
Capote (2005)
Directed by: Bennett Miller
Cinematography by: Adam Kimmel
Edited by: Christopher Tellefsen
Cameras: Moviecam Compact Camera
Lenses: Cooke S4 Lenses
Dts Sound Mastering Engineer
Munich (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Cooke Cine Varotal Mark II 25-250mm T3.9 Lens, Cooke S4/i Prime 100mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 16mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Moviola Editing System
Dts Sound Mastering Engineer
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
Dts Sound Mastering Engineer
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Dts Sound Mastering Engineer
Saw II (2005)
Directed by: Darren Lynn Bousman
Cinematography by: David A. Armstrong
Edited by: Kevin Greutert
Dts Sound Mastering Engineer
Good Night, and Good Luck. (2005)
Directed by: George Clooney
Cinematography by: Robert Elswit
Edited by: Stephen Mirrione
Dts Sound Mastering Engineer
Memoirs of a Geisha (2005)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Pietro Scalia
Dts Sound Mastering Engineer
V for Vendetta (2005)
Directed by: James McTeigue
Cinematography by: Adrian Biddle
Edited by: Martin Walsh
Dts Sound Mastering Engineer
Harry Potter and the Goblet of Fire (2005)
Directed by: Mike Newell
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Dts Sound Mastering Engineer
Fantastic Four (2005)
Directed by: Tim Story
Cinematography by: Oliver Wood
Edited by: William Hoy
Dts Sound Mastering Engineer
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by: George Lucas
Cinematography by: David Tattersall
Cameras: Sony HDC-F950 Camera
