Re-recording Mixer
Greenland (2020)
Directed by: Ric Roman Waugh
Cinematography by: Dana Gonzales
Edited by: Gabriel Fleming
Cameras: ARRI ALEXA Mini Camera
Re-recording Mixer
1917 (2019)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Lee Smith
Cameras: ARRI ALEXA Mini LF Camera
Lenses: ARRI Signature Prime 35mm T1.8 Lens, ARRI Signature Prime 40mm T1.8 Lens, ARRI Signature Prime 47mm T1.8 Lens
Editing System: Avid Editing System
Re-recording Mixer / Supervising Sound Editor
The Other Side of the Wind (2018)
Directed by: Orson Welles
Cinematography by: Gary Graver
Cameras: Éclair NPR Camera
Re-recording Mixer: IMAX
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Re-recording Mixer
Molly's Game (2017)
Directed by: Aaron Sorkin
Cinematography by: Charlotte Bruus Christensen
Re-recording Mixer
Spectre (2015)
Directed by: Sam Mendes
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E100 100 mm T2.3 Lens, Panavision Primo 70 Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Re-recording Mixer
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Re-recording Mixer
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Sound Re-recording Mixer
Need for Speed (2014)
Directed by: Scott Waugh
Cinematography by: Shane Hurlbut
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Anamorphic Lenses, Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens, Cooke S4/i Prime 12mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 180mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Leica Elmarit-R II 28 mm f2.0, Leica Super Angulon-R 21 mm f4.0, Leica Super-Elmarit-R 15 mm f2.8, Leitz Summicron-C 21 mm T2.0 Lens, Zeiss Distagon T* 15mm f2.8 ZE, Zeiss Distagon T* 18mm f3.5 ZE
Sound Re-recording Mixer
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
Re-recording Mixer
Get on Up (2014)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Michael McCusker
Re-recording Mixer
Hansel & Gretel: Witch Hunters (2013)
Directed by: Tommy Wirkola
Cinematography by: Michael Bonvillain
Edited by: Jim Page
Cameras: ARRI ALEXA Camera, ARRI ALEXA Plus Camera
Re-recording Mixer
G.I. Joe: Retaliation (2013)
Directed by: Jon M. Chu
Cinematography by: Stephen F. Windon
Re-recording Mixer, Re-recording Mixer: Technicolor At Paramount
Beautiful Creatures (2013)
Directed by: Richard LaGravenese
Cinematography by: Philippe Rousselot
Edited by: David Moritz
Re-recording Mixer
Pain & Gain (2013)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: Canon EOS-7D Camera, GoPro HD Hero3 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom HD Gold Camera, Red Epic Camera
Editing System: Avid Editing System
Re-recording Mixer
Skyfall (2012)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Re-recording Mixer
The Guilt Trip (2012)
Directed by: Anne Fletcher
Cinematography by: Oliver Stapleton
Re-recording Mixer
Source Code (2011)
Directed by: Duncan Jones
Cinematography by: Don Burgess
Edited by: Paul Hirsch
Additional Sound Re-recording Mixer
Season of the Witch (2011)
Directed by: Dominic Sena
Cinematography by: Amir Mokri
Re-recording Mixer
The Help (2011)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Hughes Winborne
Re-recording Mixer
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
Re-recording Mixer
Salt (2010)
Directed by: Phillip Noyce
Cinematography by: Robert Elswit
Re-recording Mixer
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
Re-recording Mixer
Love Ranch (2010)
Directed by: Taylor Hackford
Cinematography by: Kieran McGuigan
Edited by: Paul Hirsch
Re-recording Mixer
The Other Guys (2010)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Edited by: Brent White
Re-recording Mixer
The Back-up Plan (2010)
Directed by: Alan Poul
Cinematography by: Xavier Grobet
Edited by: Priscilla Nedd-Friendly
Re-recording Mixer
Secretariat (2010)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: John Wright
Re-recording Mixer
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
Re-recording Mixer
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Re-recording Mixer
Funny People (2009)
Directed by: Judd Apatow
Cinematography by: Janusz Kaminski
Cameras: Panavision Panaflex Platinum Camera
Re-recording Mixer
Away We Go (2009)
Directed by: Sam Mendes
Cinematography by: Ellen Kuras
Edited by: Sarah Flack
Re-recording Mixer
Old Dogs (2009)
Directed by: Walt Becker
Cinematography by: Jeffrey L. Kimball
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Re-recording Mixer
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Re-recording Mixer
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
Re-recording Mixer
Things We Lost in the Fire (2007)
Directed by: Susanne Bier
Cinematography by: Tom Stern
Re-recording Mixer
Knocked Up (2007)
Directed by: Judd Apatow
Cinematography by: Eric Alan Edwards
Cameras: Panavision Cameras
Re-recording Mixer
The Bourne Ultimatum (2007)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera
Re-recording Mixer
Hot Tamale (2006)
Directed by: Michael Damian
Cinematography by: Frederick Iannone
Edited by: Adam Heller
Additional Re-recording Mixer
Bobby (2006)
Directed by: Emilio Estevez
Cinematography by: Michael Barrett
Edited by: Richard Chew
Re-recording Mixer
World Trade Center (2006)
Directed by: Oliver Stone
Cinematography by: Seamus McGarvey
Re-recording Mixer
Eight Below (2006)
Directed by: Frank Marshall
Cinematography by: Don Burgess
Edited by: Christopher Rouse
Supervising Sound Mixer
Stranger Than Fiction (2006)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Re-recording Mixer
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Re-recording Mixer
The Skeleton Key (2005)
Directed by: Iain Softley
Cinematography by: Dan Mindel
Edited by: Joe Hutshing
Re-recording Mixer
Dark Water (2005)
Directed by: Walter Salles
Cinematography by: Affonso Beato
Edited by: Daniel Rezende
Re-recording Mixer
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Sound Mixer
The Passion of the Christ (2004)
Directed by: Mel Gibson
Cinematography by: Caleb Deschanel
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Re-recording Mixer
Team America: World Police (2004)
Directed by: Trey Parker
Cinematography by: Bill Pope
Edited by: Thomas M. Vogt
Cameras: ARRIFLEX 435 Camera, Pan-Arri 435 Camera
Supervising Sound Mixer
Anchorman: The Legend of Ron Burgundy (2004)
Directed by: Adam McKay
Cinematography by: Thomas E. Ackerman
Edited by: Brent White
Sound Mixer
The Bourne Supremacy (2004)
Directed by: Paul Greengrass
Cinematography by: Oliver Wood
Cameras: ARRI Cameras
Sound Mixer
Ray (2004)
Directed by: Taylor Hackford
Cinematography by: Pawel Edelman
Edited by: Paul Hirsch
Re-recording Mixer
Beyond Borders (2003)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Nicholas Beauman
Re-recording Mixer
Under the Tuscan Sun (2003)
Directed by: Audrey Wells
Cinematography by: Geoffrey Simpson
Re-recording Mixer
The Bourne Identity (2002)
Directed by: Doug Liman
Cinematography by: Oliver Wood
Edited by: Saar Klein
Re-recording Mixer
Sweet Home Alabama (2002)
Directed by: Andy Tennant
Cinematography by: Andrew Dunn
Re-recording Mixer
Road to Perdition (2002)
Directed by: Sam Mendes
Cinematography by: Conrad L. Hall
Edited by: Jill Bilcock
Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Editing System: Lightworks Editing System
Re-recording Mixer
Joe Somebody (2001)
Directed by: John Pasquin
Cinematography by: Daryn Okada
Edited by: David Finfer
Re-recording Mixer
Shallow Hal (2001)
Cinematography by: Russell Carpenter
Edited by: Christopher Greenbury
Re-recording Mixer
Evolution (2001)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Cameras: Panavision Cameras
Re-recording Mixer
Me, Myself & Irene (2000)
Cinematography by: Mark Irwin
Edited by: Christopher Greenbury
Re-recording Mixer
Vertical Limit (2000)
Directed by: Martin Campbell
Cinematography by: David Tattersall
Edited by: Thom Noble
Re-recording Mixer
Gladiator (2000)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Re-recording Mixer
American Beauty (1999)
Directed by: Sam Mendes
Cinematography by: Conrad L. Hall
Cameras: Panavision Panaflex Platinum Camera
Re-recording Mixer
The Adventures of Elmo in Grouchland (1999)
Directed by: Gary Halvorson
Cinematography by: Alan Caso
Edited by: Alan Baumgarten
Re-recording Mixer
Stigmata (1999)
Directed by: Rupert Wainwright
Cinematography by: Jeffrey L. Kimball
Re-recording Mixer
South Park: Bigger, Longer & Uncut (1999)
Directed by: Trey Parker
Edited by: John Venzon
Re-recording Mixer
I'll Be Home for Christmas (1998)
Directed by: Arlene Sanford
Cinematography by: Hiro Narita
Edited by: Anita Brandt Burgoyne
Re-recording Mixer
Sour Grapes (1998)
Directed by: Larry David
Cinematography by: Victor Hammer
Edited by: Priscilla Nedd-Friendly
Re-recording Mixer
Mafia! (1998)
Directed by: Jim Abrahams
Cinematography by: Pierre Letarte
Edited by: Terry Stokes
Re-recording Mixer
There's Something About Mary (1998)
Cinematography by: Mark Irwin
Edited by: Christopher Greenbury
Re-recording Mixer
The Waterboy (1998)
Directed by: Frank Coraci
Cinematography by: Steven Bernstein
Edited by: Tom Lewis
Cameras: Panavision Cameras
Re-recording Mixer
Fools Rush In (1997)
Directed by: Andy Tennant
Cinematography by: Robbie Greenberg
Edited by: Roger Bondelli
Re-recording Mixer
The Cable Guy (1996)
Directed by: Ben Stiller
Cinematography by: Robert Brinkmann
Edited by: Steven Weisberg
Cameras: ARRIFLEX 535 Camera, Moviecam Compact Camera
Additional Sound Re-recording Mixer
Larger Than Life (1996)
Directed by: Howard Franklin
Cinematography by: Elliot Davis
Edited by: Sidney Levin
Re-recording Mixer
Jade (1995)
Directed by: William Friedkin
Cinematography by: Andrzej Bartkowiak
Edited by: Augie Hess
Sound Re-recordist
Powder (1995)
Directed by: Victor Salva
Cinematography by: Jerzy Zielinski
Edited by: Dennis M. Hill
Re-recording Mixer
Apollo 13 (1995)
Directed by: Ron Howard
Cinematography by: Dean Cundey
Rerecording Mixer
Braveheart (1995)
Directed by: Mel Gibson
Cinematography by: John Toll
Edited by: Steven Rosenblum
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Re-recording Mixer
Stuart Saves His Family (1995)
Directed by: Harold Ramis
Cinematography by: Lauro Escorel
Re-recording Mixer
Virtuosity (1995)
Directed by: Brett Leonard
Cinematography by: Gale Tattersall
Cameras: ARRIFLEX 535 B Camera, Moviecam Compact Camera
Re-recording Mixer
The Avenging Angel (1995)
Directed by: Craig R. Baxley
Cinematography by: Mark Irwin
Edited by: Mark Helfrich
Re-recording Mixer
Beverly Hills Cop III (1994)
Directed by: John Landis
Cinematography by: Mac Ahlberg
Edited by: Dale Beldin
Re-recording Mixer
Ace Ventura: Pet Detective (1994)
Directed by: Tom Shadyac
Cinematography by: Julio Macat
Edited by: Don Zimmerman
Re-recording Mixer
The Cowboy Way (1994)
Directed by: Gregg Champion
Cinematography by: Dean Semler
Edited by: Michael Tronick
Re-recording Mixer
Naked Gun 33 1/3: The Final Insult (1994)
Directed by: Peter Segal
Cinematography by: Robert M. Stevens
Edited by: James R. Symons
Cameras: Panavision Cameras
Re-recording Mixer
Untamed Heart (1993)
Directed by: Tony Bill
Cinematography by: Jost Vacano
Edited by: Mia Goldman
Re-recording Mixer
Searching for Bobby Fischer (1993)
Directed by: Steven Zaillian
Cinematography by: Conrad L. Hall
Edited by: Wayne Wahrman
Re-recording Mixer
Schindler's List (1993)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Moviola Editing System
Re-recording By
A League of Their Own (1992)
Directed by: Penny Marshall
Cinematography by: Miroslav Ondrícek
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Re-recording Mixer
The Image (1990)
Directed by: Peter Werner
Cinematography by: Neil Roach
Edited by: Steven Cohen
Re-recording Mixer
Side Out (1990)
Directed by: Peter Israelson
Cinematography by: Ronald Víctor García
Edited by: Conrad Buff IV
Re-recording Mixer
Sudie and Simpson (1990)
Directed by: Joan Tewkesbury
Cinematography by: Mario DiLeo
Edited by: Robert P. Seppey
