Digital Intermediate Producer
Ultraviolet (2006)
Directed by: Kurt Wimmer
Cinematography by: Arthur Wong
Edited by: William Yeh
Digital Intermediate Producer
An Inconvenient Truth (2006)
Directed by: Davis Guggenheim
Cameras: Sony HDC-F950 Camera
Digital Intermediate Producer
Payback: Straight Up (2006)
Directed by: Brian Helgeland
Cinematography by: Ericson Core
Edited by: Kevin Stitt
Digital Intermediate Producer: Efilm
World Trade Center (2006)
Directed by: Oliver Stone
Cinematography by: Seamus McGarvey
Digital Intermediate Producer
Nacho Libre (2006)
Directed by: Jared Hess
Cinematography by: Xavier Grobet
Edited by: Billy Weber
Digital Intermediate Producer
Running Scared (2006)
Directed by: Wayne Kramer
Cinematography by: Jim Whitaker
Edited by: Arthur Coburn
Supervising Digital Intermediate Producer: Efilm
Day Night Day Night (2006)
Directed by: Julia Loktev
Cinematography by: Benoît Debie
Digital Intermediate Supervisor
A History of Violence (2005)
Directed by: David Cronenberg
Cinematography by: Peter Suschitzky
Edited by: Ronald Sanders
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Intermediate Producer: Efilm
Happy Endings (2005)
Directed by: Don Roos
Cinematography by: Clark Mathis
Edited by: David Codron
Editing System: Final Cut Pro Editing System
Digital Intermediate Producer
Four Brothers (2005)
Directed by: John Singleton
Cinematography by: Peter Menzies Jr.
Digital Film Scanning And Recording
Aizea: City of the Wind (2001)
Directed by: Ione Hernández
Cinematography by: Daniel Aranyó
Edited by: Andrea Zondler
Cameras: ARRIFLEX 16SR2 Camera
Digital Scanning Supervisor / Split Recording Supervisor
Primary Colors (1998)
Directed by: Mike Nichols
Cinematography by: Michael Ballhaus
Edited by: Arthur Schmidt
Cameras: ARRIFLEX Camera
Digital Imaging Supervisor: Cinesite
Hard Rain (1998)
Directed by: Mikael Salomon
Cinematography by: Peter Menzies Jr.
Digital Imaging Supervisor: Cinesite Digital Imaging
Pleasantville (1998)
Directed by: Gary Ross
Cinematography by: John Lindley
Edited by: William Goldenberg
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Imaging Supervisor: Cinesite
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Digital Imaging Manager: Cinesite
Air Force One (1997)
Directed by: Wolfgang Petersen
Cinematography by: Michael Ballhaus
Edited by: Richard Francis-Bruce
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Variable Prime Lenses
Film Recording Operator: Cinesite
Space Jam (1996)
Directed by: Joe Pytka
Cinematography by: Michael Chapman
Edited by: Sheldon Kahn
Scanning Operator: Cinesite
Lawnmower Man 2: Beyond Cyberspace (1996)
Directed by: Farhad Mann
Cinematography by: Ward Russell
Digital Recording Operator / Digital Scanning Operator
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
Scanning Operator: Cinesite
Baby's Day Out (1994)
Directed by: Patrick Read Johnson
Cinematography by: Thomas E. Ackerman
Edited by: David Rawlins
Optical Camera Operator
The Meteor Man (1993)
Directed by: Robert Townsend
Cinematography by: John A. Alonzo
Cameras: Panavision Panaflex Gold Camera
Optical Processing: ILM
Death Becomes Her (1992)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Edited by: Arthur Schmidt
Optical Department
Hook (1991)
Directed by: Steven Spielberg
Cinematography by: Dean Cundey
Edited by: Michael Kahn
Optical Processing
Back to the Future Part III (1990)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Optical Processing: ILM
The Abyss (1989)
Directed by: James Cameron
Cinematography by: Mikael Salomon
Optical Processing: ILM
Back to the Future Part II (1989)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Optical Processing: ILM
Indiana Jones and the Last Crusade (1989)
Directed by: Steven Spielberg
Cinematography by: Douglas Slocombe
Cameras: Panavision Panaflex Camera
Lenses: Panavision Lenses
Lab Technician
Always (1989)
Directed by: Steven Spielberg
Cinematography by: Mikael Salomon
Edited by: Michael Kahn
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Optical Lab Technician
Willow (1988)
Directed by: Ron Howard
Cinematography by: Adrian Biddle
Cameras: Panavision Panaflex Gold Camera
Optical Processing
Who Framed Roger Rabbit (1988)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Edited by: Arthur Schmidt
Lenses: Panavision Lenses
Production Support: ILM
The Witches of Eastwick (1987)
Directed by: George Miller
Cinematography by: Vilmos Zsigmond
