Post Production Executive
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
Post-production Executive
Tomorrowland (2015)
Directed by: Brad Bird
Cinematography by: Claudio Miranda
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 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 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
Post-production Executive
Million Dollar Arm (2014)
Directed by: Craig Gillespie
Cinematography by: Gyula Pados
Edited by: Tatiana S. Riegel
Post-production Executive
Oz the Great and Powerful (2013)
Directed by: Sam Raimi
Cinematography by: Peter Deming
Edited by: Bob Murawski
Cameras: Red Epic Camera
Editing System: Avid Editing System
Post-production Executive
Frankenweenie (2012)
Directed by: Tim Burton
Cinematography by: Peter Sorg
Cameras: Canon EOS-5D Mark II Camera
Editing System: Avid Editing System
Post-production Executive
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Executive In Charge Of Post-production
Don't Be Afraid of the Dark (2010)
Directed by: Troy Nixey
Cinematography by: Oliver Stapleton
Edited by: Jill Bilcock
Executive In Charge Of Post-production
Happy-Go-Lucky (2008)
Directed by: Mike Leigh
Cinematography by: Dick Pope
Edited by: Jim Clark
Cameras: ARRI ARRIFLEX Series Cameras
Executive In Charge Of Post-production
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
Executive In Charge Of Post-production
The Diving Bell and the Butterfly (2007)
Directed by: Julian Schnabel
Cinematography by: Janusz Kaminski
Edited by: Juliette Welfling
Cameras: ARRIFLEX 435 Camera
Executive In Charge Of Post-production
Gone Baby Gone (2007)
Directed by: Ben Affleck
Cinematography by: John Toll
Edited by: William Goldenberg
Executive In Charge Of Post-production: Dimension Films
Hellraiser: Hellworld (2005)
Directed by: Rick Bota
Cinematography by: Gabriel Kosuth
Edited by: Anthony Adler
Executive In Charge Of Post-production
Sin City (2005)
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Cameras: Sony HDC-F950 Camera, Sony Other Camera
Editing System: Avid Editing System
Executive In Charge Of Post-production
The Brothers Grimm (2005)
Directed by: Terry Gilliam
Cinematography by: Newton Thomas Sigel
Edited by: Lesley Walker
Post-production Executive
The Great Raid (2005)
Directed by: John Dahl
Cinematography by: Peter Menzies Jr.
Executive In Charge Of Post-production
Tsotsi (2005)
Directed by: Gavin Hood
Cinematography by: Lance Gewer
Edited by: Megan Gill
Cameras: Moviecam Compact Camera
Executive In Charge Of Post-production
The Adventures of Sharkboy and Lavagirl 3-D (2005)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Post-production Executive
Finding Neverland (2004)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Editing System: Avid Editing System
Post Production Executive
Kill Bill: Vol. 2 (2004)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Cameras: Panavision Panaflex Platinum Camera
Executive In Charge Of Post-production
Shall We Dance (2004)
Directed by: Peter Chelsom
Cinematography by: John de Borman
Cameras: ARRI Cameras
Post Production Executive
Kill Bill: Vol. 1 (2003)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Cameras: Panavision Panaflex Platinum Camera
Executive In Charge Of Post-production
Cold Mountain (2003)
Directed by: Anthony Minghella
Cinematography by: John Seale
Edited by: Walter Murch
Editing System: Final Cut Pro Editing System
Executive In Charge Of Post-production
Spy Kids 3-D: Game Over (2003)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Executive In Charge Of Post-production
Chicago (2002)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Martin Walsh
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System, Lightworks Editing System
Director Of Post-production
The Last Seduction (1994)
Directed by: John Dahl
Cinematography by: Jeffrey Jur
Edited by: Eric L. Beason
Director Of Post-production
Ed and His Dead Mother (1993)
Directed by: Jonathan Wacks
Cinematography by: Francis Kenny
Edited by: Lisa Day
Director Of Post-production
Fear of a Black Hat (1993)
Directed by: Rusty Cundieff
Cinematography by: John L. Demps Jr.
Edited by: Karen Horn
Production Assistant
Scenes from the Class Struggle in Beverly Hills (1989)
Directed by: Paul Bartel
Cinematography by: Steven Fierberg
Edited by: Alan Toomayan