Post-production Supervisor
Killers of the Flower Moon (2023)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Camera, Bell & Howell 2709 Camera, Phantom Flex4K Camera, Sony CineAlta VENICE Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Cooke Speed Panchro Lenses, Panavision T Series Anamorphic Lenses
Editing System: Lightworks Editing System
Post-production Supervisor
Maestro (2023)
Directed by: Bradley Cooper
Cinematography by: Matthew Libatique
Edited by: Michelle Tesoro
Lenses: Panavision PVintage Prime Lenses
Post-production Supervisor
The Irishman (2019)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Mini Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Red Digital Cinema Cameras
Editing System: Lightworks Editing System
Post-production Supervisor
A Beautiful Day in the Neighborhood (2019)
Directed by: Marielle Heller
Cinematography by: Jody Lee Lipes
Edited by: Anne McCabe
Post-production Supervisor
Hold the Dark (2018)
Directed by: Jeremy Saulnier
Cinematography by: Magnus Nordenhof Jønck
Edited by: Julia Bloch
Cameras: Red Epic Dragon Camera
Lenses: Hawk V-Plus Lenses
Post-production Supervisor
Can You Ever Forgive Me? (2018)
Directed by: Marielle Heller
Cinematography by: Brandon Trost
Edited by: Anne McCabe
Cameras: Panavision Millennium DXL Camera
Lenses: Panavision Primo 70 Lenses
Post-production Supervisor
I, Tonya (2017)
Directed by: Craig Gillespie
Cinematography by: Nicolas Karakatsanis
Edited by: Tatiana S. Riegel
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Leitz Summilux-C Series Lenses
Post-production Supervisor
Spotlight (2015)
Directed by: Tom McCarthy
Cinematography by: Masanobu Takayanagi
Edited by: Tom McArdle
Cameras: ARRI ALEXA XT Camera
Post-production Supervisor
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
Post-production Supervisor
Win Win (2011)
Directed by: Tom McCarthy
Cinematography by: Oliver Bokelberg
Edited by: Tom McArdle
Post-production Supervisor
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
Post-production Supervisor
It's Kind of a Funny Story (2010)
Cinematography by: Andrij Parekh
Edited by: Anna Boden
Post-production Supervisor
Fighting (2009)
Directed by: Dito Montiel
Cinematography by: Stefan Czapsky
Post-production Supervisor: New York
Shine a Light (2008)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: David Tedeschi
Post-production Supervisor
Reservation Road (2007)
Directed by: Terry George
Cinematography by: John Lindley
Edited by: Naomi Geraghty
Post-production Supervisor
The Hottest State (2006)
Directed by: Ethan Hawke
Cinematography by: Christopher Norr
Edited by: Adriana Pacheco
Post-production Supervisor
The Namesake (2006)
Directed by: Mira Nair
Cinematography by: Frederick Elmes
Edited by: Allyson C. Johnson
Post-production Supervisor
Neil Young: Heart of Gold (2006)
Directed by: Jonathan Demme
Cinematography by: Ellen Kuras
Edited by: Andy Keir
Associate Producer, Post-production Supervisor
Everything Is Illuminated (2005)
Directed by: Liev Schreiber
Cinematography by: Matthew Libatique
Post-production Supervisor
The Woodsman (2004)
Directed by: Nicole Kassell
Cinematography by: Xavier Grobet
Post-production Supervisor
No Such Thing (2001)
Directed by: Hal Hartley
Cinematography by: Michael Spiller
Edited by: Steve Hamilton
Post-production Supervisor
Animal Factory (2000)
Directed by: Steve Buscemi
Cinematography by: Phil Parmet
Edited by: Kate Williams
Post-production Supervisor
Before Night Falls (2000)
Directed by: Julian Schnabel
Edited by: Michael Berenbaum
Cameras: ARRIFLEX 35 BL4s Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Super Speed Lenses
Assistant: Mr. Cuarón
Great Expectations (1998)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Edited by: Steven Weisberg
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post-production Supervisor, Production Coordinator: New York
Chinese Box (1997)
Directed by: Wayne Wang
Cinematography by: Vilko Filac
Edited by: Christopher Tellefsen
