Sound Designer
Ford v Ferrari (2019)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Cameras: ARRI ALEXA LF Camera
Sound Effects Editor
The Spy Who Dumped Me (2018)
Directed by: Susanna Fogel
Cinematography by: Barry Peterson
Edited by: Jonathan Schwartz
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Supervising Sound Effects Editor
The Predator (2018)
Directed by: Shane Black
Cinematography by: Larry Fong
Edited by: Harry B. Miller III
Foley Editor
Why Him? (2016)
Directed by: John Hamburg
Cinematography by: Kris Kachikis
Edited by: William Kerr
Sound Effects Editor
Ghostbusters (2016)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Sound Effects Editor
The Boss (2016)
Directed by: Ben Falcone
Cinematography by: Julio Macat
Edited by: Craig Alpert
Cameras: ARRI ALEXA 65 Camera
Lenses: Leitz Summilux-C Series Lenses
Sound Effects Editor
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 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 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Sound Editor
The Big Short (2015)
Directed by: Adam McKay
Cinematography by: Barry Ackroyd
Edited by: Hank Corwin
Sound Effects Editor
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Sound Designer
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Sound Designer
Furious 6 (2013)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Sound Effects Designer
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Sound Effects Recordist / Supervising Sound Editor
A Good Day to Die Hard (2013)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Sound Editor
Jack Reacher (2012)
Directed by: Christopher McQuarrie
Cinematography by: Caleb Deschanel
Edited by: Kevin Stitt
Sound Effects Editor
Red Riding Hood (2011)
Directed by: Catherine Hardwicke
Cinematography by: Mandy Walker
Sound Effects Editor
True Grit (2010)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Supervising Sound Effects Editor
The A-Team (2010)
Directed by: Joe Carnahan
Cinematography by: Mauro Fiore
Sound Effects Editor
The Book of Eli (2010)
Cinematography by: Don Burgess
Edited by: Cindy Mollo
Cameras: Red One Camera
Sound Effects Editor
State of Play (2009)
Directed by: Kevin Macdonald
Cinematography by: Rodrigo Prieto
Edited by: Justine Wright
Sound Effects Recordist / Supervising Sound Editor
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
Supervising Sound Editor
Aliens vs. Predator: Requiem (2007)
Cinematography by: Daniel Pearl
Edited by: Dan Zimmerman
Sound Editor
Big Momma's House 2 (2006)
Directed by: John Whitesell
Cinematography by: Mark Irwin
Edited by: Priscilla Nedd-Friendly
Supervising Sound Editor
The Omen (2006)
Directed by: John Moore
Cinematography by: Jonathan Sela
Edited by: Dan Zimmerman
Cameras: Panavision Cameras
Dubbing Editor: Los Angeles
Tristan + Isolde (2006)
Directed by: Kevin Reynolds
Cinematography by: Arthur Reinhart
Edited by: Peter Boyle
Sound Effects Editor
Fantastic Four (2005)
Directed by: Tim Story
Cinematography by: Oliver Wood
Edited by: William Hoy
Sound Effects Editor
I, Robot (2004)
Directed by: Alex Proyas
Cinematography by: Simon Duggan
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 ES Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Cooke S4 Lenses, Zeiss Ultra Prime Lenses
Sound Editor
Dawn of the Dead (2004)
Directed by: Zack Snyder
Cinematography by: Matthew F. Leonetti
Edited by: Niven Howie
Supervising Sound Editor
Flight of the Phoenix (2004)
Directed by: John Moore
Cinematography by: Brendan Galvin
Edited by: Don Zimmerman
Sound Effects Editor
Daredevil (2003)
Directed by: Mark Steven Johnson
Cinematography by: Ericson Core
Supervising Sound Editor
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Supervising Sound Editor
Undisputed (2002)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Sound Effects Editor
Rat Race (2001)
Directed by: Jerry Zucker
Cinematography by: Thomas E. Ackerman
Edited by: Tom Lewis
Sound Effects Supervisor
Behind Enemy Lines (2001)
Directed by: John Moore
Cinematography by: Brendan Galvin
Edited by: Paul Martin Smith
Sound Editor
The Glass House (2001)
Directed by: Daniel Sackheim
Cinematography by: Alar Kivilo
Edited by: Howard E. Smith
Sound Effects Editor
The Way of the Gun (2000)
Directed by: Christopher McQuarrie
Cinematography by: Dick Pope
Edited by: Stephen Semel
Sound Effects Editor
Men of Honor (2000)
Directed by: George Tillman Jr.
Cinematography by: Anthony B. Richmond
Lenses: Cooke S4 Lenses
Co-supervising Sound Editor
The 13th Warrior (1999)
Cinematography by: Peter Menzies Jr.
Edited by: John Wright
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Sound Effects Editor
Anna and the King (1999)
Directed by: Andy Tennant
Cinematography by: Caleb Deschanel
Edited by: Roger Bondelli
Cameras: Panavision Cameras
Sound Effects Recordist
Blue Streak (1999)
Directed by: Les Mayfield
Cinematography by: David Eggby
Edited by: Michael Tronick
Sound Effects Editor
Brokedown Palace (1999)
Directed by: Jonathan Kaplan
Cinematography by: Newton Thomas Sigel
Sound Editor
There's Something About Mary (1998)
Cinematography by: Mark Irwin
Edited by: Christopher Greenbury
Sound Effects Editor
The X Files (1998)
Directed by: Rob Bowman
Cinematography by: Ward Russell
Edited by: Stephen Mark
Sound Effects Editor
Alien Resurrection (1997)
Directed by: Jean-Pierre Jeunet
Cinematography by: Darius Khondji
Edited by: Hervé Schneid
Supervising Sound Editor
The Edge (1997)
Directed by: Lee Tamahori
Cinematography by: Donald McAlpine
Edited by: Neil Travis
Sound Effects Editor
Midnight in the Garden of Good and Evil (1997)
Directed by: Clint Eastwood
Cinematography by: Jack N. Green
Edited by: Joel Cox
Cameras: Panavision Cameras
Supervising Sound Editor
Last Man Standing (1996)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Sound Editor
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Supervising Sound Editor
Wild Bill (1995)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Supervising Sound Editor
Waterworld (1995)
Directed by: Kevin Reynolds
Cinematography by: Dean Semler
Edited by: Peter Boyle
Sound Effects Editor
The Shadow (1994)
Directed by: Russell Mulcahy
Cinematography by: Stephen H. Burum
Edited by: Peter Honess
Sound Editor
Rapa Nui (1994)
Directed by: Kevin Reynolds
Cinematography by: Stephen F. Windon
Edited by: Peter Boyle
Sound Effects Recordist
Renaissance Man (1994)
Directed by: Penny Marshall
Cinematography by: Adam Greenberg
Sound Effects Supervisor
Blink (1993)
Directed by: Michael Apted
Cinematography by: Dante Spinotti
Edited by: Rick Shaine
Supervising Sound Editor: Acme Soundworks
Sommersby (1993)
Directed by: Jon Amiel
Cinematography by: Philippe Rousselot
Edited by: Peter Boyle
Supervising Sound Editor
Geronimo: An American Legend (1993)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Supervising Sound Effects Editor
Last Action Hero (1993)
Directed by: John McTiernan
Cinematography by: Dean Semler
Cameras: Panavision Panaflex Gold II Camera
Supervising Sound Editor
Kuffs (1992)
Directed by: Bruce A. Evans
Cinematography by: Thomas Del Ruth
Edited by: Stephen Semel
Supervising Sound Editor
Trespass (1992)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Freeman A. Davies
Sound Effects Recordist
Aces: Iron Eagle III (1992)
Directed by: John Glen
Cinematography by: Alec Mills
Edited by: Bernard Gribble
Sound Editor
Lord of the Flies (1990)
Directed by: Harry Hook
Cinematography by: Martin Fuhrer
Edited by: Harry Hook
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Sound Effects Editor
Another 48 Hrs. (1990)
Directed by: Walter Hill
Cinematography by: Matthew F. Leonetti
Cameras: Ultracam 35 Camera
Sound Editor
Pacific Heights (1990)
Directed by: John Schlesinger
Cinematography by: Amir Mokri
Cameras: ARRI Cameras
Supervising Sound Editor
Flashback (1990)
Directed by: Franco Amurri
Cinematography by: Stefan Czapsky
Edited by: Carroll Timothy O'Meara
Sound Effects Recordist
L.A. Takedown (1989)
Directed by: Michael Mann
Cinematography by: Ronald Víctor García
Edited by: Dov Hoenig
Sound Editor
Rain Man (1988)
Directed by: Barry Levinson
Cinematography by: John Seale
Edited by: Stu Linder
Cameras: Panavision Panaflex Camera
Sound Editor
Extreme Prejudice (1987)
Directed by: Walter Hill
Cinematography by: Matthew F. Leonetti
Sound Editor
The Sicilian (1987)
Directed by: Michael Cimino
Cinematography by: Alex Thomson
Edited by: Françoise Bonnot
Sound Editor
Masters of the Universe (1987)
Directed by: Gary Goddard
Cinematography by: Hanania Baer
Edited by: Anne V. Coates
Sound Editor
Manhunter (1986)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Edited by: Dov Hoenig
Sound Editor
Cobra (1986)
Directed by: George P. Cosmatos
Cinematography by: Ric Waite
Cameras: Panavision Cameras
