Production Consultant
Blade Runner 2049 (2017)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera
Lenses: ARRI / Zeiss Zoom Lenses, 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Digital Intermediate Executive Producer
Ride Along 2 (2016)
Directed by: Tim Story
Cinematography by: Mitchell Amundsen
Edited by: Peter S. Elliot
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Digital Intermediate Executive Producer
Focus (2015)
Cinematography by: Xavier Grobet
Edited by: Jan Kovac
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Editing System: Final Cut Pro Editing System
Digital Intermediate Executive Producer
The Walk (2015)
Directed by: Robert Zemeckis
Cinematography by: Dariusz Wolski
Edited by: Jeremiah O'Driscoll
Cameras: Red Epic Dragon Camera
Digital Intermediate Executive Producer
Tracers (2015)
Directed by: Daniel Benmayor
Cinematography by: Nelson Cragg
Edited by: Peter Amundson
Cameras: Red Epic Camera
Post Production Consultant
Pompeii (2014)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Michele Conroy
Cameras: Red Epic Camera
Editing System: Avid Editing System
Digital Intermediate Executive Producer
The Expendables 3 (2014)
Directed by: Patrick Hughes
Cinematography by: Peter Menzies Jr.
Digital Intermediate Executive Management
Gone Girl (2014)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Edited by: Kirk Baxter
Cameras: Red Epic Dragon Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Adobe Premiere Editing System
Digital Intermediate Executive Producer
John Wick (2014)
Cinematography by: Jonathan Sela
Edited by: Elísabet Ronaldsdóttir
Cameras: ARRI ALEXA XT Camera
Digital Intermediate Executive Producer
That Awkward Moment (2014)
Directed by: Tom Gormican
Cinematography by: Brandon Trost
Cameras: ARRI ALEXA Plus Camera
Digital Intermediate Executive Producer
The Legend of Hercules (2014)
Directed by: Renny Harlin
Cinematography by: Sam McCurdy
Edited by: Vincent Tabaillon
Cameras: Red Epic Camera
Digital Intermediate Executive Producer
Cake (2014)
Directed by: Daniel Barnz
Cinematography by: Rachel Morrison
Cameras: ARRI ALEXA Plus 4:3 Camera
Post Production Consultant
Good Kill (2014)
Directed by: Andrew Niccol
Cinematography by: Amir Mokri
Edited by: Zach Staenberg
Vp Post Production
Tusk (2014)
Directed by: Kevin Smith
Cinematography by: James Laxton
Edited by: Kevin Smith
Cameras: ARRI ALEXA Camera, Red Epic Camera
Post Production Consultant
I, Frankenstein (2014)
Directed by: Stuart Beattie
Cinematography by: Ross Emery
Edited by: Marcus D'Arcy
Cameras: Red Epic Camera
Digital Intermediate Executive Producer
Big Sur (2013)
Directed by: Michael Polish
Cinematography by: M. David Mullen
Cameras: Red Epic Camera, Red One Camera
Digital Intermediate Management
Enough Said (2013)
Directed by: Nicole Holofcener
Cinematography by: Xavier Grobet
Edited by: Robert Frazen
Cameras: ARRI ALEXA Studio Camera
Lenses: Leitz Summilux-C Series Lenses
Digital Intermediate Executive Producer
In a World... (2013)
Directed by: Lake Bell
Cinematography by: Seamus Tierney
Edited by: Tom McArdle
Cameras: Red Epic Camera
Lenses: Hawk C-Series Lenses
Digital Intermediate Executive Producer
Ender's Game (2013)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Cameras: Red Epic Camera
Digital Intermediate Producer
42 (2013)
Directed by: Brian Helgeland
Cinematography by: Don Burgess
Cameras: Red Epic Camera
Editing System: Avid Editing System
Digital Intermediate Producer, Executive Producer
Odd Thomas (2013)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Edited by: David Checel
Cameras: Red Epic Camera
Digital Finishing Supervisor, Digital Intermediate Producer
Dark Skies (2013)
Directed by: Scott Stewart
Cinematography by: David Boyd
Edited by: Peter Gvozdas
Cameras: ARRI ALEXA Camera
Lenses: Angenieux Optimo Zoom Lenses
Digital Intermediate Producer
Snitch (2013)
Directed by: Ric Roman Waugh
Cinematography by: Dana Gonzales
Edited by: Jonathan Chibnall
Cameras: Red Epic Camera
Digital Finishing Supervisor, Digital Intermediate Executive Producer
Texas Chainsaw 3D (2013)
Directed by: John Luessenhop
Cinematography by: Anastas N. Michos
Edited by: Randy Bricker
Cameras: Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Distagon 40 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 65 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens
Editing System: Avid Editing System
Post Production Consultant
Gone (2012)
Directed by: Heitor Dhalia
Cinematography by: Michael Grady
Edited by: John Axelrad
Cameras: Red Epic Camera
Lenses: Angenieux Optimo Zoom Lenses
Digital Intermediate Producer
Goats (2012)
Directed by: Christopher Neil
Cinematography by: Wyatt Troll
Edited by: Jeremiah O'Driscoll
Post Production Consultant
Resident Evil: Retribution (2012)
Directed by: Paul W.S. Anderson
Cinematography by: Glen MacPherson
Edited by: Niven Howie
Cameras: Red Epic Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Intermediate Manager
TimeScapes (2012)
Directed by: Tom Lowe
Cinematography by: Tom Lowe
Edited by: Tom Lowe
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Red Epic Camera, Red One MX Camera
Editing System: Adobe Premiere Editing System
Senior Management: Light Iron
Underworld Awakening (2012)
Cinematography by: Scott Kevan
Edited by: Jeff McEvoy
Cameras: Red Epic Camera
Post Production Consultant
Stand Up Guys (2012)
Directed by: Fisher Stevens
Cinematography by: Michael Grady
Edited by: Mark Livolsi
Cameras: Red Epic Camera
Post-production Consultant
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Post Production Consultant
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Digital Intermediate Manager
Hitchcock (2012)
Directed by: Sacha Gervasi
Cinematography by: Jeff Cronenweth
Edited by: Pamela Martin
Cameras: Red Epic Camera
Digital Intermediate Producer
Flight (2012)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Jeremiah O'Driscoll
Cameras: Red Epic Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Intermediate Producer
Haywire (2011)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Cameras: Red One MX Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
Digital Intermediate Producer
Sucker Punch (2011)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: Panavision Cameras
Digital Intermediate Producer
The Muppets (2011)
Directed by: James Bobin
Cinematography by: Don Burgess
Edited by: James Thomas
Cameras: Red Epic Camera, Red One MX Camera
Post Production Consultant
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Digital Intermediate Producer
Contagion (2011)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Stephen Mirrione
Cameras: Red One MX Camera
Lenses: Red Pro Prime Lenses
Digital Intermediate Manager
The Girl with the Dragon Tattoo (2011)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System, Sony Vegas Editing System
Digital Intermediate Producer
Let Me In (2010)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Edited by: Stan Salfas
Digital Intermediate Producer
The Conspirator (2010)
Directed by: Robert Redford
Cinematography by: Newton Thomas Sigel
Edited by: Craig McKay
Digital Intermediate Producer
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
Digital Intermediate Producer
Get Him to the Greek (2010)
Directed by: Nicholas Stoller
Cinematography by: Robert D. Yeoman
Cameras: Panavision Cameras
Digital Intermediate Producer
Watchmen (2009)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Digital Intermediate Producer
G.I. Joe: The Rise of Cobra (2009)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Digital Intermediate Producer
It's Complicated (2009)
Directed by: Nancy Meyers
Cinematography by: John Toll
Digital Intermediate Producer: Company 3
The Unborn (2009)
Directed by: David S. Goyer
Cinematography by: James Hawkinson
Edited by: Jeff Betancourt
Cameras: Panavision Cameras
Visual Effects Supervisor
The Joneses (2009)
Directed by: Derrick Borte
Cinematography by: Yaron Orbach
Edited by: Janice Hampton
Digital Intermediate Producer
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Digital Finishing Supervisor
Where the Wild Things Are (2009)
Directed by: Spike Jonze
Cinematography by: Lance Acord
Editing System: Final Cut Pro Editing System
Digital Intermediate Producer, Visual Effects Supervisor: Company 3
Horsemen (2009)
Directed by: Jonas Åkerlund
Cinematography by: Eric Broms
Digital Intermediate Producer: Company 3, Visual Effects Supervisor: Company 3
Friday the 13th (2009)
Directed by: Marcus Nispel
Cinematography by: Daniel Pearl
Edited by: Ken Blackwell
Digital Intermediate Producer: Company 3
The Midnight Meat Train (2008)
Directed by: Ryûhei Kitamura
Cinematography by: Jonathan Sela
Edited by: Toby Yates
Digital Intermediate Producer
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Digital Intermediate Producer: Company 3
The Burning Plain (2008)
Directed by: Guillermo Arriaga
Cinematography by: Robert Elswit
Edited by: Craig Wood
Cameras: Panavision Cameras
Digital Intermediate Producer
Quantum of Solace (2008)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Intermediate Producer: Company 3
Cloverfield (2008)
Directed by: Matt Reeves
Cinematography by: Michael Bonvillain
Edited by: Kevin Stitt
Cameras: Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses: Canon Lenses, Zeiss DigiPrime Lenses
Digital Intermediate Producer: Company 3
Feast of Love (2007)
Directed by: Robert Benton
Cinematography by: Kramer Morgenthau
Edited by: Andrew Mondshein
Digital Intermediate Producer
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Digital Intermediate Producer
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Digital Intermediate Producer
Transformers (2007)
Directed by: Michael Bay
Cinematography by: Mitchell Amundsen
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Intermediate Producer: Company 3
War (2007)
Directed by: Philip G. Atwell
Cinematography by: Pierre Morel
Edited by: Scott Richter
Digital Intermediate Producer
The Life Before Her Eyes (2007)
Directed by: Vadim Perelman
Cinematography by: Pawel Edelman
Visual Effects Producer
I'm Reed Fish (2006)
Directed by: Zackary Adler
Cinematography by: Doug Chamberlain
Edited by: Yuka Ruell
Digital Intermediate Producer
300 (2006)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Producer
The Texas Chainsaw Massacre: The Beginning (2006)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Digital Intermediate Producer
Mission: Impossible III (2006)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Digital Intermediate Producer
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Digital Intermediate Producer
The Island (2005)
Directed by: Michael Bay
Cinematography by: Mauro Fiore
Visual Effects Editor: Tippett Studio
The Stepford Wives (2004)
Directed by: Frank Oz
Cinematography by: Rob Hahn
Edited by: Jay Rabinowitz
Visual Effects Editor: Tippett Studio
The League of Extraordinary Gentlemen (2003)
Directed by: Stephen Norrington
Cinematography by: Dan Laustsen
Edited by: Paul Rubell
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Visual Effects Editor: Tippett Studio
The Santa Clause 2 (2002)
Directed by: Michael Lembeck
Cinematography by: Adam Greenberg
Edited by: David Finfer
Visual Effects Editor: Tippett Studio
Evolution (2001)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Cameras: Panavision Cameras
Film Archivist - Special Version
Star Wars: Episode VI - Return of the Jedi (1983)
Directed by: Richard Marquand
Cameras: ARRIFLEX 35 BL3 Camera, ARRIFLEX 35 IIC Camera
Film Archivist - 1997 Special Version
Star Wars: Episode V - The Empire Strikes Back (1980)
Directed by: Irvin Kershner
Cinematography by: Peter Suschitzky
