Post Production Accountant
Once Upon a Time in Hollywood (2019)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Cameras: Aaton A-Minima Camera, ARRIFLEX Camera, Bolex Cameras, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision T Series Anamorphic Lenses
Editing System: Avid Editing System
Post Production Accountant
Official Secrets (2019)
Directed by: Gavin Hood
Cinematography by: Florian Hoffmeister
Edited by: Megan Gill
Cameras: Sony CineAlta VENICE Camera
Lenses: Leitz Summicron-C Series Lenses
Post Production Accountant
Snowden (2016)
Directed by: Oliver Stone
Cinematography by: Anthony Dod Mantle
Lenses: Leitz Summicron-C Series Lenses
Post Production Assistant Accountant
Child 44 (2015)
Directed by: Daniel Espinosa
Cinematography by: Oliver Wood
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk Anamorphic Lenses
Post Production Accountant
The Hateful Eight (2015)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Cameras: ARRIFLEX 765 Camera, Panavision Panaflex 65mm HR Spinning Mirror Reflex - 65HSSM Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision APO Panatar 100mm T2.8 Lens, Panavision APO Panatar 135mm T3.0 Lens, Panavision APO Panatar 35mm T2.8 Lens, Panavision APO Panatar 50mm T2.8 Lens, Panavision APO Panatar 75mm T2.8 Lens, Panavision APO Panatar Prism 150mm T3.6 Lens, Panavision APO Panatar Prism 57mm T4.0 Lens, Panavision APO Panatar Prism 75mm T3.5 Lens, Panavision Variable APO Panatar 135mm T3.2 Lens
Editing System: Avid Editing System
Post Production Accountant
Southpaw (2015)
Directed by: Antoine Fuqua
Cinematography by: Mauro Fiore
Edited by: John Refoua
Post Production Accountant
The Giver (2014)
Directed by: Phillip Noyce
Cinematography by: Ross Emery
Edited by: Barry Alexander Brown
Cameras: ARRI ALEXA XT Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Post Production Accountant
August: Osage County (2013)
Directed by: John Wells
Cinematography by: Adriano Goldman
Edited by: Stephen Mirrione
Post Production Accountant
Bullet to the Head (2012)
Directed by: Walter Hill
Cinematography by: Lloyd Ahern II
Edited by: Timothy Alverson
Post Production Accountant
Django Unchained (2012)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Post Production Accountant
Texas Killing Fields (2011)
Directed by: Ami Canaan Mann
Cinematography by: Stuart Dryburgh
Edited by: Cindy Mollo
Cameras: Panavision Genesis Camera
Post Production Accountant
Piranha 3D (2010)
Directed by: Alexandre Aja
Cinematography by: John R. Leonetti
Edited by: Baxter
Lenses: Angenieux HR Zoom Lenses, Cooke S4 Lenses, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Post-production Accountant: R.C. Baral & Company
Youth in Revolt (2009)
Directed by: Miguel Arteta
Cinematography by: Chuy Chávez
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Post-production Accountant
Inglourious Basterds (2009)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Post-production Accountant
Zack and Miri Make a Porno (2008)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Post Production Accountant
The Great Debaters (2007)
Directed by: Denzel Washington
Cinematography by: Philippe Rousselot
Post Production Accountant
Gone Baby Gone (2007)
Directed by: Ben Affleck
Cinematography by: John Toll
Edited by: William Goldenberg
Post Production Accountant: R.C. Baral & Company
The Hills Have Eyes (2006)
Directed by: Alexandre Aja
Cinematography by: Maxime Alexandre
Edited by: Baxter
Post Production Accountant
Material Girls (2006)
Directed by: Martha Coolidge
Cinematography by: Johnny E. Jensen
Edited by: Steven Cohen
Post-production Accountant
School for Scoundrels (2006)
Directed by: Todd Phillips
Cinematography by: Jonathan Brown
Post-production Accountant
Venom (2005)
Directed by: Jim Gillespie
Cinematography by: Steve Mason
Edited by: Paul Martin Smith
Post Production Accountant
The Interpreter (2005)
Directed by: Sydney Pollack
Cinematography by: Darius Khondji
Edited by: William Steinkamp
Post Production Accountant
Bad Santa (2003)
Directed by: Terry Zwigoff
Cinematography by: Jamie Anderson
Edited by: Robert Hoffman
Post-production Accountant: R.C. Baral & Company
Levity (2003)
Directed by: Ed Solomon
Cinematography by: Roger Deakins
Edited by: Pietro Scalia
Post-production Accountant
My Boss's Daughter (2003)
Directed by: David Zucker
Cinematography by: Martin McGrath
Post Production Accountant
The Shape of Things (2003)
Directed by: Neil LaBute
Cinematography by: James L. Carter
Edited by: Joel Plotch
Post-production Accountant: R. C. Baral & Company
Full Frontal (2002)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Sarah Flack
Cameras: Canon XL1S Camera
Editing System: Final Cut Pro Editing System
Post Production Accountant
Far from Heaven (2002)
Directed by: Todd Haynes
Cinematography by: Edward Lachman
Edited by: James Lyons
Cameras: Moviecam Compact Camera
Post-production Accountant
My Big Fat Greek Wedding (2002)
Directed by: Joel Zwick
Cinematography by: Jeffrey Jur
Edited by: Mia Goldman
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post Production Accountant
K-19: The Widowmaker (2002)
Directed by: Kathryn Bigelow
Cinematography by: Jeff Cronenweth
Edited by: Walter Murch
Post-production Accountant
Erin Brockovich (2000)
Directed by: Steven Soderbergh
Cinematography by: Edward Lachman
Edited by: Anne V. Coates
Cameras: Moviecam Compact Camera
Lenses: Cooke S4 Lenses
Post Production Accountant
Pitch Black (2000)
Directed by: David Twohy
Cinematography by: David Eggby
Edited by: Rick Shaine
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post Production Accountant
Rounders (1998)
Directed by: John Dahl
Cinematography by: Jean-Yves Escoffier
Edited by: Scott Chestnut
Post-production Accountant
Out of Sight (1998)
Directed by: Steven Soderbergh
Cinematography by: Elliot Davis
Edited by: Anne V. Coates
Post-production Accountant: R.C. Baral & Co.
Senseless (1998)
Directed by: Penelope Spheeris
Cinematography by: Daryn Okada
Edited by: Ross Albert
Post-production Accountant
Home for the Holidays (1995)
Directed by: Jodie Foster
Cinematography by: Lajos Koltai
Edited by: Lynzee Klingman
Post Production Accountant
The Shadow (1994)
Directed by: Russell Mulcahy
Cinematography by: Stephen H. Burum
Edited by: Peter Honess
Post-production Accountant
Flesh and Bone (1993)
Directed by: Steve Kloves
Cinematography by: Philippe Rousselot
Edited by: Mia Goldman
Post-production Accounting: R.C. Baral & Co.
King of the Hill (1993)
Directed by: Steven Soderbergh
Cinematography by: Elliot Davis
Edited by: Steven Soderbergh
Cameras: Panavision Cameras
Assistant: Mr. Krane
Cold Heaven (1991)
Directed by: Nicolas Roeg
Cinematography by: Francis Kenny
Edited by: Tony Lawson
Associate Producer
Look Who's Talking Too (1990)
Directed by: Amy Heckerling
Cinematography by: Thomas Del Ruth
Edited by: Debra Chiate
Assistant: Mr. Krane
Look Who's Talking (1989)
Directed by: Amy Heckerling
Cinematography by: Thomas Del Ruth
Edited by: Debra Chiate
Assistant: Mr. Krane
Getting It Right (1989)
Directed by: Randal Kleiser
Cinematography by: Clive Tickner
Edited by: Chris Kelly
Assistant: Mr. Krane
Limit Up (1989)
Directed by: Richard Martini
Cinematography by: Peter Lyons Collister
Edited by: Sonny Baskin
