Digital Intermediate Producer
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
Digital Intermediate Producer
'Stranger Things' Chapter Nine: The Gate (2017)
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Digital Intermediate Producer
'Stranger Things' Chapter Eight: The Mind Flayer (2017)
Cinematography by: Tim Ives
Edited by: Nat Fuller
Digital Intermediate Producer
'Stranger Things' Chapter Seven: The Lost Sister (2017)
Directed by: Rebecca Thomas
Cinematography by: David Franco
Edited by: Katheryn Naranjo
Digital Intermediate Producer
'Stranger Things' Chapter Six: The Spy (2017)
Directed by: Andrew Stanton
Cinematography by: Tim Ives
Edited by: Nat Fuller
Digital Intermediate Producer
'Stranger Things' Chapter Five: Dig Dug (2017)
Directed by: Andrew Stanton
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Digital Intermediate Producer
'Stranger Things' Chapter Four: Will the Wise (2017)
Directed by: Shawn Levy
Cinematography by: Tod Campbell
Edited by: Nat Fuller
Digital Intermediate Producer
'Stranger Things' Chapter Three: The Pollywog (2017)
Directed by: Shawn Levy
Cinematography by: Tod Campbell
Edited by: Kevin D. Ross
Digital Intermediate Producer
'Stranger Things' Chapter Two: Trick or Treat, Freak (2017)
Cinematography by: Tim Ives
Edited by: Nat Fuller
Digital Intermediate Producer
'Stranger Things' Chapter One: MADMAX (2017)
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Digital Intermediate Producer
The Jungle Book (2016)
Directed by: Jon Favreau
Cinematography by: Bill Pope
Cameras: ARRI ALEXA XT M Camera
Digital Intermediate Producer
Kubo and the Two Strings (2016)
Directed by: Travis Knight
Cinematography by: Frank Passingham
Edited by: Christopher Murrie
Digital Intermediate Producer - 17 Episodes, 2016-2017
Stranger Things (2016)
Directed by: Matt Duffer, Ross Duffer, Shawn Levy, Andrew Stanton, Uta Briesewitz, Nimród Antal, Rebecca Thomas, Dan Trachtenberg
Cinematography by: Tim Ives, Caleb Heymann, Tod Campbell, Lachlan Milne, Brett Jutkiewicz, David Franco
Cameras: ARRI ALEXA LF Camera, Red Epic Dragon Camera, Red Helium (Weapon) 8K, Red Monstro 8K Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Avid Editing System
Digital Intermediate Producer
'Stranger Things' Chapter One: The Vanishing of Will Byers (2016)
Cinematography by: Tim Ives
Edited by: Dean Zimmerman
Digital Intermediate Producer
'Stranger Things' Chapter Two: The Weirdo on Maple Street (2016)
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Digital Intermediate Producer
'Stranger Things' Chapter Three: Holly, Jolly (2016)
Directed by: Shawn Levy
Cinematography by: Tod Campbell
Edited by: Kevin D. Ross
Digital Intermediate Producer
'Stranger Things' Chapter Four: The Body (2016)
Directed by: Shawn Levy
Cinematography by: Tod Campbell
Edited by: Dean Zimmerman
Digital Intermediate Producer
'Stranger Things' Chapter Five: The Flea and the Acrobat (2016)
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Digital Intermediate Producer
'Stranger Things' Chapter Six: The Monster (2016)
Cinematography by: Tim Ives
Edited by: Dean Zimmerman
Digital Intermediate Producer
'Stranger Things' Chapter Seven: The Bathtub (2016)
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Digital Intermediate Producer
'Stranger Things' Chapter Eight: The Upside Down (2016)
Cinematography by: Tim Ives
Edited by: Dean Zimmerman
Digital Intermediate Producer
The Fault in Our Stars (2014)
Directed by: Josh Boone
Cinematography by: Ben Richardson
Edited by: Robb Sullivan
Cameras: ARRI ALEXA XT Camera
Digital Intermediate Producer
Need for Speed (2014)
Directed by: Scott Waugh
Cinematography by: Shane Hurlbut
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Anamorphic Lenses, Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens, Cooke S4/i Prime 12mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 180mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Leica Elmarit-R II 28 mm f2.0, Leica Super Angulon-R 21 mm f4.0, Leica Super-Elmarit-R 15 mm f2.8, Leitz Summicron-C 21 mm T2.0 Lens, Zeiss Distagon T* 15mm f2.8 ZE, Zeiss Distagon T* 18mm f3.5 ZE
Digital Intermediate Producer
Walking with Dinosaurs 3D (2013)
Cinematography by: John Brooks
Edited by: John Carnochan
Cameras: Red Epic Camera
Digital Intermediate Producer
Oblivion (2013)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Richard Francis-Bruce
Cameras: Red Epic Camera, Sony CineAlta F65 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 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Editing System: Avid Editing System
Digital Intermediate Producer
Trade of Innocents (2012)
Directed by: Christopher M. Bessette
Cinematography by: Philip Hurn
Edited by: Diane Brunjes
Cameras: Red One MX Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Producer
The Collection (2012)
Directed by: Marcus Dunstan
Cinematography by: Sam McCurdy
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
Digital Intermediate Producer
Playing for Keeps (2012)
Directed by: Gabriele Muccino
Cinematography by: Peter Menzies Jr.
Edited by: Padraic McKinley
Digital Intermediate Manager: Technicolor Hollywood
Life of Pi (2012)
Directed by: Ang Lee
Cinematography by: Claudio Miranda
Edited by: Tim Squyres
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Digital Intermediate Producer: Laser Pacific
Act of Valor (2012)
Cinematography by: Shane Hurlbut
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Platinum Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Digital Intermediate Producer
Glee: The 3D Concert Movie (2011)
Cameras: ARRI ALEXA Camera, Red Epic Camera
Digital Intermediate Producer
Hop (2011)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Digital Intermediate Producer
Tron (2010)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: James Haygood
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Editing System: Avid Editing System
Digital Intermediate Producer
Step Up 3D (2010)
Directed by: Jon M. Chu
Cinematography by: Ken Seng
Edited by: Andrew Marcus
Cameras: Sony CineAlta F23 Camera
Digital Intermediate Producer
Furry Vengeance (2010)
Directed by: Roger Kumble
Cinematography by: Peter Lyons Collister
Edited by: Lawrence Jordan
Digital Intermediate Producer: LaserPacific
Swing Vote (2008)
Directed by: Joshua Michael Stern
Cinematography by: Shane Hurlbut
Edited by: Jeff McEvoy
Digital Intermediate Project Manager: LaserPacific
Balls of Fury (2007)
Directed by: Robert Ben Garant
Cinematography by: Thomas E. Ackerman
Edited by: John Refoua
Cameras: Panavision Genesis Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Project Manager: Laser Pacific Media
The Kite Runner (2007)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Digital Intermediate Producer
Waist Deep (2006)
Directed by: Vondie Curtis-Hall
Cinematography by: Shane Hurlbut
Edited by: Terilyn A. Shropshire
Digital Intermediate Producer
Into the Blue (2005)
Directed by: John Stockwell
Cinematography by: Shane Hurlbut
High Definition Coordinator: LaserPacific
Walking Tall (2004)
Directed by: Kevin Bray
Cinematography by: Glen MacPherson
Account Manager: LaserPacific Media Corporation
A Guy Thing (2003)
Directed by: Chris Koch
Cinematography by: Robbie Greenberg
Edited by: David Moritz
High Definition Coordinator: LaserPacific
Good Boy! (2003)
Directed by: John Hoffman
Cinematography by: James Glennon
Edited by: Craig Herring
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Account Manager: LaserPacific Media Corporation
Agent Cody Banks (2003)
Directed by: Harald Zwart
Cinematography by: Denis Crossan
Edited by: Jim Miller
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Account Manager: LaserPacific Media Corporation
Barbershop (2002)
Directed by: Tim Story
Cinematography by: Tom Priestley Jr.
Edited by: John Carter
