Score Producer
Ready or Not (2019)
Movie
Cinematography by: Brett Jutkiewicz
Edited by: Terel Gibson
Cameras: ARRI ALEXA Mini Camera
Lenses: Cooke 5/i Lenses
Music Editor/score Co-producer
Escape Room (2019)
Directed by: Adam Robitel
Cinematography by: Marc Spicer
Edited by: Steve Mirkovich
Cameras: ARRI ALEXA Mini Camera
Lenses: Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Supervising Music Editor
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Supervising Score Music Editor/score Co-producer
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Music Editor
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Supervising Score Music Editor/score Co-producer
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
Music Editor
Into the Storm (2014)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera, Canon EOS-5D Mark II Camera, GoPro HD Hero2 Camera, Nikon D800 Camera, Red Epic Camera
Lenses: Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Music Editor
Teenage Mutant Ninja Turtles (2014)
Directed by: Jonathan Liebesman
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Plus 4:3 Camera
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
Editing System: Avid Editing System
Music Editor
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Music Editor
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Music Editor
Brake (2012)
Directed by: Gabe Torres
Cinematography by: James Mathers
Edited by: Sam Restivo
Music Editor
The Expendables 2 (2012)
Directed by: Simon West
Cinematography by: Shelly Johnson
Edited by: Todd E. Miller
Editing System: Avid Editing System
Music Editor
Battle Los Angeles (2011)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Edited by: Christian Wagner
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Sony PMW-EX3 Camera
Lenses: Panavision Compact Zoom Lenses, Panavision Lightweight Zoom Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Music Editor
Final Destination 5 (2011)
Directed by: Steven Quale
Cinematography by: Brian Pearson
Edited by: Eric A. Sears
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Music Coordinator
The Expendables (2010)
Directed by: Sylvester Stallone
Cinematography by: Jeffrey L. Kimball
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
Editing System: Avid Editing System
Music Editor
Middle Men (2009)
Directed by: George Gallo
Cinematography by: Lukas Ettlin
Edited by: Malcolm Campbell
Music Editor
Law Abiding Citizen (2009)
Directed by: F. Gary Gray
Cinematography by: Jonathan Sela
Edited by: Tariq Anwar
Lenses: Cooke S4 Lenses
Music Editor
Rambo (2008)
Directed by: Sylvester Stallone
Cinematography by: Glen MacPherson
Edited by: Sean Albertson
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera
Lenses: Zeiss Ultra Prime Lenses
Supervising Music Editor
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Music Editor
Aliens vs. Predator: Requiem (2007)
Cinematography by: Daniel Pearl
Edited by: Dan Zimmerman
Music Editor
War (2007)
Directed by: Philip G. Atwell
Cinematography by: Pierre Morel
Edited by: Scott Richter
Music Editor
Bug (2006)
Directed by: William Friedkin
Cinematography by: Michael Grady
Edited by: Darrin Navarro
Music Editor: Temp Music
The Texas Chainsaw Massacre: The Beginning (2006)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Music Editor
The Fast and the Furious: Tokyo Drift (2006)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Music Editor
The Covenant (2006)
Directed by: Renny Harlin
Cinematography by: Pierre Gill
Edited by: Nicolas De Toth
Music Editor
Constantine (2005)
Directed by: Francis Lawrence
Cinematography by: Philippe Rousselot
Edited by: Wayne Wahrman
Music Editor
Team America: World Police (2004)
Directed by: Trey Parker
Cinematography by: Bill Pope
Edited by: Thomas M. Vogt
Cameras: ARRIFLEX 435 Camera, Pan-Arri 435 Camera
Music Editor
Taking Lives (2004)
Directed by: D.J. Caruso
Cinematography by: Amir Mokri
Edited by: Anne V. Coates
Music Editor: Temp Music
House of Sand and Fog (2003)
Directed by: Vadim Perelman
Cinematography by: Roger Deakins
Edited by: Lisa Zeno Churgin
Lenses: Cooke S4 Lenses
Music Editor
Unfaithful (2002)
Directed by: Adrian Lyne
Cinematography by: Peter Biziou
Edited by: Anne V. Coates
Cameras: Moviecam Compact Camera
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Music Editor
Far from Heaven (2002)
Directed by: Todd Haynes
Cinematography by: Edward Lachman
Edited by: James Lyons
Cameras: Moviecam Compact Camera
Temp Assistant Music Editor
Planet of the Apes (2001)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Panaflex Platinum Camera
Music Editor
Behind Enemy Lines (2001)
Directed by: John Moore
Cinematography by: Brendan Galvin
Edited by: Paul Martin Smith
Music Editor: Temp Music
Novocaine (2001)
Directed by: David Atkins
Cinematography by: Vilko Filac
Edited by: Melody London
Music Editor: Temp Music
Book of Shadows: Blair Witch 2 (2000)
Directed by: Joe Berlinger
Cinematography by: Nancy Schreiber
Assistant Music Editor
Sleepy Hollow (1999)
Directed by: Tim Burton
Cinematography by: Emmanuel Lubezki
Cameras: Panavision Panaflex Platinum Camera
Assistant Sound Editor
Living Out Loud (1998)
Directed by: Richard LaGravenese
Cinematography by: John Bailey
Cameras: Panavision Cameras
Group Assistant Adr Editor
Snake Eyes (1998)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Bill Pankow
Lenses: Panavision C Series Anamorphic Lenses, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens
Editing System: Avid Editing System
Assistant Sound Editor
No Looking Back (1998)
Directed by: Edward Burns
Cinematography by: Frank Prinzi
Edited by: Susan Graef
Assistant Music Editor
In & Out (1997)
Directed by: Frank Oz
Cinematography by: Rob Hahn
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Reprint Assistant
Afterglow (1997)
Directed by: Alan Rudolph
Cinematography by: Toyomichi Kurita
Edited by: Suzy Elmiger
Cameras: ARRIFLEX Camera
Music Editor
Walking and Talking (1996)
Directed by: Nicole Holofcener
Cinematography by: Michael Spiller
Edited by: Alisa Lepselter
Apprentice Sound Editor
Box of Moonlight (1996)
Directed by: Tom DiCillo
Cinematography by: Paul Ryan
Edited by: Camilla Toniolo
