Production Supervisor: Iceland
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Production Supervisor
War Dogs (2016)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Jeff Groth
Cameras: ARRI ALEXA XT Camera
Production Supervisor: Los Angeles
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
Supervising Producer: Iceland
Interstellar (2014)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: Beaumont Vista Vision Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Hasselblad Lenses, Leitz Lenses, Panavision Anamorphic Super High Speed Lenses, Panavision C Series Anamorphic Lenses, Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Production Supervisor: Iceland
Noah (2014)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRI ALEXA Plus Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera
Editing System: Avid Editing System
Production Supervisor: 2nd Unit
R.I.P.D. (2013)
Directed by: Robert Schwentke
Cinematography by: Alwin H. Küchler
Edited by: Mark Helfrich
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Production Supervisor
Zookeeper (2011)
Directed by: Frank Coraci
Cinematography by: Michael Barrett
Edited by: Scott Hill
Cameras: Panavision Genesis Camera
Production Supervisor
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Production Supervisor: Second Unit
Mission: Impossible III (2006)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Production Supervisor: Second Unit
xXx: State of the Union (2005)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Production Supervisor: Rome/San Francisco
The Core (2003)
Directed by: Jon Amiel
Cinematography by: John Lindley
Edited by: Terry Rawlings
Production Supervisor
The Sum of All Fears (2002)
Directed by: Phil Alden Robinson
Cinematography by: John Lindley
Production Supervisor
The General's Daughter (1999)
Directed by: Simon West
Cinematography by: Peter Menzies Jr.
Edited by: Glen Scantlebury
Production Coordinator
Heaven's Prisoners (1996)
Directed by: Phil Joanou
Cinematography by: Harris Savides
Edited by: William Steinkamp
Production Coordinator
Star Trek: First Contact (1996)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: John W. Wheeler
Production Office Coordinator
Matilda (1996)
Directed by: Danny DeVito
Cinematography by: Stefan Czapsky
Cameras: Panavision Panaflex Platinum Camera
Production Coordinator
Clear and Present Danger (1994)
Directed by: Phillip Noyce
Cinematography by: Donald McAlpine
Edited by: Neil Travis
Production Coordinator
Patriot Games (1992)
Directed by: Phillip Noyce
Cinematography by: Donald McAlpine
Production Coordinator
The Butcher's Wife (1991)
Directed by: Terry Hughes
Cinematography by: Frank Tidy
Edited by: Donn Cambern
Production Office Coordinator
Black Rain (1989)
Directed by: Ridley Scott
Cinematography by: Jan de Bont
Edited by: Tom Rolf
Cameras: Beaulieu Cameras, Panavision Cameras
Lenses: Panavision Lenses
Production Coordinator: Los Angeles
Coming to America (1988)
Directed by: John Landis
Cinematography by: Woody Omens
Cameras: Panavision Panaflex Gold Camera
Production Office Coordinator
Real Men (1987)
Directed by: Dennis Feldman
Cinematography by: John A. Alonzo
