Post Production Accounting
Marriage Story (2019)
Directed by: Noah Baumbach
Cinematography by: Robbie Ryan
Edited by: Jennifer Lame
Production Accountant
Gemini Man (2019)
Directed by: Ang Lee
Cinematography by: Dion Beebe
Edited by: Tim Squyres
Cameras: ARRI ALEXA XT M Camera, Phantom Flex4K Camera
Lenses: Leitz Summilux-C Series Lenses
Post Production Accounting
Good Boys (2019)
Movie
Directed by: Gene Stupnitsky
Cinematography by: Jonathan Furmanski
Edited by: Daniel Gabbe
Lenses: Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 mm T1.9 Lens, Zeiss Master Anamorphic 180 mm T2.8 Lens, Zeiss Master Anamorphic 28 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 40 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 60 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens
Co-producer
Reach Me (2014)
Directed by: John Herzfeld
Cinematography by: Vern Nobles
Edited by: Steven Cohen
Cameras: Red Epic Camera
Post Production Accountant
The Loft (2014)
Directed by: Erik Van Looy
Cinematography by: Nicolas Karakatsanis
Edited by: Eddie Hamilton
Cameras: ARRI ALEXA Plus Camera
Lenses: Zeiss Master Prime Lenses
Post-production Accountant: Trevanna Post
The Grand Budapest Hotel (2014)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Barney Pilling
Cameras: ARRICAM Studio (ST) Camera
Lenses: Angenieux Lenses, Cooke S4 Lenses, Cooke Varotal Lenses, Technovision Techno-Cooke Anamorphic Zoom 40-200mm T4.5 Lens
Editing System: Avid Editing System
Post-production Accountant
Labor Day (2013)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Cameras: Red Epic Camera
Post Production Accountant
Moonrise Kingdom (2012)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Andrew Weisblum
Cameras: Aaton A-Minima Camera, Aaton Xterà Camera
Lenses: Canon Lenses, Zeiss Super Speed Lenses
Post-production Accountant
The Big Year (2011)
Directed by: David Frankel
Cinematography by: Lawrence Sher
Edited by: Mark Livolsi
Post Production Accountant: Trevanna Post
Win Win (2011)
Directed by: Tom McCarthy
Cinematography by: Oliver Bokelberg
Edited by: Tom McArdle
Post-production Accountant
Somewhere (2010)
Directed by: Sofia Coppola
Cinematography by: Harris Savides
Edited by: Sarah Flack
Post-production Accountant: Trevanna Post
Black Swan (2010)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRIFLEX 416 Camera, Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera
Lenses: Zeiss Ultra 16 Lenses
Editing System: Avid Editing System
Post-production Accountant
The Tempest (2010)
Directed by: Julie Taymor
Cinematography by: Stuart Dryburgh
Edited by: Françoise Bonnot
Cameras: ARRICAM Lite (LT) Camera
Post-production Accountant: Trevanna Post, Inc.
Amelia (2009)
Directed by: Mira Nair
Cinematography by: Stuart Dryburgh
Post-production Accountant
The Promotion (2008)
Directed by: Steve Conrad
Cinematography by: Lawrence Sher
Post Production Accountant
Sunshine Cleaning (2008)
Directed by: Christine Jeffs
Cinematography by: John Toon
Edited by: Heather Persons
Post-production Accountant
Miracle at St. Anna (2008)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Post-production Accountant
Music and Lyrics (2007)
Directed by: Marc Lawrence
Cinematography by: Xavier Grobet
Edited by: Susan E. Morse
Cameras: ARRI Cameras
Lenses: Zeiss Lenses
Post-production Accountant
Evening (2007)
Directed by: Lajos Koltai
Cinematography by: Gyula Pados
Edited by: Allyson C. Johnson
Post-production Accountant
The Nanny Diaries (2007)
Cinematography by: Terry Stacey
Edited by: Robert Pulcini
Post Accountant
The Darjeeling Limited (2007)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Andrew Weisblum
Cameras: Panavision Cameras
Post-production Accountant
Margot at the Wedding (2007)
Directed by: Noah Baumbach
Cinematography by: Harris Savides
Edited by: Carol Littleton
Cameras: ARRICAM Lite (LT) Camera
Post-production Accountant
I'm Not There (2007)
Directed by: Todd Haynes
Cinematography by: Edward Lachman
Edited by: Jay Rabinowitz
Cameras: Aaton LTR Camera, Moviecam Compact Camera
Post-production Accountant
Reservation Road (2007)
Directed by: Terry George
Cinematography by: John Lindley
Edited by: Naomi Geraghty
Post-production Accountant
Penelope (2006)
Directed by: Mark Palansky
Cinematography by: Michel Amathieu
Edited by: Jon Gregory
Post-production Accountant
Little Miss Sunshine (2006)
Cinematography by: Tim Suhrstedt
Edited by: Pamela Martin
Post-production Accountant
Inside Man (2006)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Post-production Accountant
Lady in the Water (2006)
Directed by: M. Night Shyamalan
Cinematography by: Christopher Doyle
Edited by: Barbara Tulliver
Post-production Accountant
The Namesake (2006)
Directed by: Mira Nair
Cinematography by: Frederick Elmes
Edited by: Allyson C. Johnson
Post-production Accountant
RV (2006)
Directed by: Barry Sonnenfeld
Cinematography by: Fred Murphy
Edited by: Kevin Tent
Post-production Accountant
Hollywoodland (2006)
Directed by: Allen Coulter
Cinematography by: Jonathan Freeman
Edited by: Michael Berenbaum
Post-production Accountant
Cinderella Man (2005)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Post-production Accountant
Casanova (2005)
Directed by: Lasse Hallström
Cinematography by: Oliver Stapleton
Edited by: Andrew Mondshein
Post-production Accountant: Trevanna Post
The Ice Harvest (2005)
Directed by: Harold Ramis
Cinematography by: Alar Kivilo
Edited by: Lee Percy
Post-production Accountant: Trevanna Post, Inc.
The Producers (2005)
Directed by: Susan Stroman
Edited by: Steven Weisberg
Post-production Accountant
Everything Is Illuminated (2005)
Directed by: Liev Schreiber
Cinematography by: Matthew Libatique
Post-production Accountant
Bee Season (2005)
Cinematography by: Giles Nuttgens
Edited by: Lauren Zuckerman
Post-production Accountant: Trevanna Post
Brokeback Mountain (2005)
Directed by: Ang Lee
Cinematography by: Rodrigo Prieto
Lenses: Cooke S4 Lenses
Post-production Accountant: Trevanna Post
The Ladykillers (2004)
Cinematography by: Roger Deakins
Editing System: Final Cut Pro Editing System
Post Producton Supervisor
Vanity Fair (2004)
Directed by: Mira Nair
Cinematography by: Declan Quinn
Edited by: Allyson C. Johnson
Post-production Accountant: Trevanna Post
The Village (2004)
Directed by: M. Night Shyamalan
Cinematography by: Roger Deakins
Edited by: Christopher Tellefsen
Lenses: Cooke S4 Lenses
Post-production Accountant
Intolerable Cruelty (2003)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 Camera
Editing System: Final Cut Pro Editing System
Post-production Accountant
American Splendor (2003)
Cinematography by: Terry Stacey
Edited by: Robert Pulcini
Editing System: Avid Editing System
Post-production Accountant
Gangs of New York (2002)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
Post-production Accountant
The Truth About Charlie (2002)
Directed by: Jonathan Demme
Cinematography by: Tak Fujimoto
Post-production Accountant
Signs (2002)
Directed by: M. Night Shyamalan
Cinematography by: Tak Fujimoto
Edited by: Barbara Tulliver
Post-production Accountant
Hedwig and the Angry Inch (2001)
Directed by: John Cameron Mitchell
Cinematography by: Frank G. DeMarco
Edited by: Andrew Marcus
Post-production Accountant
The Royal Tenenbaums (2001)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Dylan Tichenor
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Post Production Accountant
The Score (2001)
Directed by: Frank Oz
Cinematography by: Rob Hahn
Edited by: Richard Pearson
Post-production Accountant
What Planet Are You From? (2000)
Directed by: Mike Nichols
Cinematography by: Michael Ballhaus
Edited by: Richard Marks
Cameras: Panavision Cameras
Post-production Accountant
Mission to Mars (2000)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Post-production Accountant
Unbreakable (2000)
Directed by: M. Night Shyamalan
Cinematography by: Eduardo Serra
Edited by: Dylan Tichenor
Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Post-production Accountant
Gloria (1999)
Directed by: Sidney Lumet
Cinematography by: David Watkin
Edited by: Tom Swartwout
Post-production Accountant
Titus (1999)
Directed by: Julie Taymor
Cinematography by: Luciano Tovoli
Edited by: Françoise Bonnot
Cameras: ARRIFLEX 35 BL Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Post-production Accountant
Bowfinger (1999)
Directed by: Frank Oz
Cinematography by: Ueli Steiger
Edited by: Richard Pearson
Post-production Accountant
The Deep End of the Ocean (1999)
Directed by: Ulu Grosbard
Cinematography by: Stephen Goldblatt
Edited by: John Bloom
Post-production Accountant
The Sixth Sense (1999)
Directed by: M. Night Shyamalan
Cinematography by: Tak Fujimoto
Edited by: Andrew Mondshein
Post-production Accountant
Limbo (1999)
Directed by: John Sayles
Cinematography by: Haskell Wexler
Edited by: John Sayles
Post-production Accountant
Madeline (1998)
Directed by: Daisy von Scherler Mayer
Cinematography by: Pierre Aïm
Edited by: Jeffrey Wolf
Post-production Accountant
Beloved (1998)
Directed by: Jonathan Demme
Cinematography by: Tak Fujimoto
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post-production Accountant
The Spanish Prisoner (1997)
Directed by: David Mamet
Cinematography by: Gabriel Beristain
Edited by: Barbara Tulliver
Post-production Accountant
Affliction (1997)
Directed by: Paul Schrader
Cinematography by: Paul Sarossy
Edited by: Jay Rabinowitz
Cameras: Panavision Panaflex Gold II Camera
Post-production Accountant
The Devil's Own (1997)
Directed by: Alan J. Pakula
Cinematography by: Gordon Willis
Post-production Accountant
Chinese Box (1997)
Directed by: Wayne Wang
Cinematography by: Vilko Filac
Edited by: Christopher Tellefsen
Post-production Accountant
Marvin's Room (1996)
Directed by: Jerry Zaks
Cinematography by: Piotr Sobocinski
Edited by: Jim Clark
Post-production Accountant
Money Train (1995)
Directed by: Joseph Ruben
Cinematography by: John Lindley
Production Accountant
Striking Distance (1993)
Directed by: Rowdy Herrington
Cinematography by: Mac Ahlberg
Production Accountant
The Last of the Mohicans (1992)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Cameras: Panavision Cameras
Production Accountant
Reversal of Fortune (1990)
Directed by: Barbet Schroeder
Cinematography by: Luciano Tovoli
Edited by: Lee Percy
Production Accountant: Second Unit
Friday the 13th Part VIII: Jason Takes Manhattan (1989)
Directed by: Rob Hedden
Cinematography by: Bryan England
Cameras: Panavision Panaflex Camera
Editing System: K.E.M. Editing System
Production Accountant
The Big Picture (1989)
Directed by: Christopher Guest
Cinematography by: Jeffrey Jur
Edited by: Martin Nicholson
Production Coordinator
Bad Dreams (1988)
Directed by: Andrew Fleming
Cinematography by: Alexander Gruszynski
Edited by: Jeff Freeman
