Additional Editor / First Assistant Editor
The Unforgivable (2021)
Directed by: Nora Fingscheidt
Cinematography by: Guillermo Navarro
Cameras: Red Helium 8K Camera
Lenses: Angenieux Lenses, ARRI Lenses
First Assistant Editor
Ad Astra (2019)
Directed by: James Gray
Cinematography by: Hoyte Van Hoytema
First Assistant Editor
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
First Assistant Editor
Ghost in the Shell (2017)
Directed by: Rupert Sanders
Cinematography by: Jess Hall
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Additional Editor
Lost River (2014)
Directed by: Ryan Gosling
Cinematography by: Benoît Debie
Lenses: Cooke 5/i Lenses, Zeiss Ultra Prime Lenses
First Assistant Editor
To the Wonder (2012)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Visual Effects Editor: Method
A Little Bit of Heaven (2011)
Directed by: Nicole Kassell
Cinematography by: Russell Carpenter
Edited by: Stephen A. Rotter
Post-production Intern , Visual Effects Production Assistant
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Visual Effects Editor: Method Studios
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Visual Effects Editor: Method Studios
Due Date (2010)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Visual Effects Editor: Method Studios
Let Me In (2010)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Edited by: Stan Salfas
Property Assistant
Hate Crime (2005)
Directed by: Tommy Stovall
Cinematography by: Ian Ellis
Edited by: Darrin Navarro