Location Music Coordinator
The Wolfman (2010)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Score Coordinator
An Education (2009)
Directed by: Lone Scherfig
Cinematography by: John de Borman
Edited by: Barney Pilling
Cameras: ARRIFLEX 235 Camera
Lenses: Cooke Speed Panchro Lenses
Music Score Coordinator
The Boys Are Back (2009)
Directed by: Scott Hicks
Cinematography by: Greig Fraser
Edited by: Scott Gray
Score Coordinator
Skellig: The Owl Man (2009)
Directed by: Annabel Jankel
Cinematography by: Steve Lawes
Edited by: Peter Christelis
Cameras: ARRIFLEX D-21 Camera
Music Supervisor: Hothouse Music
The Other Man (2008)
Directed by: Richard Eyre
Cinematography by: Haris Zambarloukos
Edited by: Tariq Anwar
Score Coordinator
Agent Crush (2008)
Directed by: Sean Robinson
Cinematography by: Peter Field
Edited by: David Freemantle
Cameras: ARRIFLEX 435 Camera
Score Coordinator: Hothouse Music
Miss Pettigrew Lives for a Day (2008)
Directed by: Bharat Nalluri
Cinematography by: John de Borman
Edited by: Barney Pilling
Cameras: Panavision Cameras
On-set Music Coordinator: Hothouse Music
The Duchess (2008)
Directed by: Saul Dibb
Cinematography by: Gyula Pados
Edited by: Masahiro Hirakubo
Music Supervisor: Hot House Music
Death at a Funeral (2007)
Directed by: Frank Oz
Cinematography by: Oliver Curtis
Edited by: Beverley Mills
Cameras: ARRI Cameras
Lenses: Zeiss Lenses
Music Supervisor
Run, Fat Boy, Run (2007)
Directed by: David Schwimmer
Cinematography by: Richard Greatrex
Edited by: Michael Parker
Cameras: ARRI Cameras
Lenses: Zeiss Lenses
Score Coordinator
Transformers (2007)
Directed by: Michael Bay
Cinematography by: Mitchell Amundsen
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
Editing System: Avid Editing System, Final Cut Pro Editing System
Score Coordinator
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Score Coordinator
Miguel and William (2007)
Directed by: Inés París
Cinematography by: Néstor Calvo
Edited by: Julia Juaniz
Music Supervisor: Hothouse Music Ltd.
Proof (2005)
Directed by: John Madden
Cinematography by: Alwin H. Küchler
Edited by: Mick Audsley
Editing System: Lightworks Editing System
Music Supervisor
Two Brothers (2004)
Directed by: Jean-Jacques Annaud
Cinematography by: Jean-Marie Dreujou
Edited by: Noëlle Boisson
