Casting Associate
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
Casting Associate
Spotlight (2015)
Directed by: Tom McCarthy
Cinematography by: Masanobu Takayanagi
Edited by: Tom McArdle
Cameras: ARRI ALEXA XT Camera
Casting Associate
Pitch Perfect 2 (2015)
Directed by: Elizabeth Banks
Cinematography by: Jim Denault
Edited by: Craig Alpert
Cameras: ARRI ALEXA Plus Camera
Casting Assistant
The Cobbler (2014)
Directed by: Tom McCarthy
Cinematography by: W. Mott Hupfel III
Edited by: Tom McArdle
Cameras: ARRI ALEXA Plus Camera
Casting Assistant
Kelly & Cal (2014)
Directed by: Jen McGowan
Cinematography by: Philip Lott
Edited by: David Hopper
Cameras: ARRI ALEXA Plus 4:3 Camera
Lenses: Hawk V-Series Lenses
Editing System: Final Cut Pro Editing System
Casting Associate: Los Angeles
Still Alice (2014)
Cinematography by: Denis Lenoir
Edited by: Nicolas Chaudeurge
Cameras: ARRI ALEXA Camera
Casting Associate
Get on Up (2014)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Michael McCusker
Casting Assistant
The Judge (2014)
Directed by: David Dobkin
Cinematography by: Janusz Kaminski
Edited by: Mark Livolsi
Casting Assistant: LA
August: Osage County (2013)
Directed by: John Wells
Cinematography by: Adriano Goldman
Edited by: Stephen Mirrione
Casting Assistant: Los Angeles
Dallas Buyers Club (2013)
Directed by: Jean-Marc Vallée
Cinematography by: Yves Bélanger
Cameras: ARRI ALEXA Camera
Lenses: ARRI / Zeiss Lenses
Casting Assistant
Admission (2013)
Directed by: Paul Weitz
Cinematography by: Declan Quinn
Edited by: Joan Sobel
Cameras: ARRI ALEXA Studio Camera
Casting Assistant
Prisoners (2013)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Cameras: ARRI ALEXA Studio Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Casting Assistant: Los Angeles
Mirror Mirror (2012)
Directed by: Tarsem Singh
Cinematography by: Brendan Galvin
Cameras: Sony CineAlta F35 Camera
Casting Assistant: Los Angeles
Hello I Must Be Going (2012)
Directed by: Todd Louiso
Cinematography by: Julie Kirkwood
Edited by: Tom McArdle
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Ultra Prime Lenses
Casting Assistant
Girl in Progress (2012)
Directed by: Patricia Riggen
Cinematography by: Checco Varese
Edited by: Dan Schalk
Cameras: Red One MX Camera
Lenses: Angenieux Optimo Zoom Lenses
Casting Assistant
The Iceman (2012)
Directed by: Ariel Vromen
Cinematography by: Bobby Bukowski
Edited by: Danny Rafic
Cameras: ARRI ALEXA Plus Camera, Canon EOS-7D Camera
Casting Assistant: Los Angeles
Pitch Perfect (2012)
Directed by: Jason Moore
Cinematography by: Julio Macat
Edited by: Lisa Zeno Churgin
Cameras: ARRI ALEXA Camera
Casting Assistant
Machine Gun Preacher (2011)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Hawk V-Lite 16 110 mm T3.0 Lens, Hawk V-Lite 16 14 mm T1.5 Lens, Hawk V-Lite 16 18 mm T1.5 Lens, Hawk V-Lite 16 24 mm T1.5 Lens, Hawk V-Lite 16 28 mm T1.5 Lens, Hawk V-Lite 16 35 mm T1.5 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens
Casting Assistant
Flypaper (2011)
Directed by: Rob Minkoff
Cinematography by: Steven Poster
Edited by: Tom Finan
Cameras: Canon EOS-7D Camera, Red One Camera
Casting Assistant
Dolphin Tale (2011)
Directed by: Charles Martin Smith
Cinematography by: Karl Walter Lindenlaub
Edited by: Harvey Rosenstock
Cameras: Red One MX Camera
