Re-recording Mixer
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
Re-recording Mixer
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
Additional Sound Re-recording Mixer
The Wolf of Wall Street (2013)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 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, Hawk V-Plus 135 mm T3.0 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens, Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Re-recording Mixer
Keep the Lights On (2012)
Directed by: Ira Sachs
Cinematography by: Thimios Bakatakis
Edited by: Affonso Gonçalves
Re-recording Mixer
Higher Ground (2011)
Directed by: Vera Farmiga
Cinematography by: Michael McDonough
Edited by: Colleen Sharp
Cameras: Red One MX Camera
Re-recording Mixer
W.E. (2011)
Directed by: Madonna
Cinematography by: Hagen Bogdanski
Edited by: Danny Tull
Lenses: Zeiss Ultra Prime Lenses
Re-recording Mixer
Trust (2010)
Directed by: David Schwimmer
Cinematography by: Andrzej Sekula
Edited by: Douglas Crise
Re-recording Mixer
You Don't Know Jack (2010)
Directed by: Barry Levinson
Cinematography by: Eigil Bryld
Edited by: Aaron Yanes
Re-recording Mixer
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
Re-recording Mixer
Winter's Bone (2010)
Directed by: Debra Granik
Cinematography by: Michael McDonough
Edited by: Affonso Gonçalves
Cameras: Red One Camera
Lenses: Zeiss Master Prime Lenses
Additional Sound Re-recordist
Brooklyn's Finest (2009)
Directed by: Antoine Fuqua
Cinematography by: Patrick Murguia
Edited by: Barbara Tulliver
Re-recording Mixer
The Limits of Control (2009)
Directed by: Jim Jarmusch
Cinematography by: Christopher Doyle
Edited by: Jay Rabinowitz
Re-recording Mixer
After.Life (2009)
Directed by: Agnieszka Wojtowicz-Vosloo
Cinematography by: Anastas N. Michos
Edited by: Niven Howie
Re-recording Mixer
The Wrestler (2008)
Directed by: Darren Aronofsky
Cinematography by: Maryse Alberti
Edited by: Andrew Weisblum
Cameras: ARRIFLEX 416 Camera
Re-recording Mixer
Mamma Mia! (2008)
Directed by: Phyllida Lloyd
Cinematography by: Haris Zambarloukos
Edited by: Lesley Walker
Editing System: Lightworks Editing System
Re-recording Mixer
Brooklyn Rules (2007)
Directed by: Michael Corrente
Cinematography by: Richard Crudo
Edited by: Kate Sanford
Re-recording Mixer
The Savages (2007)
Directed by: Tamara Jenkins
Cinematography by: W. Mott Hupfel III
Edited by: Brian A. Kates
Cameras: ARRICAM Lite (LT) Camera
Lenses: Cooke S4 Lenses
Re-recording Mixer
Before the Devil Knows You're Dead (2007)
Directed by: Sidney Lumet
Cinematography by: Ron Fortunato
Edited by: Tom Swartwout
Cameras: Panavision Genesis Camera
Dialogue Pre-mixer / Re-recording Mixer
Honeydripper (2007)
Directed by: John Sayles
Cinematography by: Dick Pope
Edited by: John Sayles
Re-recording Mixer
Dan in Real Life (2007)
Directed by: Peter Hedges
Cinematography by: Lawrence Sher
Edited by: Sarah Flack
Re-recording Mixer
The Namesake (2006)
Directed by: Mira Nair
Cinematography by: Frederick Elmes
Edited by: Allyson C. Johnson
Re-recording Mixer
Infamous (2006)
Directed by: Douglas McGrath
Cinematography by: Bruno Delbonnel
Edited by: Camilla Toniolo
Re-recording Mixer
Penelope (2006)
Directed by: Mark Palansky
Cinematography by: Michel Amathieu
Edited by: Jon Gregory
Re-recording Mixer
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Re-recording Mixer
Broken Flowers (2005)
Directed by: Jim Jarmusch
Cinematography by: Frederick Elmes
Edited by: Jay Rabinowitz
Lenses: Zeiss Variable Prime Lenses
Re-recording Mixer
The Ballad of Jack and Rose (2005)
Directed by: Rebecca Miller
Cinematography by: Ellen Kuras
Edited by: Sabine Hoffman
Re-recording Mixer
Vanity Fair (2004)
Directed by: Mira Nair
Cinematography by: Declan Quinn
Edited by: Allyson C. Johnson
Re-recording Mixer
Tupac: Resurrection (2003)
Directed by: Lauren Lazin
Cinematography by: Jon Else
Edited by: Richard Calderon
Re-recording Mixer
Red Betsy (2003)
Directed by: Chris Boebel
Cinematography by: David Tumblety
Edited by: David Leonard
Re-recording Mixer
Chicago (2002)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Martin Walsh
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System, Lightworks Editing System
Re-recording Mixer
Tadpole (2002)
Directed by: Gary Winick
Cinematography by: Hubert Taczanowski
Edited by: Susan Littenberg
Re-recording Mixer
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
Rerecording Mixer
Someone Like You... (2001)
Directed by: Tony Goldwyn
Cinematography by: Anthony B. Richmond
Edited by: Dana Congdon
Re-recording Mixer: Sound One Corp.
Chocolat (2000)
Directed by: Lasse Hallström
Cinematography by: Roger Pratt
Edited by: Andrew Mondshein
Sound Re-recording: Previews
The Cider House Rules (1999)
Directed by: Lasse Hallström
Cinematography by: Oliver Stapleton
Edited by: Lisa Zeno Churgin
Cameras: Moviecam Compact Camera
Lenses: Cooke S4 Lenses
Re-recording Sound Mixer
Outside Providence (1999)
Directed by: Michael Corrente
Cinematography by: Richard Crudo
Edited by: Kate Sanford
Cameras: Panavision Panaflex Camera
Re-recording Engineer
The Minus Man (1999)
Directed by: Hampton Fancher
Cinematography by: Bobby Bukowski
Edited by: Todd C. Ramsay
Sound Mixer / Sound Re-recordist
Pi (1998)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Oren Sarch
Cameras: Aaton XTR Prod Camera, Bolex H16 Camera
Lenses: Angenieux Lenses, Canon Lenses
Re-recording Mixer
Claudine's Return (1998)
Directed by: Antonio Tibaldi
Cinematography by: Luca Bigazzi
Edited by: Janice Keuhnelian
Re-recording Mixer
Fast, Cheap & Out of Control (1997)
Directed by: Errol Morris
Cinematography by: Robert Richardson
Sound Re-recording Mixer: New York
The House of Yes (1997)
Directed by: Mark Waters
Cinematography by: Michael Spiller
Edited by: Pamela Martin
Re-recording Mixer
Chasing Amy (1997)
Directed by: Kevin Smith
Cinematography by: David Klein
Cameras: ARRIFLEX 16SR2 Camera
Lenses: Zeiss Super Speed Lenses
Editing System: Avid Editing System
Sound Re-recording Engineer: Sound One Corporation
Affliction (1997)
Directed by: Paul Schrader
Cinematography by: Paul Sarossy
Edited by: Jay Rabinowitz
Cameras: Panavision Panaflex Gold II Camera
Re-recording Mixer
The Castle (1997)
Directed by: Rob Sitch
Cinematography by: Miriana Marusic
Edited by: Wayne Hyett
Cameras: ARRIFLEX 16SR2 Camera
Editing System: Steenbeck Editing System
Sound Re-recording Engineer
Ulee's Gold (1997)
Directed by: Victor Nunez
Cinematography by: Virgil Mirano
Edited by: Victor Nunez
Re-recording Mixer
Get on the Bus (1996)
Directed by: Spike Lee
Cinematography by: Elliot Davis
Edited by: Leander T. Sales
Cameras: Aaton XTR Camera, Krasnogorsk-3 Camera
Re-recording Mixer
Box of Moonlight (1996)
Directed by: Tom DiCillo
Cinematography by: Paul Ryan
Edited by: Camilla Toniolo
Re-recording Mixer
Kama Sutra: A Tale of Love (1996)
Directed by: Mira Nair
Cinematography by: Declan Quinn
Edited by: Kristina Boden
Re-recording Mixer
Suzanne Farrell: Elusive Muse (1996)
Cinematography by: Don Lenzer
Edited by: Deborah Dickson
Re-recording Mixer
Living in Oblivion (1995)
Directed by: Tom DiCillo
Cinematography by: Frank Prinzi
Adr Mixer
Twelve Monkeys (1995)
Directed by: Terry Gilliam
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Cameras: Moviecam Cameras
Lenses: Cooke Lenses
Sound Re-recording Engineer
Dead Man (1995)
Directed by: Jim Jarmusch
Cinematography by: Robby Müller
Edited by: Jay Rabinowitz
Sound Re-recording Engineer
Canadian Bacon (1995)
Directed by: Michael Moore
Cinematography by: Haskell Wexler
Re-recording Mixer
Blue in the Face (1995)
Cinematography by: Adam Holender
Edited by: Christopher Tellefsen
Re-recording Mixer
Nadja (1994)
Directed by: Michael Almereyda
Cinematography by: Jim Denault
Edited by: David Leonard
Re-recording Mixer
A Bronx Tale (1993)
Directed by: Robert De Niro
Cinematography by: Reynaldo Villalobos
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Foley Mixer
What's Eating Gilbert Grape (1993)
Directed by: Lasse Hallström
Cinematography by: Sven Nykvist
Edited by: Andrew Mondshein
Re-recording Mixer - Miramax Films Version
The Thief and the Cobbler (1993)
Directed by: Richard Williams
Cinematography by: John Leatherbarrow
Edited by: Peter Bond
Sound Re-recordist
Waxwork II: Lost in Time (1992)
Directed by: Anthony Hickox
Cinematography by: Gerry Lively
Edited by: Christopher Cibelli
Re-recording Mixer
Far and Away (1992)
Directed by: Ron Howard
Cinematography by: Mikael Salomon
Cameras: ARRIFLEX 765 Camera, Bell & Howell Eyemo Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Lenses: Panavision 65mm Prime Lenses, Zeiss Lenses
Rerecording Mixer
Brain Twisters (1991)
Directed by: Jerry Sangiuliano
Cinematography by: Tomasz Magierski
Re-recording Mixer
Night on Earth (1991)
Directed by: Jim Jarmusch
Cinematography by: Frederick Elmes
Edited by: Jay Rabinowitz
Re-recording Mixer
Parting Glances (1986)
Directed by: Bill Sherwood
Cinematography by: Jacek Laskus
Edited by: Bill Sherwood
