Re-recording Mixer
Tully (2018)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Stefan Grube
Cameras: ARRI ALEXA Mini Camera
Additional Re-recording Mixer
A Quiet Place (2018)
Directed by: John Krasinski
Cinematography by: Charlotte Bruus Christensen
Edited by: Christopher Tellefsen
Lenses: Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Macro Anamorphic Panatar Prime Lenses, Panavision Primo Anamorphic Lenses, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses
Re-recording Mixer
Girls Trip (2017)
Directed by: Malcolm D. Lee
Cinematography by: Greg Gardiner
Edited by: Paul Millspaugh
Cameras: Sony PMW-F55 Camera
Re-recording Mixer
Collateral Beauty (2016)
Directed by: David Frankel
Cinematography by: Maryse Alberti
Edited by: Andrew Marcus
Cameras: ARRI ALEXA XT Plus Camera
Re-recording Mixer
Pride and Prejudice and Zombies (2016)
Directed by: Burr Steers
Cinematography by: Remi Adefarasin
Edited by: Padraic McKinley
Lenses: Cooke S4/i Lenses
Re-recording Mixer
Barbershop: The Next Cut (2016)
Directed by: Malcolm D. Lee
Cinematography by: Greg Gardiner
Edited by: Paul Millspaugh
Cameras: Sony PMW-F55 Camera
Re-recording Mixer
Run All Night (2015)
Directed by: Jaume Collet-Serra
Cinematography by: Martin Ruhe
Edited by: Dirk Westervelt
Re-recording Mixer
The Drop (2014)
Directed by: Michaël R. Roskam
Cinematography by: Nicolas Karakatsanis
Edited by: Christopher Tellefsen
Cameras: ARRI ALEXA M Camera, ARRI ALEXA Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Re-recording Mixer
The Giver (2014)
Directed by: Phillip Noyce
Cinematography by: Ross Emery
Edited by: Barry Alexander Brown
Cameras: ARRI ALEXA XT Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Re-recording Mixer
Labor Day (2013)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Cameras: Red Epic Camera
Re-recording Mixer
Safe Haven (2013)
Directed by: Lasse Hallström
Cinematography by: Terry Stacey
Edited by: Andrew Mondshein
Cameras: ARRI ALEXA Studio Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Re-recording Mixer
Being Flynn (2012)
Directed by: Paul Weitz
Cinematography by: Declan Quinn
Edited by: Joan Sobel
Additional Sound Re-recording Mixer
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Re-recording Mixer
Premium Rush (2012)
Directed by: David Koepp
Cinematography by: Mitchell Amundsen
Re-recording Mixer
Young Adult (2011)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Cameras: ARRI ALEXA Camera
Lenses: Cooke S4 Lenses
Re-recording Mixer
Our Idiot Brother (2011)
Directed by: Jesse Peretz
Cinematography by: Yaron Orbach
Re-recording Mixer
The Romantics (2010)
Directed by: Galt Niederhoffer
Cinematography by: Sam Levy
Edited by: Jacob Craycroft
Re-recording Mixer
The Bounty Hunter (2010)
Directed by: Andy Tennant
Cinematography by: Oliver Bokelberg
Edited by: Troy Takaki
Re-recording Mixer
Did You Hear About the Morgans? (2009)
Directed by: Marc Lawrence
Cinematography by: Florian Ballhaus
Edited by: Susan E. Morse
Cameras: ARRICAM Studio (ST) Camera
Lenses: Hawk V-Series Lenses
Re-recording Mixer
Duplicity (2009)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: Panavision Panaflex Platinum Camera
Re-recording Mixer
Soul Men (2008)
Directed by: Malcolm D. Lee
Cinematography by: Matthew F. Leonetti
Re-recording Mixer
The Reader (2008)
Directed by: Stephen Daldry
Edited by: Claire Simpson
Lenses: Zeiss Master Prime Lenses
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
Uncertainty (2008)
Cinematography by: Rain Li
Edited by: Paul Zucker
Cameras: ARRIFLEX D-20 Camera
Re-recording Mixer
The Nanny Diaries (2007)
Cinematography by: Terry Stacey
Edited by: Robert Pulcini
Re-recording Mixer
Music and Lyrics (2007)
Directed by: Marc Lawrence
Cinematography by: Xavier Grobet
Edited by: Susan E. Morse
Cameras: ARRI Cameras
Lenses: Zeiss Lenses
Re-recording Mixer
Perfect Stranger (2007)
Directed by: James Foley
Cinematography by: Anastas N. Michos
Edited by: Christopher Tellefsen
Re-recording Mixer
Michael Clayton (2007)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Re-recording Mixer
Feast of Love (2007)
Directed by: Robert Benton
Cinematography by: Kramer Morgenthau
Edited by: Andrew Mondshein
Re-recording Mixer
A Prairie Home Companion (2006)
Directed by: Robert Altman
Cinematography by: Edward Lachman
Edited by: Jacob Craycroft
Cameras: Sony HDW-F900 Camera
Lenses: Fujinon Lenses
Sound Re-recording Mixer: New York
Proof (2005)
Directed by: John Madden
Cinematography by: Alwin H. Küchler
Edited by: Mick Audsley
Editing System: Lightworks Editing System
Re-recording Mixer
The Ice Harvest (2005)
Directed by: Harold Ramis
Cinematography by: Alar Kivilo
Edited by: Lee Percy
Re-recording Mixer
The Stepford Wives (2004)
Directed by: Frank Oz
Cinematography by: Rob Hahn
Edited by: Jay Rabinowitz
Supervising Sound Mixer
Secret Window (2004)
Directed by: David Koepp
Cinematography by: Fred Murphy
Edited by: Jill Savitt
Re-recording Mixer
The Company (2003)
Directed by: Robert Altman
Cinematography by: Andrew Dunn
Edited by: Geraldine Peroni
Re-recording Mixer
The Human Stain (2003)
Directed by: Robert Benton
Cinematography by: Jean-Yves Escoffier
Edited by: Christopher Tellefsen
Re-recording Mixer
People I Know (2002)
Directed by: Daniel Algrant
Cinematography by: Peter Deming
Edited by: Suzy Elmiger
Re-recording Mixer
25th Hour (2002)
Directed by: Spike Lee
Cinematography by: Rodrigo Prieto
Edited by: Barry Alexander Brown
Lenses: Zeiss Ultra Prime Lenses
Re-recording Mixer
Heist (2001)
Directed by: David Mamet
Cinematography by: Robert Elswit
Edited by: Barbara Tulliver
Re-recording Mixer
The Curse of the Jade Scorpion (2001)
Directed by: Woody Allen
Cinematography by: Fei Zhao
Edited by: Alisa Lepselter
Re-recording Mixer
How the Grinch Stole Christmas (2000)
Directed by: Ron Howard
Cinematography by: Donald Peterman
Re-recording Mixer
O Brother, Where Art Thou? (2000)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Re-recording Mixer
Limbo (1999)
Directed by: John Sayles
Cinematography by: Haskell Wexler
Edited by: John Sayles
Re-recording Mixer
Man on the Moon (1999)
Directed by: Milos Forman
Cinematography by: Anastas N. Michos
Re-recording Mixer
The Winslow Boy (1999)
Directed by: David Mamet
Cinematography by: Benoît Delhomme
Edited by: Barbara Tulliver
Re-recording Mixer
The Impostors (1998)
Directed by: Stanley Tucci
Cinematography by: Ken Kelsch
Edited by: Suzy Elmiger
Re-recording Mixer
The Big Lebowski (1998)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 535 B Camera
Re-recording Mixer
Happiness (1998)
Directed by: Todd Solondz
Cinematography by: Maryse Alberti
Edited by: Alan Oxman
Re-recording Mixer
Madeline (1998)
Directed by: Daisy von Scherler Mayer
Cinematography by: Pierre Aïm
Edited by: Jeffrey Wolf
Re-recording Mixer
The Object of My Affection (1998)
Directed by: Nicholas Hytner
Cinematography by: Oliver Stapleton
Edited by: Tariq Anwar
Re-recording Mixer
Primary Colors (1998)
Directed by: Mike Nichols
Cinematography by: Michael Ballhaus
Edited by: Arthur Schmidt
Cameras: ARRIFLEX Camera
Re-recording Mixer: English Dubbed Version
Life Is Beautiful (1997)
Directed by: Roberto Benigni
Cinematography by: Tonino Delli Colli
Edited by: Simona Paggi
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Re-recording Mixer
The Spanish Prisoner (1997)
Directed by: David Mamet
Cinematography by: Gabriel Beristain
Edited by: Barbara Tulliver
Re-recording Mixer
In & Out (1997)
Directed by: Frank Oz
Cinematography by: Rob Hahn
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Mixer: New York, Sound One
The House of Yes (1997)
Directed by: Mark Waters
Cinematography by: Michael Spiller
Edited by: Pamela Martin
Re-recording Mixer
Men in Black (1997)
Directed by: Barry Sonnenfeld
Cinematography by: Donald Peterman
Edited by: Jim Miller
Re-recording Mixer
Chinese Box (1997)
Directed by: Wayne Wang
Cinematography by: Vilko Filac
Edited by: Christopher Tellefsen
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 Mixer
Passion in the Desert (1997)
Directed by: Lavinia Currier
Cinematography by: Aleksey Rodionov
Edited by: Nicolas Gaster
Re-recording Mixer
The People vs. Larry Flynt (1996)
Directed by: Milos Forman
Cinematography by: Philippe Rousselot
Edited by: Christopher Tellefsen
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Lightworks Editing System
Sound Re-recording Mixer: Sound One Corportation
Marvin's Room (1996)
Directed by: Jerry Zaks
Cinematography by: Piotr Sobocinski
Edited by: Jim Clark
Re-recording Mixer
Surviving Picasso (1996)
Directed by: James Ivory
Cinematography by: Tony Pierce-Roberts
Edited by: Andrew Marcus
Sound Re-recording Engineer
Lone Star (1996)
Directed by: John Sayles
Cinematography by: Stuart Dryburgh
Edited by: John Sayles
Re-recording Mixer
Blue in the Face (1995)
Cinematography by: Adam Holender
Edited by: Christopher Tellefsen
Re-recording Mixer
The Perez Family (1995)
Directed by: Mira Nair
Cinematography by: Stuart Dryburgh
Cameras: Moviecam Compact Camera
Re-recording Mixer
Angels and Insects (1995)
Directed by: Philip Haas
Cinematography by: Bernard Zitzermann
Edited by: Belinda Haas
Sound Re-recording Engineer
The Hudsucker Proxy (1994)
Cinematography by: Roger Deakins
Edited by: Thom Noble
Cameras: ARRIFLEX 35 BL4 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Re-recording Mixer
Candyman (1992)
Directed by: Bernard Rose
Cinematography by: Anthony B. Richmond
Edited by: Dan Rae
Adr Mixer
The New Adventures of Pippi Longstocking (1988)
Directed by: Ken Annakin
Cinematography by: Roland 'Ozzie' Smith
Edited by: Ken Zemke
Foley Engineer
Raising Arizona (1987)
Cinematography by: Barry Sonnenfeld
Edited by: Michael R. Miller
Foley Mixer
White Water Summer (1987)
Directed by: Jeff Bleckner
Cinematography by: John Alcott
Edited by: David Ray
Foley Engineer
The Color of Money (1986)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Cameras: ARRI Cameras
