Digital Intermediate Management
Can You Ever Forgive Me? (2018)
Directed by: Marielle Heller
Cinematography by: Brandon Trost
Edited by: Anne McCabe
Cameras: Panavision Millennium DXL Camera
Lenses: Panavision Primo 70 Lenses
Digital Intermediate Management
Hell or High Water (2016)
Directed by: David Mackenzie
Cinematography by: Giles Nuttgens
Edited by: Jake Roberts
Cameras: ARRI ALEXA XT Studio Camera
Digital Intermediate Management: Light Iron
Pride and Prejudice and Zombies (2016)
Directed by: Burr Steers
Cinematography by: Remi Adefarasin
Edited by: Padraic McKinley
Lenses: Cooke S4/i Lenses
Workflow Supervisor
Focus (2015)
Cinematography by: Xavier Grobet
Edited by: Jan Kovac
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Editing System: Final Cut Pro Editing System
Digital Intermediate Data Management
Somewhere in the Middle (2015)
Directed by: Lanre Olabisi
Cinematography by: Piero Basso
Edited by: Alex Kopit
Cameras: ARRI ALEXA Camera
Management Assistant: Light Iron
Cold in July (2014)
Directed by: Jim Mickle
Cinematography by: Ryan Samul
Cameras: Red Epic Camera
Digital Intermediate Supervisor
John Wick (2014)
Cinematography by: Jonathan Sela
Edited by: Elísabet Ronaldsdóttir
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Digital Intermediate Supervisor
The Expendables 3 (2014)
Directed by: Patrick Hughes
Cinematography by: Peter Menzies Jr.
Digital Intermediate Management
That Awkward Moment (2014)
Directed by: Tom Gormican
Cinematography by: Brandon Trost
Cameras: ARRI ALEXA Plus Camera
Digital Intermediate Management
Enough Said (2013)
Directed by: Nicole Holofcener
Cinematography by: Xavier Grobet
Edited by: Robert Frazen
Cameras: ARRI ALEXA Studio Camera
Lenses: Leitz Summilux-C Series Lenses
Digital Intermediate Supervisor
Texas Chainsaw 3D (2013)
Directed by: John Luessenhop
Cinematography by: Anastas N. Michos
Edited by: Randy Bricker
Cameras: Red Epic Camera
Lenses: Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Distagon 40 mm T1.9 Lens, Zeiss Ultra Prime Planar 50 mm T1.9 Lens, Zeiss Ultra Prime Planar 65 mm T1.9 Lens, Zeiss Ultra Prime Planar 85 mm T1.9 Lens
Editing System: Avid Editing System
Digital Intermediate Supervisor
Snitch (2013)
Directed by: Ric Roman Waugh
Cinematography by: Dana Gonzales
Edited by: Jonathan Chibnall
Cameras: Red Epic Camera
Digital Intermediate Manager
Dark Skies (2013)
Directed by: Scott Stewart
Cinematography by: David Boyd
Edited by: Peter Gvozdas
Cameras: ARRI ALEXA Camera
Lenses: Angenieux Optimo Zoom Lenses
Digital Intermediate Management: Light Iron, Executive Producer
Odd Thomas (2013)
Directed by: Stephen Sommers
Cinematography by: Mitchell Amundsen
Edited by: David Checel
Cameras: Red Epic Camera
Digital Intermediate Manager
42 (2013)
Directed by: Brian Helgeland
Cinematography by: Don Burgess
Cameras: Red Epic Camera
Editing System: Avid Editing System
Digital Intermediate Supervisor
Ender's Game (2013)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Cameras: Red Epic Camera
Digital Intermediate Management: Light Iron
In a World... (2013)
Directed by: Lake Bell
Cinematography by: Seamus Tierney
Edited by: Tom McArdle
Cameras: Red Epic Camera
Lenses: Hawk C-Series Lenses
Digital Intermediate Manager
Big Sur (2013)
Directed by: Michael Polish
Cinematography by: M. David Mullen
Cameras: Red Epic Camera, Red One Camera
Digital Consultant
Think Like a Man (2012)
Directed by: Tim Story
Cinematography by: Larry Blanford
Edited by: Peter S. Elliot
Cameras: Red Epic Camera
Digital Intermediate Manager
Hitchcock (2012)
Directed by: Sacha Gervasi
Cinematography by: Jeff Cronenweth
Edited by: Pamela Martin
Cameras: Red Epic Camera
Digital Intermediate Manager
Flight (2012)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Jeremiah O'Driscoll
Cameras: Red Epic Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Intermediate Supervisor
The Scorpion King 3: Battle for Redemption (2012)
Directed by: Roel Reiné
Cinematography by: Roel Reiné
Digital Consultant
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Post Production Consultant
Get the Gringo (2012)
Directed by: Adrian Grunberg
Cinematography by: Benoît Debie
Edited by: Steven Rosenblum
Cameras: Red One MX Camera
Lenses: Hawk V-Lite Lenses
Digital Intermediate Manager
Goats (2012)
Directed by: Christopher Neil
Cinematography by: Wyatt Troll
Edited by: Jeremiah O'Driscoll
Senior Management: Light Iron
Underworld Awakening (2012)
Cinematography by: Scott Kevan
Edited by: Jeff McEvoy
Cameras: Red Epic Camera
Post-production Consultant
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Digital Intermediate Supervisor
TimeScapes (2012)
Directed by: Tom Lowe
Cinematography by: Tom Lowe
Edited by: Tom Lowe
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Red Epic Camera, Red One MX Camera
Editing System: Adobe Premiere Editing System
Digital Intermediate Supervisor
Bad Ass (2012)
Directed by: Craig Moss
Cinematography by: John Barr
Edited by: Jim Flynn
Digital Consultant
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Digital Intermediate Supervisor
The Girl with the Dragon Tattoo (2011)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Cameras: Red Epic Camera, Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System, Sony Vegas Editing System
Digital Intermediate Supervisor
The Muppets (2011)
Directed by: James Bobin
Cinematography by: Don Burgess
Edited by: James Thomas
Cameras: Red Epic Camera, Red One MX Camera
Digital Intermediate Supervisor
Haywire (2011)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Cameras: Red One MX Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
Digital Intermediate Supervisor
Street Kings 2: Motor City (2011)
Directed by: Chris Fisher
Cinematography by: Marvin V. Rush
Edited by: Miklos Wright
Digital Consultant
The Green Hornet (2011)
Directed by: Michel Gondry
Cinematography by: John Schwartzman
Edited by: Michael Tronick
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Phantom HD Camera, Red One MX Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Digital Intermediate Supervisor
Julia X (2011)
Directed by: P.J. Pettiette
Cinematography by: Jason Goodman
Edited by: Rob Neal
Cameras: Red One Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Supervisor
Atlas Shrugged: Part I (2011)
Directed by: Paul Johansson
Cinematography by: Ross Berryman
Cameras: Red One MX Camera
Post-production Consultant
'Undercovers' Instructions (2010)
Directed by: Stephen Williams
Edited by: Mark Goldman
Digital Intermediate Supervisor
The Social Network (2010)
Directed by: David Fincher
Cinematography by: Jeff Cronenweth
Cameras: Red One MX Camera
Editing System: Adobe Premiere Editing System
Post-production Consultant - 1 Episode, 2010
Undercovers (2010)
Directed by: Stephen Williams, Tucker Gates, J.J. Abrams, Brad Anderson, Daniel Attias, Anthony Hemingway, Jonas Pate, Rosemary Rodriguez, Frederick E.O. Toye, Jeff T. Thomas
Cameras: Red One MX Camera
Post-production Consultant
A Marine Story (2010)
Directed by: Ned Farr
Cinematography by: Alexandre Naufel
Edited by: Ned Farr
Post Production Consultant
The 41-Year-Old Virgin Who Knocked Up Sarah Marshall and Felt Superbad About It (2010)
Directed by: Craig Moss
Cinematography by: Andrew Strahorn
Edited by: Michel Aller
Digital Intermediate Supervisor
Stone (2010)
Directed by: John Curran
Cinematography by: Maryse Alberti
Edited by: Alexandre de Franceschi
Digital Intermediate Supervisor: LightIRON Digital
Every Day (2010)
Directed by: Richard Levine
Cinematography by: Nancy Schreiber
Edited by: Pam Wise
Post Production Consultant
Hunter Prey (2010)
Directed by: Sandy Collora
Cinematography by: Edward A. Gutentag
Edited by: Toby Divine
Post-production Consultant
Stay Cool (2009)
Directed by: Michael Polish
Cinematography by: M. David Mullen
Edited by: Cary Gries
Post-production Consultant
Archie's Final Project (2009)
Directed by: David Lee Miller
Cameras: Panasonic AJ-SDX900 Camera
Digital Intermediate Supervisor
S. Darko (2009)
Directed by: Chris Fisher
Cinematography by: Marvin V. Rush
Edited by: Kent Beyda
Cameras: Red One Camera
Digital Intermediate Supervisor
A Fork in the Road (2009)
Directed by: Jim Kouf
Cinematography by: Claudio Rocha
Edited by: Dennis Virkler
Post-production Consultant
Labor Pains (2009)
Directed by: Lara Shapiro
Cinematography by: Dan Stoloff
Edited by: Anne McCabe
Post-production Consultant
Beyond a Reasonable Doubt (2009)
Directed by: Peter Hyams
Cinematography by: Peter Hyams
Edited by: Jeff Gullo
Post-production Consultant
The Smell of Success (2009)
Directed by: Michael Polish
Cinematography by: M. David Mullen
Edited by: Cary Gries
Digital Intermediate Supervisor
Autopsy (2008)
Directed by: Adam Gierasch
Cinematography by: Anthony B. Richmond
Edited by: Andrew Cohen
Digital Intermediate Supervisor
Fast Girl (2008)
Directed by: Daniel Zirilli
Cinematography by: Jason Dittmer
Edited by: Tony Wise
Cameras: Panasonic VariCam Camera
Digital Intermediate Supervisor
Paraiso Travel (2008)
Directed by: Simon Brand
Cinematography by: Rafa Lluch
Edited by: Alberto de Toro
Cameras: ARRI Cameras
Digital Intermediate Supervisor
Fling (2008)
Directed by: John Stewart Muller
Cinematography by: Frederick Schroeder
Digital Intermediate Supervisor
Who Killed the Electric Car? (2006)
Directed by: Chris Paine
Cinematography by: Thaddeus Wadleigh
Digital Intermediate Supervisor
Hoboken Hollow (2006)
Directed by: Glen Stephens
Cinematography by: John-Paul Beeghly
Edited by: Steven Dieveney
