Post Production
Mary Poppins Returns (2018)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Wyatt Smith
Lenses: Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo V Lenses, Panavision Primo V PV21 21mm T1.9 Lens, Panavision Primo V PV27 27mm T1.9 Lens, Panavision Primo V PV50 50mm T1.9 Lens
Post Production
Mother! (2017)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Andrew Weisblum
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 416 Camera
Post Production - 10 Episodes, 2016
Vinyl (2016)
Directed by: Allen Coulter, Jon S. Baird, S.J. Clarkson, Carl Franklin, Nicole Kassell, Mark Romanek, Martin Scorsese, Peter Sollett
Cameras: Sony PMW-F55 Camera
Post Production
Everybody Wants Some!! (2016)
Directed by: Richard Linklater
Cinematography by: Shane F. Kelly
Edited by: Sandra Adair
Cameras: ARRI ALEXA Camera
Post Production
The Boy (2016)
Directed by: William Brent Bell
Cinematography by: Daniel Pearl
Edited by: Brian Berdan
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Hawk Vantage One Lenses
Post Production
Barbershop: The Next Cut (2016)
Directed by: Malcolm D. Lee
Cinematography by: Greg Gardiner
Edited by: Paul Millspaugh
Cameras: Sony PMW-F55 Camera
Post Production
Doctor Strange (2016)
Directed by: Scott Derrickson
Cinematography by: Ben Davis
Post Production
'Vinyl' Alibi (2016)
Directed by: Allen Coulter
Cinematography by: Reed Morano
Edited by: Tim Streeto
Post Production
'Vinyl' Rock and Roll Queen (2016)
Directed by: Carl Franklin
Cinematography by: David Franco
Post Production
'Vinyl' The King and I (2016)
Directed by: Allen Coulter
Cinematography by: David Franco
Edited by: Kate Sanford
Post Production
'Vinyl' He in Racist Fire (2016)
Directed by: Peter Sollett
Cinematography by: David Franco
Edited by: Kate Sanford
Post Production
'Vinyl' The Racket (2016)
Directed by: S.J. Clarkson
Cinematography by: Reed Morano
Edited by: Tim Streeto
Post Production
'Vinyl' Whispered Secrets (2016)
Directed by: Mark Romanek
Cinematography by: David Franco
Edited by: Kate Sanford
Post Production
'Vinyl' Yesterday Once More (2016)
Directed by: Allen Coulter
Cinematography by: Reed Morano
Edited by: Tim Streeto
Post Production
'Vinyl' Pilot (2016)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: David Tedeschi
Post Production
Jason Bourne (2016)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Post Production
Pete's Dragon (2016)
Directed by: David Lowery
Cinematography by: Bojan Bazelli
Edited by: Lisa Zeno Churgin
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Cooke Anamorphic/i Prime Lenses
Post Production
Star Wars: Episode VII - The Force Awakens (2015)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRI ALEXA Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision Retro C 100mm T2.8 Lens, Panavision Retro C 35mm T2.8 Lens, Panavision Retro C 40mm T2.8 Lens, Panavision Retro C 50mm T2.8 Lens, Panavision Retro C 60mm T2.8 Lens, Panavision Retro C 75mm T2.8 Lens
Editing System: Avid Editing System
Post Production
Fifty Shades of Grey (2015)
Directed by: Sam Taylor-Johnson
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA XT Plus Camera
Post Production
Mission: Impossible - Rogue Nation (2015)
Directed by: Christopher McQuarrie
Cinematography by: Robert Elswit
Edited by: Eddie Hamilton
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera
Editing System: Avid Editing System
Post Production
Tomorrowland (2015)
Directed by: Brad Bird
Cinematography by: Claudio Miranda
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 Camera
Lenses: Fujinon Premier (HK3.1x14.5) 14.5–45 mm T2.0 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Fujinon Premier (HK5.3x75) 75–400 mm T2.8 Lens, Fujinon Premier (HK7.5x24) 24-180 mm T2.6 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens
Post Production
The Martian (2015)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Post Production
The Revenant (2015)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Edited by: Stephen Mirrione
Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Post Production
Joy (2015)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Lenses: Zeiss Ultra Prime Lenses
Post Production
Day One (2015)
Directed by: Henry Hughes
Cinematography by: Kee Kyung
Edited by: Anisha Acharya
Post Production
The Amazing Spider-Man 2 (2014)
Directed by: Marc Webb
Cinematography by: Dan Mindel
Edited by: Pietro Scalia
Post Production
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
Post Production
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Post Production
The Fault in Our Stars (2014)
Directed by: Josh Boone
Cinematography by: Ben Richardson
Edited by: Robb Sullivan
Cameras: ARRI ALEXA XT Camera
Post Production - 8 Episodes, 2014
True Detective (2014)
Directed by: Cary Joji Fukunaga, Issa López, Daniel Sackheim, John Crowley, Justin Lin, Nic Pizzolatto, Jeremy Saulnier, Daniel Attias, Janus Metz, Jeremy Podeswa, Miguel Sapochnik
Edited by: Alex Hall, Leo Trombetta, Affonso Gonçalves, Chris Figler, Byron Smith, Meg Reticker, Brenna Rangott
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision B Series Anamorphic Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Classic Spherical Lenses, Panavision Primo Primes Spherical Lenses, Panavision PVintage Prime Lenses, Panavision Ultra Speed MKII Lenses
Post Production
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
Post Production
Foxcatcher (2014)
Directed by: Bennett Miller
Cinematography by: Greig Fraser
Editing System: Avid Editing System
Post Production
The Judge (2014)
Directed by: David Dobkin
Cinematography by: Janusz Kaminski
Edited by: Mark Livolsi
Post Production
Rosewater (2014)
Directed by: Jon Stewart
Cinematography by: Bobby Bukowski
Edited by: Jay Rabinowitz
Cameras: ARRI ALEXA Plus Camera
Post Production
Top Five (2014)
Directed by: Chris Rock
Cinematography by: Manuel Alberto Claro
Edited by: Anne McCabe
Post Production
'True Detective' Form and Void (2014)
Directed by: Cary Joji Fukunaga
Cinematography by: Adam Arkapaw
Post Production
'True Detective' After You've Gone (2014)
Directed by: Cary Joji Fukunaga
Cinematography by: Adam Arkapaw
Post Production
'True Detective' Haunted Houses (2014)
Directed by: Cary Joji Fukunaga
Cinematography by: Adam Arkapaw
Edited by: Affonso Gonçalves
Post Production
'True Detective' The Locked Room (2014)
Directed by: Cary Joji Fukunaga
Cinematography by: Adam Arkapaw
Edited by: Affonso Gonçalves
Post Production
'True Detective' Who Goes There (2014)
Directed by: Cary Joji Fukunaga
Cinematography by: Adam Arkapaw
Edited by: Affonso Gonçalves
Post Production
'True Detective' The Secret Fate of All Life (2014)
Directed by: Cary Joji Fukunaga
Cinematography by: Adam Arkapaw
Edited by: Alex Hall
Post Production
'True Detective' Seeing Things (2014)
Directed by: Cary Joji Fukunaga
Cinematography by: Adam Arkapaw
Edited by: Alex Hall
Post Production
'True Detective' The Long Bright Dark (2014)
Directed by: Cary Joji Fukunaga
Cinematography by: Adam Arkapaw
Edited by: Alex Hall
Post Production
The Truth About Emanuel (2013)
Directed by: Francesca Gregorini
Cinematography by: Polly Morgan
Edited by: Antony Langdon
Cameras: ARRI ALEXA Camera
Post Production
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
Post Production
Warm Bodies (2013)
Directed by: Jonathan Levine
Cinematography by: Javier Aguirresarobe
Edited by: Nancy Richardson
Editing System: Avid Editing System
Post Production
I Give It a Year (2013)
Directed by: Dan Mazer
Cinematography by: Ben Davis
Edited by: Tony Cranstoun
Cameras: ARRI ALEXA Plus Camera
Post Production
Carrie (2013)
Directed by: Kimberly Peirce
Cinematography by: Steve Yedlin
Cameras: ARRI ALEXA Camera
Post Production
Dead Man Down (2013)
Directed by: Niels Arden Oplev
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Plus Camera
Post Production
The Great Gatsby (2013)
Directed by: Baz Luhrmann
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Post Production
RED 2 (2013)
Directed by: Dean Parisot
Cinematography by: Enrique Chediak
Edited by: Don Zimmerman
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk V-Lite Lenses
Post Production , Post-production
Admission (2013)
Directed by: Paul Weitz
Cinematography by: Declan Quinn
Edited by: Joan Sobel
Cameras: ARRI ALEXA Studio Camera
Post Production
Scary Movie 5 (2013)
Cinematography by: Steven Douglas Smith
Edited by: Sam Seig
Cameras: ARRI ALEXA Camera
Post Production
Captain Phillips (2013)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Post Production
Blue Jasmine (2013)
Directed by: Woody Allen
Cinematography by: Javier Aguirresarobe
Edited by: Alisa Lepselter
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Post Production
The Fifth Estate (2013)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Post Production
American Hustle (2013)
Directed by: David O. Russell
Cinematography by: Linus Sandgren
Post Production
Begin Again (2013)
Directed by: John Carney
Cinematography by: Yaron Orbach
Edited by: Andrew Marcus
Cameras: Red Epic Camera
Editing System: Adobe Premiere Editing System
Post Production
Saving Mr. Banks (2013)
Directed by: John Lee Hancock
Cinematography by: John Schwartzman
Edited by: Mark Livolsi
Post Production
'Treme' ... To Miss New Orleans (2013)
Directed by: Agnieszka Holland
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' Sunset on Louisianne (2013)
Directed by: Alex Hall
Cinematography by: Ivan Strasburg
Edited by: Matthew Booras
Post Production
'Treme' Dippermouth Blues (2013)
Directed by: Ernest R. Dickerson
Cinematography by: Ivan Strasburg
Edited by: Bill Pankow
Post Production
'Treme' Yes We Can Can (2013)
Directed by: Anthony Hemingway
Cinematography by: Ivan Strasburg
Edited by: Naomi Geraghty
Post Production
'Treme' This City (2013)
Directed by: Anthony Hemingway
Cinematography by: Ivan Strasburg
Edited by: Naomi Geraghty
Post Production
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Post Production
Prometheus (2012)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Cameras: ARRI ALEXA Camera, Red Epic Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Post Production
To the Wonder (2012)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Post Production
Side by Side (2012)
Directed by: Christopher Kenneally
Cinematography by: Chris Cassidy
Post Production
The Perks of Being a Wallflower (2012)
Directed by: Stephen Chbosky
Cinematography by: Andrew Dunn
Edited by: Mary Jo Markey
Post Production
Premium Rush (2012)
Directed by: David Koepp
Cinematography by: Mitchell Amundsen
Post Production
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Post Production
The Campaign (2012)
Directed by: Jay Roach
Cinematography by: Jim Denault
Cameras: ARRI ALEXA Camera
Post Production
Looper (2012)
Directed by: Rian Johnson
Cinematography by: Steve Yedlin
Edited by: Bob Ducsay
Post Production
Moonrise Kingdom (2012)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: Andrew Weisblum
Cameras: Aaton A-Minima Camera, Aaton Xterà Camera
Lenses: Canon Lenses, Zeiss Super Speed Lenses
Post Production
Step Up Revolution (2012)
Directed by: Scott Speer
Cinematography by: Karsten Gopinath
Cameras: Red Epic Camera
Post Production
Hope Springs (2012)
Directed by: David Frankel
Cinematography by: Florian Ballhaus
Edited by: Steven Weisberg
Cameras: ARRI ALEXA Camera
Post Production
Darling Companion (2012)
Directed by: Lawrence Kasdan
Cinematography by: Michael McDonough
Edited by: Carol Littleton
Post Production
On the Road (2012)
Directed by: Walter Salles
Cinematography by: Eric Gautier
Edited by: François Gédigier
Cameras: Aaton Penelope Camera
Post Production
Gambit (2012)
Directed by: Michael Hoffman
Cinematography by: Florian Ballhaus
Edited by: Paul Tothill
Cameras: ARRI ALEXA Camera
Lenses: Leitz Summilux-C Series Lenses
Post Production
The Twilight Saga: Breaking Dawn - Part 2 (2012)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Editing System: Adobe Premiere Editing System, Avid Editing System
Post Production
Taken 2 (2012)
Directed by: Olivier Megaton
Cinematography by: Romain Lacourbas
Post Production
Chasing Mavericks (2012)
Cinematography by: Bill Pope
Edited by: John Gilbert
Cameras: ARRI ALEXA Camera, Red Epic Camera
Post Production
Won't Back Down (2012)
Directed by: Daniel Barnz
Cinematography by: Roman Osin
Edited by: Kristina Boden
Cameras: ARRICAM Lite (LT) Camera
Post Production
Hyde Park on Hudson (2012)
Directed by: Roger Michell
Cinematography by: Lol Crawley
Edited by: Nicolas Gaster
Post Production
'Treme' Tipitina (2012)
Directed by: Anthony Hemingway
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' Poor Man's Paradise (2012)
Directed by: Roxann Dawson
Cinematography by: Ivan Strasburg
Edited by: Naomi Geraghty
Post Production
'Treme' Don't You Leave Me Here (2012)
Directed by: Ernest R. Dickerson
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' Promised Land (2012)
Directed by: Tim Robbins
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' Careless Love (2012)
Directed by: Anthony Hemingway
Cinematography by: Ivan Strasburg
Edited by: Naomi Geraghty
Post Production
'Treme' The Greatest Love (2012)
Directed by: Ernest R. Dickerson
Cinematography by: Ivan Strasburg
Edited by: Naomi Geraghty
Post Production
'Treme' I Thought I Heard Buddy Bolden Say (2012)
Directed by: Alex Hall
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' Me Donkey Want Water (2012)
Directed by: Adam Davidson
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' Saints (2012)
Directed by: Jim McKay
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' Knock with Me - Rock with Me (2012)
Directed by: Anthony Hemingway
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
Parental Guidance (2012)
Directed by: Andy Fickman
Cinematography by: Dean Semler
Edited by: Kent Beyda
Cameras: Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Post Production
The Adjustment Bureau (2011)
Directed by: George Nolfi
Cinematography by: John Toll
Edited by: Jay Rabinowitz
Post Production
Tower Heist (2011)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Edited by: Mark Helfrich
Post Production
The Big Year (2011)
Directed by: David Frankel
Cinematography by: Lawrence Sher
Edited by: Mark Livolsi
Post Production
Extremely Loud & Incredibly Close (2011)
Directed by: Stephen Daldry
Cinematography by: Chris Menges
Edited by: Claire Simpson
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System, Final Cut Pro Editing System
Post Production
Albert Nobbs (2011)
Directed by: Rodrigo García
Cinematography by: Michael McDonough
Edited by: Steven Weisberg
Cameras: Red One MX Camera
Post Production
Apollo 18 (2011)
Directed by: Gonzalo López-Gallego
Cinematography by: José David Montero
Edited by: Patrick Lussier
Cameras: ARRIFLEX 16SR Camera, Sony CineAlta F23 Camera
Lenses: Panavision Primo Digital Lenses
Post Production
A Little Bit of Heaven (2011)
Directed by: Nicole Kassell
Cinematography by: Russell Carpenter
Edited by: Stephen A. Rotter
Post Production
Hysteria (2011)
Directed by: Tanya Wexler
Cinematography by: Sean Bobbitt
Edited by: Jon Gregory
Post-production
Fright Night (2011)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Post Production
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Post Production
The Son of No One (2011)
Directed by: Dito Montiel
Cinematography by: Benoît Delhomme
Edited by: Jake Pushinsky
Post Production
I Don't Know How She Does It (2011)
Directed by: Douglas McGrath
Cinematography by: Stuart Dryburgh
Edited by: Camilla Toniolo
Post Production
The Twilight Saga: Breaking Dawn - Part 1 (2011)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Edited by: Virginia Katz
Editing System: Avid Editing System
Post Production
'Treme' Everything I Do Gonh Be Funky (2011)
Directed by: Tim Robbins
Edited by: Malcolm Jamieson
Post Production
'Treme' Do Watcha Wanna (2011)
Directed by: Ernest R. Dickerson
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' That's What Lovers Do (2011)
Directed by: Agnieszka Holland
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' Can I Change My Mind? (2011)
Directed by: Ernest R. Dickerson
Edited by: Alex Hall
Post Production
'Treme' What is New Orleans? (2011)
Directed by: Adam Davidson
Cinematography by: Ivan Strasburg
Edited by: Brian A. Kates
Post Production
'Treme' Carnival Time (2011)
Directed by: Brad Anderson
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' Feels Like Rain (2011)
Directed by: Roxann Dawson
Cinematography by: Ivan Strasburg
Edited by: Brian A. Kates
Post Production
'Treme' Slip Away (2011)
Directed by: Rob Bailey
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' Santa Claus, Do You Ever Get the Blues? (2011)
Directed by: Alex Zakrzewski
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' Accentuate the Positive (2011)
Directed by: Anthony Hemingway
Cinematography by: Ivan Strasburg
Post Production
Salt (2010)
Directed by: Phillip Noyce
Cinematography by: Robert Elswit
Post Production
Morning Glory (2010)
Directed by: Roger Michell
Cinematography by: Alwin H. Küchler
Editing System: Avid Editing System
Post Production
The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
Directed by: Michael Apted
Cinematography by: Dante Spinotti
Edited by: Rick Shaine
Cameras: Sony CineAlta F23 Camera
Editing System: Avid Editing System
Post Production
Our Family Wedding (2010)
Directed by: Rick Famuyiwa
Cinematography by: Julio Macat
Edited by: Dirk Westervelt
Post Production
Death at a Funeral (2010)
Directed by: Neil LaBute
Cinematography by: Rogier Stoffers
Edited by: Tracey Wadmore-Smith
Cameras: Panavision Genesis Camera
Post Production
Green Zone (2010)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Post Production
Date Night (2010)
Directed by: Shawn Levy
Cinematography by: Dean Semler
Edited by: Dean Zimmerman
Cameras: Panavision Genesis Camera
Post Production
The Last Airbender (2010)
Directed by: M. Night Shyamalan
Cinematography by: Andrew Lesnie
Edited by: Conrad Buff IV
Post Production
Cop Out (2010)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Post Production
Repo Men (2010)
Directed by: Miguel Sapochnik
Cinematography by: Enrique Chediak
Edited by: Richard Francis-Bruce
Post Production
The Conspirator (2010)
Directed by: Robert Redford
Cinematography by: Newton Thomas Sigel
Edited by: Craig McKay
Post Production
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
Post-production
All Good Things (2010)
Directed by: Andrew Jarecki
Cinematography by: Michael Seresin
Post Production
Remember Me (2010)
Directed by: Allen Coulter
Cinematography by: Jonathan Freeman
Edited by: Andrew Mondshein
Post Production
Letters to Juliet (2010)
Directed by: Gary Winick
Cinematography by: Marco Pontecorvo
Edited by: Bill Pankow
Post Production - 36 Episodes, 2010-2013
Treme (2010)
Directed by: Anthony Hemingway, Ernest R. Dickerson, Agnieszka Holland, Jim McKay, Brad Anderson, Simon Cellan Jones, Adam Davidson, Roxann Dawson, Tim Robbins, Alex Hall, Daniel Attias, Christine Moore, Rob Bailey, Alex Zakrzewski
Edited by: Alex Hall, Malcolm Jamieson, Naomi Geraghty, Brian A. Kates, Kate Sanford, Matthew Booras, Bill Pankow
Post Production
'Treme' I'll Fly Away (2010)
Directed by: Agnieszka Holland
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' Wish Someone Would Care (2010)
Directed by: Daniel Attias
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' All on a Mardi Gras Day (2010)
Directed by: Anthony Hemingway
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' Smoke My Peace Pipe (2010)
Directed by: Simon Cellan Jones
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' Shallow Water, Oh Mama (2010)
Directed by: Brad Anderson
Cinematography by: Ivan Strasburg
Edited by: Brian A. Kates
Post Production
'Treme' Shame, Shame, Shame (2010)
Directed by: Christine Moore
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' At the Foot of Canal Street (2010)
Directed by: Anthony Hemingway
Cinematography by: Ivan Strasburg
Edited by: Malcolm Jamieson
Post Production
'Treme' Right Place, Wrong Time (2010)
Directed by: Ernest R. Dickerson
Cinematography by: Ivan Strasburg
Edited by: Alex Hall
Post Production
'Treme' Meet De Boys on the Battlefront (2010)
Directed by: Jim McKay
Cinematography by: Ivan Strasburg
Edited by: Naomi Geraghty
Post Production
Underworld: Rise of the Lycans (2009)
Directed by: Patrick Tatopoulos
Cinematography by: Ross Emery
Cameras: Panavision Genesis Camera, Red One Camera
Post Production
Gamer (2009)
Cinematography by: Ekkehart Pollack
Cameras: ARRIFLEX 435 Camera, Red One Camera
Editing System: Final Cut Pro Editing System
Post-production
The Limits of Control (2009)
Directed by: Jim Jarmusch
Cinematography by: Christopher Doyle
Edited by: Jay Rabinowitz
Post Production
Everybody's Fine (2009)
Directed by: Kirk Jones
Cinematography by: Henry Braham
Edited by: Andrew Mondshein
Post Production
The Greatest (2009)
Directed by: Shana Feste
Cinematography by: John Bailey
Edited by: Cara Silverman
Post Production
The Rebound (2009)
Directed by: Bart Freundlich
Cinematography by: Jonathan Freeman
Edited by: Christopher Tellefsen
Post Production
Youth in Revolt (2009)
Directed by: Miguel Arteta
Cinematography by: Chuy Chávez
Cameras: Phantom HD Camera, Sony CineAlta F35 Camera
Post Production
Mother and Child (2009)
Directed by: Rodrigo García
Cinematography by: Xavier Grobet
Edited by: Steven Weisberg
Post Production
Bandslam (2009)
Directed by: Todd Graff
Cinematography by: Eric Steelberg
Edited by: John Gilbert
Cameras: Panavision Cameras
Post Production
Julie & Julia (2009)
Directed by: Nora Ephron
Cinematography by: Stephen Goldblatt
Edited by: Richard Marks
Post Production
Forgetting Sarah Marshall (2008)
Directed by: Nicholas Stoller
Cinematography by: Russ T. Alsobrook
Edited by: William Kerr
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post Production
Shine a Light (2008)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: David Tedeschi
Post Production
Zack and Miri Make a Porno (2008)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Post Production
Mamma Mia! (2008)
Directed by: Phyllida Lloyd
Cinematography by: Haris Zambarloukos
Edited by: Lesley Walker
Editing System: Lightworks Editing System
Post Production
The Accidental Husband (2008)
Directed by: Griffin Dunne
Cinematography by: William Rexer
Edited by: Suzy Elmiger
Post Production
August (2008)
Directed by: Austin Chick
Cinematography by: Andrij Parekh
Edited by: Pete Beaudreau
Post Production
Marley & Me (2008)
Directed by: David Frankel
Cinematography by: Florian Ballhaus
Edited by: Mark Livolsi
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera
Lenses: Zeiss Ultra Prime Lenses
Post Production
Henry Poole Is Here (2008)
Directed by: Mark Pellington
Cinematography by: Eric Schmidt
Edited by: Lisa Zeno Churgin
Post Production
The Midnight Meat Train (2008)
Directed by: Ryûhei Kitamura
Cinematography by: Jonathan Sela
Edited by: Toby Yates
Post Production
Jumper (2008)
Directed by: Doug Liman
Cinematography by: Barry Peterson
Cameras: Panavision Cameras, Red One Camera
Post Production
Revolutionary Road (2008)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Tariq Anwar
Lenses: Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Post Production
The Wrestler (2008)
Directed by: Darren Aronofsky
Cinematography by: Maryse Alberti
Edited by: Andrew Weisblum
Cameras: ARRIFLEX 416 Camera
Post Production
The Hurt Locker (2008)
Directed by: Kathryn Bigelow
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Post Production
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Post Production
First Sunday (2008)
Directed by: David E. Talbert
Cinematography by: Alan Caso
Edited by: Jeffrey Wolf
Post Production
The Chronicles of Narnia: Prince Caspian (2008)
Directed by: Andrew Adamson
Cinematography by: Karl Walter Lindenlaub
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera
Lenses: Zeiss Master Prime Lenses
High-definition Preview Producer
The Reader (2008)
Directed by: Stephen Daldry
Edited by: Claire Simpson
Lenses: Zeiss Master Prime Lenses
Post Production
Pathology (2008)
Directed by: Marc Schölermann
Cinematography by: Ekkehart Pollack
Edited by: Todd E. Miller
Post Production
Superhero Movie (2008)
Directed by: Craig Mazin
Cinematography by: Thomas E. Ackerman
Cameras: ARRI Cameras
Post Production
Prom Night (2008)
Directed by: Nelson McCormick
Cinematography by: Checco Varese
Edited by: Jason Ballantine
Post Production
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Post Production
The Great Debaters (2007)
Directed by: Denzel Washington
Cinematography by: Philippe Rousselot
Post Production
I'm Not There (2007)
Directed by: Todd Haynes
Cinematography by: Edward Lachman
Edited by: Jay Rabinowitz
Cameras: Aaton LTR Camera, Moviecam Compact Camera
Post Production
Honeydripper (2007)
Directed by: John Sayles
Cinematography by: Dick Pope
Edited by: John Sayles
Post Production
The Brave One (2007)
Directed by: Neil Jordan
Cinematography by: Philippe Rousselot
Edited by: Tony Lawson
Cameras: Panavision Panaflex Camera
Post Production
The Bucket List (2007)
Directed by: Rob Reiner
Cinematography by: John Schwartzman
Edited by: Robert Leighton
Cameras: Panavision Cameras
Post Production
The Mist (2007)
Directed by: Frank Darabont
Cinematography by: Rohn Schmidt
Edited by: Hunter M. Via
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post Production
Charlie Wilson's War (2007)
Directed by: Mike Nichols
Cinematography by: Stephen Goldblatt
Post Production
Things We Lost in the Fire (2007)
Directed by: Susanne Bier
Cinematography by: Tom Stern
Post Production
Penelope (2006)
Directed by: Mark Palansky
Cinematography by: Michel Amathieu
Edited by: Jon Gregory
Post Production
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
