Visual Effects Production Accountant: Atomic Fiction
Transformers: The Last Knight (2017)
Directed by: Michael Bay
Cinematography by: Jonathan Sela
Production Accountant
Blade Runner 2049 (2017)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera
Lenses: ARRI / Zeiss Zoom Lenses, Zeiss Master Prime Distagon 12 mm T1.3 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 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Production Support: Atomic Fiction
'Stranger Things' Chapter Nine: The Gate (2017)
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Production Accountant
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Production Support: Atomic Fiction
'Stranger Things' Chapter Eight: The Mind Flayer (2017)
Cinematography by: Tim Ives
Edited by: Nat Fuller
Production Support: Atomic Fiction
'Stranger Things' Chapter Seven: The Lost Sister (2017)
Directed by: Rebecca Thomas
Cinematography by: David Franco
Edited by: Katheryn Naranjo
Production Accountant
The Jungle Book (2016)
Directed by: Jon Favreau
Cinematography by: Bill Pope
Cameras: ARRI ALEXA XT M Camera
Production Support: Atomic Fiction - 3 Episodes, 2017
Stranger Things (2016)
Directed by: Matt Duffer, Ross Duffer, Shawn Levy, Andrew Stanton, Uta Briesewitz, Nimród Antal, Rebecca Thomas, Dan Trachtenberg
Cinematography by: Tim Ives, Caleb Heymann, Tod Campbell, Lachlan Milne, Brett Jutkiewicz, David Franco
Cameras: ARRI ALEXA LF Camera, Red Epic Dragon Camera, Red Helium (Weapon) 8K, Red Monstro 8K Camera
Lenses: Leitz Summilux-C Series Lenses
Editing System: Avid Editing System
Visual Effects Accountant: Digital Domain
Oblivion (2013)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Richard Francis-Bruce
Cameras: Red Epic Camera, Sony CineAlta F65 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 12 mm T1.3 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, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Editing System: Avid Editing System
Visual Effects Production Accountant: Digital Domain
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Visual Effects Accountant: Digital Domain
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Visual Effects Accountant: Digital Domain
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Production Support: Digital Domain
The A-Team (2010)
Directed by: Joe Carnahan
Cinematography by: Mauro Fiore
Production Accountant
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Visual Effects Coordinator
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
NTI Coordinator / Associate Production Manager
Beowulf (2007)
Directed by: Robert Zemeckis
Cinematography by: Robert Presley
Edited by: Jeremiah O'Driscoll
Film Recording Engineer: ILM
Lemony Snicket's A Series of Unfortunate Events (2004)
Directed by: Brad Silberling
Cinematography by: Emmanuel Lubezki
Edited by: Michael Kahn
Cameras: Panavision Panaflex Platinum Camera
Scanning Operator: ILM
The Day After Tomorrow (2004)
Directed by: Roland Emmerich
Cinematography by: Ueli Steiger
Edited by: David Brenner
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Negative Preparation: ILM
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Negative Cutter: ILM
Timeline (2003)
Directed by: Richard Donner
Cinematography by: Caleb Deschanel
Edited by: Richard Marks
Negative Line-up: ILM
Men in Black II (2002)
Directed by: Barry Sonnenfeld
Cinematography by: Greg Gardiner
Negative Line-up: ILM
Minority Report (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Lenses: Panavision Lenses
Negative Cutter: ILM
Jurassic Park III (2001)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Edited by: Robert Dalva
Negative Cutter: ILM
Mission to Mars (2000)
Directed by: Brian De Palma
Cinematography by: Stephen H. Burum
Edited by: Paul Hirsch
Negative Cutter: ILM
The Mummy (1999)
Directed by: Stephen Sommers
Cinematography by: Adrian Biddle
Edited by: Bob Ducsay
Cameras: Panavision Panaflex Platinum Camera
Film Scanning And Recording: ILM
Star Wars: Episode I - The Phantom Menace (1999)
Directed by: George Lucas
Cinematography by: David Tattersall
Lenses: Hawk C-Series Lenses
Negative Line-up: ILM
Magnolia (1999)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Cameras: Panavision Cameras, Pathé Cameras
Lenses: Panavision Lenses
Optical Line-up: ILM
Mercury Rising (1998)
Directed by: Harold Becker
Cinematography by: Michael Seresin
Edited by: Peter Honess
Negative Line-up: ILM
Deep Impact (1998)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Cameras: ARRIFLEX 535 Camera
Negative Line-up
The Lost World: Jurassic Park (1997)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Negative Line-up
Star Trek: First Contact (1996)
Directed by: Jonathan Frakes
Cinematography by: Matthew F. Leonetti
Edited by: John W. Wheeler
Negative Line-up: ILM
Mars Attacks! (1996)
Directed by: Tim Burton
Cinematography by: Peter Suschitzky
Edited by: Chris Lebenzon
Negative Line Up: ILM
101 Dalmatians (1996)
Directed by: Stephen Herek
Cinematography by: Adrian Biddle
Edited by: Trudy Ship
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Negative Line-up: ILM
Daylight (1996)
Directed by: Rob Cohen
Cinematography by: David Eggby
Edited by: Peter Amundson
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Lenses: Zeiss Lenses
Negative Line-up
Twister (1996)
Directed by: Jan de Bont
Cinematography by: Jack N. Green
Edited by: Michael Kahn
Optical Line-up
The American President (1995)
Directed by: Rob Reiner
Cinematography by: John Seale
Edited by: Robert Leighton
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Assistant Sound Editor
Species (1995)
Directed by: Roger Donaldson
Cinematography by: Andrzej Bartkowiak
Edited by: Conrad Buff IV
Sound Effects Apprentice
Red Rock West (1993)
Directed by: John Dahl
Cinematography by: Marc Reshovsky
Edited by: Scott Chestnut
Optical Coordinator: ILM
Back to the Future Part II (1989)
Directed by: Robert Zemeckis
Cinematography by: Dean Cundey
Negative Line-up: ILM - Special Version
Star Wars: Episode VI - Return of the Jedi (1983)
Directed by: Richard Marquand
Negative Line-up: ILM - 1997 Special Version
Star Wars: Episode V - The Empire Strikes Back (1980)
Directed by: Irvin Kershner
Cinematography by: Peter Suschitzky
