Colorist: Dailies
Star Wars: Episode IX - The Rise of Skywalker (2019)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Colorist: Dailies
Bird Box (2018)
Directed by: Susanne Bier
Cinematography by: Salvatore Totino
Edited by: Ben Lester
Cameras: Red Helium (Weapon) 8K
Lenses: Zeiss Master Prime Lenses
Colorist: Dailies
Creed II (2018)
Directed by: Steven Caple Jr.
Cinematography by: Kramer Morgenthau
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Colorist: Dailies, Additional Photography
The Greatest Showman (2017)
Directed by: Michael Gracey
Cinematography by: Seamus McGarvey
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Colorist: Dailies
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Colorist: Dailies
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Colorist: Dailies
Why Him? (2016)
Directed by: John Hamburg
Cinematography by: Kris Kachikis
Edited by: William Kerr
Colorist: Dailies
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Colorist Dailies
Entourage (2015)
Directed by: Doug Ellin
Cinematography by: Steven Fierberg
Edited by: Jeff Groth
Cameras: ARRICAM Lite (LT) Camera
Colorist: Dailies
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: Hasselblad Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, 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
Colorist: Dailies
Teenage Mutant Ninja Turtles (2014)
Directed by: Jonathan Liebesman
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Plus 4:3 Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Colorist: Dailies
The Purge: Anarchy (2014)
Directed by: James DeMonaco
Cinematography by: Jacques Jouffret
Cameras: ARRI ALEXA XT Camera
Editing System: Avid Editing System
Colorist Dailies
The Hangover Part III (2013)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Colorist: Dailies
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Colorist: Dailies
The Five-Year Engagement (2012)
Directed by: Nicholas Stoller
Cinematography by: Javier Aguirresarobe
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Colorist Dailies
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Colorist: Dailies
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
Colorist: Dailies
Get Him to the Greek (2010)
Directed by: Nicholas Stoller
Cinematography by: Robert D. Yeoman
Cameras: Panavision Cameras
Colorist: Dailies
The Unborn (2009)
Directed by: David S. Goyer
Cinematography by: James Hawkinson
Edited by: Jeff Betancourt
Cameras: Panavision Cameras
Colorist: Dailies
Funny People (2009)
Directed by: Judd Apatow
Cinematography by: Janusz Kaminski
Cameras: Panavision Panaflex Platinum Camera
Colorist Dailies
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Colorist: Dailies
Frost/Nixon (2008)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Lenses: Cooke S4 Lenses, Cooke Varotal Lenses
Editing System: Avid Editing System
Colorist: Dailies
Cloverfield (2008)
Directed by: Matt Reeves
Cinematography by: Michael Bonvillain
Edited by: Kevin Stitt
Cameras: Panasonic AG-HSC1U Camera, Panasonic AG-HVX200 Camera, Sony CineAlta F23 Camera, Thomson Viper Camera
Lenses: Canon Lenses, Zeiss DigiPrime Lenses
Colorist: Dailies
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Colorist: Dailies
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Colorist: Dailies
The Jane Austen Book Club (2007)
Directed by: Robin Swicord
Cinematography by: John Toon
Edited by: Maryann Brandon
Colorist: Dailies
How to Eat Fried Worms (2006)
Directed by: Bob Dolman
Cinematography by: Richard Rutkowski
Colorist: Dailies
Walkout (2006)
Directed by: Edward James Olmos
Cinematography by: Donald M. Morgan
Edited by: Michael McCusker
Colorist: Dailies
Little Miss Sunshine (2006)
Cinematography by: Tim Suhrstedt
Edited by: Pamela Martin
Colorist: Dailies
The Prestige (2006)
Directed by: Christopher Nolan
Cinematography by: Wally Pfister
Edited by: Lee Smith
Colorist: Dailies
The New World (2005)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Colorist: Dailies
Paparazzi (2004)
Directed by: Paul Abascal
Cinematography by: Daryn Okada
Edited by: Robin Russell
Colorist: Dailies
The Girl Next Door (2004)
Directed by: Luke Greenfield
Cinematography by: Jamie Anderson
Edited by: Mark Livolsi
Colorist: Dailies
Unconditional Love (2002)
Directed by: P.J. Hogan
Cinematography by: Remi Adefarasin
Edited by: Robert C. Jones
Cameras: Panavision Cameras
Colorist: Dailies
Original Sin (2001)
Directed by: Michael Cristofer
Cinematography by: Rodrigo Prieto
Edited by: Eric A. Sears
Colorist: Dailies
American Pie 2 (2001)
Directed by: J.B. Rogers
Cinematography by: Mark Irwin
Cameras: Moviecam Compact Camera
Lenses: Angenieux HR Zoom Lenses, Cooke S4 Lenses
Colorist: Dailies
Rat Race (2001)
Directed by: Jerry Zucker
Cinematography by: Thomas E. Ackerman
Edited by: Tom Lewis
Colorist: Dailies
Shallow Hal (2001)
Cinematography by: Russell Carpenter
Edited by: Christopher Greenbury
Colorist: Dailies
Body Shots (1999)
Directed by: Michael Cristofer
Cinematography by: Rodrigo García
Edited by: Eric A. Sears
Colorist: Dailies
Dudley Do-Right (1999)
Directed by: Hugh Wilson
Cinematography by: Donald E. Thorin
Edited by: Don Brochu
Colorist: Dailies
The Mod Squad (1999)
Directed by: Scott Silver
Cinematography by: Ellen Kuras
Edited by: Dorian Harris
Colorist: Dailies
Man on the Moon (1999)
Directed by: Milos Forman
Cinematography by: Anastas N. Michos
