Digital Colorist
Heaven Is for Real (2014)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: John Wright
Cameras: Panavision Genesis Camera
Digital Intermediate Colorist
Total Recall (2012)
Directed by: Len Wiseman
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Colorist
No One Lives (2012)
Directed by: Ryûhei Kitamura
Cinematography by: Daniel Pearl
Edited by: Toby Yates
Cameras: ARRIFLEX 416 Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Intermediate Colorist
The Amazing Spider-Man (2012)
Directed by: Marc Webb
Cinematography by: John Schwartzman
Cameras: Red Epic Camera
Colorist
Just Go with It (2011)
Directed by: Dennis Dugan
Cinematography by: Theo van de Sande
Edited by: Tom Costain
Digital Intermediate Colorist
Moneyball (2011)
Directed by: Bennett Miller
Cinematography by: Wally Pfister
Edited by: Christopher Tellefsen
Colorist, Digital Intermediate Colorist
Salt (2010)
Directed by: Phillip Noyce
Cinematography by: Robert Elswit
Digital Colorist
Easy A (2010)
Directed by: Will Gluck
Cinematography by: Michael Grady
Edited by: Susan Littenberg
Cameras: Panavision Genesis Camera
Digital Colorist, Digital Intermediate Colorist
The Karate Kid (2010)
Directed by: Harald Zwart
Cinematography by: Roger Pratt
Edited by: Joel Negron
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 435 Camera
Lenses: Cooke S4 Lenses
Digital Intermediate Colorist
London Boulevard (2010)
Directed by: William Monahan
Cinematography by: Chris Menges
Editing System: Avid Editing System
Digital Colorist, Digital Intermediate Colorist
Zombieland (2009)
Directed by: Ruben Fleischer
Cinematography by: Michael Bonvillain
Edited by: Alan Baumgarten
Digital Intermediate Colorist
Love Happens (2009)
Directed by: Brandon Camp
Cinematography by: Eric Alan Edwards
Edited by: Dana E. Glauberman
Digital Film Colorist, Digital Intermediate Colorist
Get Smart (2008)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: Richard Pearson
Lenses: Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Digital Film Colorist
Bedtime Stories (2008)
Directed by: Adam Shankman
Cinematography by: Michael Barrett
Digital Intermediate Colorist
Appaloosa (2008)
Directed by: Ed Harris
Cinematography by: Dean Semler
Edited by: Kathryn Himoff
Supervising Digital Colorist
Redbelt (2008)
Directed by: David Mamet
Cinematography by: Robert Elswit
Edited by: Barbara Tulliver
Digital Intermediate Colorist
The Express (2008)
Directed by: Gary Fleder
Cinematography by: Kramer Morgenthau
Digital Intermediate Colorist
The Spiderwick Chronicles (2008)
Directed by: Mark Waters
Cinematography by: Caleb Deschanel
Edited by: Michael Kahn
Colorist
Miracle at St. Anna (2008)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Digital Colorist
Frost/Nixon (2008)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Lenses: Cooke S4 Lenses, Cooke Varotal Lenses
Editing System: Avid Editing System
Digital Intermediate Colorist
Never Back Down (2008)
Directed by: Jeff Wadlow
Cinematography by: Lukas Ettlin
Digital Intermediate Colorist
The Incredible Hulk (2008)
Directed by: Louis Leterrier
Cinematography by: Peter Menzies Jr.
Editing System: Avid Editing System
Digital Intermediate Colorist
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Supervising Digital Colorist: EFilm
Fracture (2007)
Directed by: Gregory Hoblit
Cinematography by: Kramer Morgenthau
Edited by: David Rosenbloom
Digital Intermediate Colorist
Aliens vs. Predator: Requiem (2007)
Cinematography by: Daniel Pearl
Edited by: Dan Zimmerman
Digital Color Timer, Digital Intermediate Colorist
I Now Pronounce You Chuck & Larry (2007)
Directed by: Dennis Dugan
Cinematography by: Dean Semler
Edited by: Jeff Gourson
Cameras: Panavision Genesis Camera
Digital Intermediate Colorist
Malos hábitos (2007)
Directed by: Simón Bross
Cinematography by: Eduardo Martínez Solares
Digital Intermediate Colorist
The Number 23 (2007)
Directed by: Joel Schumacher
Cinematography by: Matthew Libatique
Edited by: Mark Stevens
Supervising Digital Colorist
Inside Man (2006)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Digital Intermediate Colorist
We Are Marshall (2006)
Directed by: McG
Cinematography by: Shane Hurlbut
Digital Intermediate Colorist: EFilm
Apocalypto (2006)
Directed by: Mel Gibson
Cinematography by: Dean Semler
Edited by: John Wright
Digital Film Colorist
Blood Diamond (2006)
Directed by: Edward Zwick
Cinematography by: Eduardo Serra
Edited by: Steven Rosenblum
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk C-Series Lenses, Hawk V-Series Lenses
Digital Colorist
Man About Town (2006)
Directed by: Mike Binder
Cinematography by: Russ T. Alsobrook
Edited by: Roger Nygard
Digital Colorist, Digital Film Colorist
The Da Vinci Code (2006)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Digital Color Timer
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Digital Color Timer
Idlewild (2006)
Directed by: Bryan Barber
Cinematography by: Pascal Rabaud
Edited by: Anne Goursaud
Lenses: Zeiss Ultra Prime Lenses
Digital Intermediate Color Timer: EFilm
The Producers (2005)
Directed by: Susan Stroman
Edited by: Steven Weisberg
Color Timer
Cinderella Man (2005)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Digital Intermediate Colorist: Efilm
Happy Endings (2005)
Directed by: Don Roos
Cinematography by: Clark Mathis
Edited by: David Codron
Editing System: Final Cut Pro Editing System
Color Timer
The Family Stone (2005)
Directed by: Thomas Bezucha
Cinematography by: Jonathan Brown
Edited by: Jeffrey Ford
Digital Film Colorist
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Digital Color Timer
The Assassination of Richard Nixon (2004)
Directed by: Niels Mueller
Cinematography by: Emmanuel Lubezki
Edited by: Jay Cassidy
Digital Color Timer
Spider-Man 2 (2004)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Cameras: ARRIFLEX 435 Camera, Beaumont Vista Vision Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision System 65 Camera
Editing System: Avid Editing System
Digital Colorist
Secret Window (2004)
Directed by: David Koepp
Cinematography by: Fred Murphy
Edited by: Jill Savitt
Digital Color Timer
The Alamo (2004)
Directed by: John Lee Hancock
Cinematography by: Dean Semler
Edited by: Eric L. Beason
Digital Color Timer
Sky Captain and the World of Tomorrow (2004)
Directed by: Kerry Conran
Cinematography by: Eric Adkins
Edited by: Sabrina Plisco
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
Digital Color Timer
The Passion of the Christ (2004)
Directed by: Mel Gibson
Cinematography by: Caleb Deschanel
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Color Timer
The Company (2003)
Directed by: Robert Altman
Cinematography by: Andrew Dunn
Edited by: Geraldine Peroni
Digital Colorist
Bruce Almighty (2003)
Directed by: Tom Shadyac
Cinematography by: Dean Semler
Edited by: Scott Hill
Lenses: Panavision Primo Close Focus Spherical Lenses, Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses
Editing System: Lightworks Editing System
Colorist: EFilm
21 Grams (2003)
Directed by: Alejandro G. Iñárritu
Cinematography by: Rodrigo Prieto
Edited by: Stephen Mirrione
Cameras: Moviecam Superlight Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Digital Colorist
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
Digital Color Timer
Daredevil (2003)
Directed by: Mark Steven Johnson
Cinematography by: Ericson Core
Color Timer
Big Fish (2003)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Color Timer: EFilm
Austin Powers in Goldmember (2002)
Directed by: Jay Roach
Cinematography by: Peter Deming
Digital Colorist
Spider-Man (2002)
Directed by: Sam Raimi
Cinematography by: Don Burgess
Cameras: Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Color Timer, Digital Color Timer: Efilm
We Were Soldiers (2002)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: William Hoy
Cameras: Panavision Panaflex Camera
Digital Color Timer
xXx (2002)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Digital Colorist
25th Hour (2002)
Directed by: Spike Lee
Cinematography by: Rodrigo Prieto
Edited by: Barry Alexander Brown
Lenses: Zeiss Ultra Prime Lenses
Digital Color Timer
8 Mile (2002)
Directed by: Curtis Hanson
Cinematography by: Rodrigo Prieto
Lenses: Zeiss Ultra Prime Lenses
Digital Color Timer: Efilm
Frida (2002)
Directed by: Julie Taymor
Cinematography by: Rodrigo Prieto
Edited by: Françoise Bonnot
Cameras: ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Color Timer: Pacific Vision Productions
Austin Powers: The Spy Who Shagged Me (1999)
Directed by: Jay Roach
Cinematography by: Ueli Steiger
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post-production Auditor
Ulee's Gold (1997)
Directed by: Victor Nunez
Cinematography by: Virgil Mirano
Edited by: Victor Nunez
Digital Compositing Supervisor: Composite Image Systems
Batman Forever (1995)
Directed by: Joel Schumacher
Cinematography by: Stephen Goldblatt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Digital Effects Compositor
The Little Rascals (1994)
Directed by: Penelope Spheeris
Cinematography by: Richard Bowen
Digital Compositor: Composite Image Systems
Blink (1993)
Directed by: Michael Apted
Cinematography by: Dante Spinotti
Edited by: Rick Shaine
