Dailies Colorist: Company 3 Atlanta
'Stranger Things' Chapter One: The Hellfire Club (2022)
Cinematography by: Caleb Heymann
Edited by: Dean Zimmerman
Dailies Colorist: Company 3 Atlanta
'Stranger Things' Chapter Two: Vecna's Curse (2022)
Cinematography by: Caleb Heymann
Dailies Colorist: Company 3 Atlanta
'Stranger Things' Chapter Four: Dear Billy (2022)
Directed by: Shawn Levy
Cinematography by: Brett Jutkiewicz
Edited by: Dean Zimmerman
Dailies Colorist: Company 3 Atlanta
'Stranger Things' Chapter Three: The Monster and the Superhero (2022)
Directed by: Shawn Levy
Cinematography by: Brett Jutkiewicz
Dailies Colorist: Company 3 Atlanta
'Stranger Things' Chapter Five: The Nina Project (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Dailies Colorist: Company 3 Atlanta
'Stranger Things' Chapter Six: The Dive (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Dailies Colorist: Company 3 Atlanta
'Stranger Things' Chapter Seven: The Massacre at Hawkins Lab (2022)
Cinematography by: Caleb Heymann
Dailies Colorist: Company 3 Atlanta
'Stranger Things' Chapter Eight: Papa (2022)
Cinematography by: Caleb Heymann
Edited by: Katheryn Naranjo
Colorist: Dailies
'Stranger Things' Chapter Nine: The Piggyback (2022)
Cinematography by: Caleb Heymann
Colorist: Dailies: Additional Photography
Ford v Ferrari (2019)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Cameras: ARRI ALEXA LF Camera
Colorist: Dailies
'Stranger Things' Chapter Eight: The Battle of Starcourt (2019)
Cinematography by: Lachlan Milne
Dailies Colorist: Company 3
Boy Erased (2018)
Directed by: Joel Edgerton
Cinematography by: Eduard Grau
Edited by: Jay Rabinowitz
Lenses: Zeiss Super Speed Lenses
Colorist: Dailies / Colorist: Dailies: Additional Photography
The Fate of the Furious (2017)
Directed by: F. Gary Gray
Cinematography by: Stephen F. Windon
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Dailies Operator: EC3
Baywatch (2017)
Directed by: Seth Gordon
Cinematography by: Eric Steelberg
Edited by: Peter S. Elliot
Cameras: ARRI ALEXA XT Plus Camera
Dailies Operator
Passengers (2016)
Directed by: Morten Tyldum
Cinematography by: Rodrigo Prieto
Edited by: Maryann Brandon
Cameras: ARRI ALEXA 65 Camera
Lenses: Panavision Primo 70 Lenses
Colorist: Dailies - 1 Episode, 2019, Colorist: Dailies / Dailies Colorist: Company 3 Atlanta - 17 Episodes, 2019-2022
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
Dailies Operator
Triple 9 (2016)
Directed by: John Hillcoat
Cinematography by: Nicolas Karakatsanis
Edited by: Dylan Tichenor
Dailies Operator
Dirty Grandpa (2016)
Directed by: Dan Mazer
Cinematography by: Eric Alan Edwards
Edited by: Anne McCabe
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Cooke S4 Lenses
Dailies Operator
Miracles from Heaven (2016)
Directed by: Patricia Riggen
Cinematography by: Checco Varese
Edited by: Emma E. Hickox
Cameras: ARRI Cameras
Lenses: ARRI Lenses
Dailies Operator
Allegiant (2016)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Stuart Levy
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera
Dailies Operator
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 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 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
Dailies Operator
Selma (2014)
Directed by: Ava DuVernay
Cinematography by: Bradford Young
Edited by: Spencer Averick
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Hawk V-Plus Lenses, Hawk V-Series Lenses
