Supervising Digital Colorist
Longlegs (2024)
Directed by: Osgood Perkins
Cinematography by: Andres Arochi
Supervising Digital Colorist
'1923' The War Has Come Home (2023)
Directed by: Ben Richardson
Edited by: Chad Galster
Supervising Digital Colorist
'1923' Ghost of Zebrina (2023)
Directed by: Guy Ferland
Cinematography by: Robert McLachlan
Edited by: Christopher Gay
Supervising Digital Colorist
'1923' One Ocean Closer to Destiny (2023)
Directed by: Guy Ferland
Cinematography by: Robert McLachlan
Supervising Digital Colorist
'1923' The Rule of Five Hundred (2023)
Directed by: Ben Richardson
Edited by: Christopher Gay
Supervising Digital Colorist - 7 Episodes, 2022-2023
1923 (2022)
Cameras: ARRI Alexa 35 Camera, ARRI ALEXA Mini Camera
Supervising Digital Colorist / Colorist - 9 Episodes, 2021-2022
1883 (2021)
TV Mini Series
Edited by: Chad Galster, Nathan Gunn, Brooke Rupe, Martin Nicholson, John Coniglio, Christopher Gay, Ryan Malanaphy
Supervising Digital Colorist
Gretel & Hansel (2020)
Directed by: Oz Perkins
Cinematography by: Galo Olivares
Cameras: ARRI ALEXA Mini Camera
Supervising Digital Colorist
Rattlesnake (2019)
Directed by: Zak Hilditch
Edited by: Merlin Eden
Cameras: Sony CineAlta VENICE Camera
Supervising Digital Colorist
Seberg (2019)
Directed by: Benedict Andrews
Cinematography by: Rachel Morrison
Edited by: Pamela Martin
Supervising Digital Colorist
Semper Fi (2019)
Directed by: Henry Alex Rubin
Cinematography by: David Devlin
Cameras: Red Monstro 8K Camera
Supervising Digital Colorist
The Girl in the Spider's Web (2018)
Directed by: Fede Alvarez
Cinematography by: Pedro Luque
Edited by: Tatiana S. Riegel
Supervising Digital Colorist
Creed II (2018)
Directed by: Steven Caple Jr.
Cinematography by: Kramer Morgenthau
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Supervising Digital Colorist
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
Supervising Digital Colorist
Battle of the Sexes (2017)
Cinematography by: Linus Sandgren
Edited by: Pamela Martin
Supervising Digital Colorist: EFilm
Wind River (2017)
Directed by: Taylor Sheridan
Cinematography by: Ben Richardson
Edited by: Gary Roach
Supervising Digital Colorist
Hail, Caesar! (2016)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Adobe Premiere Editing System
Digital Colorist
Midnight Special (2016)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Supervising Digital Colorist
Rogue One (2016)
Directed by: Gareth Edwards
Cinematography by: Greig Fraser
Cameras: ARRI ALEXA 65 Camera
Lenses: Panavision APO Panatar Lenses
Editing System: Avid Editing System
Supervising Digital Colorist
The Boss (2016)
Directed by: Ben Falcone
Cinematography by: Julio Macat
Edited by: Craig Alpert
Cameras: ARRI ALEXA 65 Camera
Lenses: Leitz Summilux-C Series Lenses
Supervising Digital Colorist
Barbershop: The Next Cut (2016)
Directed by: Malcolm D. Lee
Cinematography by: Greg Gardiner
Edited by: Paul Millspaugh
Cameras: Sony PMW-F55 Camera
Supervising Digital Colorist
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
Supervising Digital Colorist
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Supervising Digital Colorist
Sicario (2015)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Edited by: Joe Walker
Lenses: Zeiss Master Prime Lenses
Supervising Digital Colorist
Straight Outta Compton (2015)
Directed by: F. Gary Gray
Cinematography by: Matthew Libatique
Cameras: Red Epic Dragon Camera
Supervising Digital Colorist
RoboCop (2014)
Directed by: José Padilha
Cinematography by: Lula Carvalho
Cameras: ARRI ALEXA Camera, Red Epic Camera
Digital Colorist
Unbroken (2014)
Directed by: Angelina Jolie
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Supervising Digital Colorist
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
Supervising Digital Colorist
If I Stay (2014)
Directed by: R.J. Cutler
Cinematography by: John de Borman
Edited by: Keith Henderson
Supervising Digital Colorist
The Last Exorcism Part II (2013)
Directed by: Ed Gass-Donnelly
Cinematography by: Brendan Steacy
Edited by: Ed Gass-Donnelly
Cameras: ARRI ALEXA Camera
Supervising Digital Intermediate Colorist: EFilm
The Host (2013)
Directed by: Andrew Niccol
Cinematography by: Roberto Schaefer
Edited by: Thomas J. Nordberg
Cameras: ARRI ALEXA Camera
Supervising Digital Colorist
Percy Jackson: Sea of Monsters (2013)
Directed by: Thor Freudenthal
Cinematography by: Shelly Johnson
Edited by: Mark Goldblatt
Digital Colorist
Prisoners (2013)
Directed by: Denis Villeneuve
Cinematography by: Roger Deakins
Cameras: ARRI ALEXA Studio Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Supervising Digital Colorist
The Best Man Holiday (2013)
Directed by: Malcolm D. Lee
Cinematography by: Greg Gardiner
Edited by: Paul Millspaugh
Cameras: ARRI ALEXA Plus 4:3 Camera
Supervising Digital Colorist
Casa de mi Padre (2012)
Directed by: Matt Piedmont
Cinematography by: Ramsey Nickell
Edited by: David Trachtenberg
Cameras: Panavision Panaflex Gold II Camera
Supervising Digital Colorist: EFilm
Mud (2012)
Directed by: Jeff Nichols
Cinematography by: Adam Stone
Edited by: Julie Monroe
Supervising Digital Colorist
The Three Stooges (2012)
Cinematography by: Matthew F. Leonetti
Edited by: Sam Seig
Digital Colorist, Digital Intermediate Colorist / Supervising Digital Colorist
Killing Them Softly (2012)
Directed by: Andrew Dominik
Cinematography by: Greig Fraser
Lenses: Panavision HS50 50 mm T1.1 Lens
Digital Colorist
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Supervising Digital Colorist: EFilm
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Digital Intermediate Colorist: EFilm
Hemingway & Gellhorn (2012)
Directed by: Philip Kaufman
Cinematography by: Rogier Stoffers
Edited by: Walter Murch
Cameras: ARRI ALEXA Camera
Editing System: Final Cut Pro Editing System
Supervising Digital Colorist
The Vow (2012)
Directed by: Michael Sucsy
Cinematography by: Rogier Stoffers
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Supervising Digital Colorist
Ruby Sparks (2012)
Cinematography by: Matthew Libatique
Edited by: Pamela Martin
Lenses: Cooke Speed Panchro Lenses
Digital Intermediate Colourist: Company 3 London, Supervising Digital Colorist
Skyfall (2012)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Stuart Baird
Editing System: Avid Editing System
Supervising Digital Colorist
Jack Reacher (2012)
Directed by: Christopher McQuarrie
Cinematography by: Caleb Deschanel
Edited by: Kevin Stitt
Supervising Digital Colorist
In Time (2011)
Directed by: Andrew Niccol
Cinematography by: Roger Deakins
Edited by: Zach Staenberg
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Supervising Digital Colorist
Madea's Big Happy Family (2011)
Directed by: Tyler Perry
Cinematography by: Toyomichi Kurita
Edited by: Maysie Hoy
Digital Colorist: EFilm, Digital Intermediate Colorist / Supervising Digital Colorist
The Sunset Limited (2011)
Directed by: Tommy Lee Jones
Cinematography by: Paul Elliott
Second Digital Colorist: EFilm
The Cabin in the Woods (2011)
Directed by: Drew Goddard
Cinematography by: Peter Deming
Edited by: Lisa Lassek
Supervising Digital Colorist
Larry Crowne (2011)
Directed by: Tom Hanks
Cinematography by: Philippe Rousselot
Edited by: Alan Cody
Digital Colorist: EFilm
Thin Ice (2011)
Directed by: Jill Sprecher
Cinematography by: Dick Pope
Edited by: Lee Percy
Digital Colorist
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Colorist / Digital Colorist, Digital Colorist
Rise of the Planet of the Apes (2011)
Directed by: Rupert Wyatt
Cinematography by: Andrew Lesnie
Cameras: ARRICAM Lite (LT) Camera
Supervising Digital Colorist
Abduction (2011)
Directed by: John Singleton
Cinematography by: Peter Menzies Jr.
Edited by: Bruce Cannon
Second Digital Colorist: Efilm
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Colorist, Digital Colorist: EFilm
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Digital Colorist: EFilm
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Colorist
Machete (2010)
Cinematography by: Jimmy Lindsey
Cameras: Panavision Genesis Camera
Editing System: Avid Editing System
Supervising Digital Colorist
True Grit (2010)
Cinematography by: Roger Deakins
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Second Digital Colorist: Efilm
Tooth Fairy (2010)
Directed by: Michael Lembeck
Cinematography by: David Tattersall
Edited by: David Finfer
Digital Colorist
Case 39 (2009)
Directed by: Christian Alvart
Cinematography by: Hagen Bogdanski
Edited by: Mark Goldblatt
Second Digital Colorist: EFilm
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Second Digital Colorist: EFILM
Aliens in the Attic (2009)
Directed by: John Schultz
Cinematography by: Don Burgess
Edited by: John Pace
Second Digital Colorist: EFILM
Land of the Lost (2009)
Directed by: Brad Silberling
Cinematography by: Dion Beebe
Edited by: Peter Teschner
Cameras: Panavision Cameras
Second Digital Colorist: EFILM
Night at the Museum: Battle of the Smithsonian (2009)
Directed by: Shawn Levy
Cinematography by: John Schwartzman
Second Digital Colorist: EFILM
The Time Traveler's Wife (2009)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Second Digital Colorist, Second Digital Colorist: EFILM
The Men Who Stare at Goats (2009)
Directed by: Grant Heslov
Cinematography by: Robert Elswit
Edited by: Tatiana S. Riegel
Cameras: Panavision Panaflex Platinum Camera
Second Digital Colorist, Second Digital Colorist: EFILM
Couples Retreat (2009)
Directed by: Peter Billingsley
Cinematography by: Eric Alan Edwards
Edited by: Dan Lebental
Editing System: Final Cut Pro Editing System
Second Digital Colorist: Efilm
The Blind Side (2009)
Directed by: John Lee Hancock
Cinematography by: Alar Kivilo
Edited by: Mark Livolsi
Lenses: Zeiss Master Prime Lenses
Digital Colorist
Jennifer's Body (2009)
Directed by: Karyn Kusama
Cinematography by: M. David Mullen
Edited by: Plummy Tucker
Second Digital Colorist: EFILM
Julie & Julia (2009)
Directed by: Nora Ephron
Cinematography by: Stephen Goldblatt
Edited by: Richard Marks
Digital Colorist Assist
Drillbit Taylor (2008)
Directed by: Steven Brill
Cinematography by: Fred Murphy
Second Digital Colorist: EFILM
Yes Man (2008)
Directed by: Peyton Reed
Cinematography by: Robert D. Yeoman
Edited by: Craig Alpert
Cameras: Panavision Cameras
Second Digital Colorist: EFILM
Four Christmases (2008)
Directed by: Seth Gordon
Cinematography by: Jeffrey L. Kimball
Digital Color Assist, Digital Colorist Assist
Jumper (2008)
Directed by: Doug Liman
Cinematography by: Barry Peterson
Cameras: Panavision Cameras, Red One Camera
Digital Colorist Assist
Sex and the City (2008)
Directed by: Michael Patrick King
Cinematography by: John Thomas
Edited by: Michael Berenbaum
Digital Colorist Assist
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Colorist Assist, Digital Colorist Assist
Iron Man (2008)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Edited by: Dan Lebental
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Second Digital Colorist: Efilm
Burn After Reading (2008)
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera
Editing System: Final Cut Pro Editing System
Second Digital Colorist: EFILM
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Digital Colorist Assist
Ghost Rider (2007)
Directed by: Mark Steven Johnson
Cinematography by: Russell Boyd
Edited by: Richard Francis-Bruce
Cameras: Panavision Cameras
Digital Colorist Assist
The Reaping (2007)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Colby Parker Jr.
Digital Colorist Assist
We Own the Night (2007)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Digital Colorist Assist
Charlie Wilson's War (2007)
Directed by: Mike Nichols
Cinematography by: Stephen Goldblatt
Digital Colorist Assist
Lust, Caution (2007)
Directed by: Ang Lee
Cinematography by: Rodrigo Prieto
Edited by: Tim Squyres
Colorist Assistant
Mr. Magorium's Wonder Emporium (2007)
Directed by: Zach Helm
Cinematography by: Roman Osin
Digital Colorist Assistant: EFilm
Hairspray (2007)
Directed by: Adam Shankman
Cinematography by: Bojan Bazelli
Edited by: Michael Tronick
Digital Colorist Assist
Are We Done Yet? (2007)
Directed by: Steve Carr
Cinematography by: Jack N. Green
Edited by: Craig Herring
Digital Colorist Assist
In the Valley of Elah (2007)
Directed by: Paul Haggis
Cinematography by: Roger Deakins
Edited by: Jo Francis
Lenses: Zeiss Master Prime Lenses
Digital Colorist Assist, Digital Colorist Assistant: EFilm
Rendition (2007)
Directed by: Gavin Hood
Cinematography by: Dion Beebe
Edited by: Megan Gill
Digital Colorist Assist
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Digital Preview Colorist
Last Days (2005)
Directed by: Gus Van Sant
Cinematography by: Harris Savides
Edited by: Gus Van Sant
Digital Preview Colorist
The Machinist (2004)
Directed by: Brad Anderson
Cinematography by: Xavi Giménez
Edited by: Luis de la Madrid
Digital Preview Colorist
The Woodsman (2004)
Directed by: Nicole Kassell
Cinematography by: Xavier Grobet
Digital Preview Colorist
Millions (2004)
Directed by: Danny Boyle
Cinematography by: Anthony Dod Mantle
Edited by: Chris Gill
Digital Preview Colorist
Napoleon Dynamite (2004)
Directed by: Jared Hess
Cinematography by: Munn Powell
Edited by: Jeremy Coon
Cameras: Panavision Cameras
Editing System: Final Cut Pro Editing System
Digital Preview Colorist
Confidences trop intimes (2004)
Directed by: Patrice Leconte
Cinematography by: Eduardo Serra
Edited by: Joëlle Hache
Digital Preview Colorist
Club Dread (2004)
Directed by: Jay Chandrasekhar
Cinematography by: Lawrence Sher
Edited by: Ryan Folsey
Digital Preview Colorist
Sideways (2004)
Directed by: Alexander Payne
Cinematography by: Phedon Papamichael
Edited by: Kevin Tent
Cameras: Panavision Panaflex Platinum Camera
Digital Preview Colorist
Après Vous (2003)
Directed by: Pierre Salvadori
Cinematography by: Gilles Henry
Edited by: Isabelle Devinck
Digital Preview Colorist
I Am David (2003)
Directed by: Paul Feig
Cinematography by: Roman Osin
Edited by: Steven Weisberg
Digital Preview Colorist
Monster (2003)
Directed by: Patty Jenkins
Cinematography by: Steven Bernstein
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Editing System: Avid Editing System
