Digital Colorist: Marketing
'Stranger Things' Chapter Eight: The Mind Flayer (2017)
Cinematography by: Tim Ives
Edited by: Nat Fuller
Digital Colorist: Marketing
'Stranger Things' Chapter Seven: The Lost Sister (2017)
Directed by: Rebecca Thomas
Cinematography by: David Franco
Edited by: Katheryn Naranjo
Digital Colorist: Marketing
'Stranger Things' Chapter Six: The Spy (2017)
Directed by: Andrew Stanton
Cinematography by: Tim Ives
Edited by: Nat Fuller
Digital Colorist: Marketing
'Stranger Things' Chapter Five: Dig Dug (2017)
Directed by: Andrew Stanton
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Digital Colorist: Marketing
'Stranger Things' Chapter Four: Will the Wise (2017)
Directed by: Shawn Levy
Cinematography by: Tod Campbell
Edited by: Nat Fuller
Digital Colorist: Marketing
'Stranger Things' Chapter Three: The Pollywog (2017)
Directed by: Shawn Levy
Cinematography by: Tod Campbell
Edited by: Kevin D. Ross
Digital Colorist: Marketing
'Stranger Things' Chapter Two: Trick or Treat, Freak (2017)
Cinematography by: Tim Ives
Edited by: Nat Fuller
Digital Colorist: Marketing
'Stranger Things' Chapter One: MADMAX (2017)
Cinematography by: Tim Ives
Edited by: Kevin D. Ross
Digital Colorist: Marketing
Logan (2017)
Directed by: James Mangold
Cinematography by: John Mathieson
Digital Colorist: Marketing
Death Note (2017)
Directed by: Adam Wingard
Cinematography by: David Tattersall
Edited by: Louis Cioffi
Cameras: Panasonic VariCam 35, Panasonic VariCam Camera
Colorist: Marketing
King Arthur: Legend of the Sword (2017)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Cameras: ARRI ALEXA XT Camera
Digital Colorist/finishing Artist: Marketing
London Has Fallen (2016)
Directed by: Babak Najafi
Cinematography by: Ed Wild
Cameras: Red Epic Dragon Camera
Digital Colorist/finishing Artist: Marketing
The Jungle Book (2016)
Directed by: Jon Favreau
Cinematography by: Bill Pope
Cameras: ARRI ALEXA XT M Camera
Digital Colorist: Marketing
The Huntsman: Winter's War (2016)
Directed by: Cedric Nicolas-Troyan
Cinematography by: Phedon Papamichael
Edited by: Conrad Buff IV
Digital Colorist/finishing Artist: Marketing
Fantastic Beasts and Where to Find Them (2016)
Directed by: David Yates
Cinematography by: Philippe Rousselot
Edited by: Mark Day
Cameras: ARRI ALEXA XT Camera
Digital Colorist: Marketing - 8 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
Digital Colorist/finishing Artist: Marketing
The Legend of Tarzan (2016)
Directed by: David Yates
Cinematography by: Henry Braham
Edited by: Mark Day
Cameras: Red Epic Dragon Camera
Digital Colorist: Marketing
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Digital Colorist/finishing Artist: Marketing
The Transporter Refueled (2015)
Directed by: Camille Delamarre
Edited by: Julien Rey
Cameras: ARRI ALEXA Camera
Digital Colorist: Marketing
The Gunman (2015)
Directed by: Pierre Morel
Cinematography by: Flavio Martínez Labiano
Edited by: Frédéric Thoraval
Cameras: ARRI ALEXA XT Camera, Red Epic Camera
Lenses: Kowa Cine Prominar Spherical Lenses, Nippon Scope Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Digital Colorist: Marketing
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Finishing Artist: Marketing
Tomorrowland (2015)
Directed by: Brad Bird
Cinematography by: Claudio Miranda
Cameras: Sony CineAlta F65 Camera, Sony PMW-F55 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 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
Digital Colorist/finishing Artist: Marketing
Bridge of Spies (2015)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Colorist , Digital Colorist/finishing Artist: Marketing , Finishing Artist
The Revenant (2015)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Edited by: Stephen Mirrione
Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Colorist: Marketing
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Marketing Digital Colorist: Technicolor
The Best of Me (2014)
Directed by: Michael Hoffman
Cinematography by: Oliver Stapleton
Edited by: Matt Chesse
Cameras: ARRI ALEXA XT Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
Digital Colorist/finishing Artist: Marketing
It Follows (2014)
Directed by: David Robert Mitchell
Cinematography by: Mike Gioulakis
Edited by: Julio Perez IV
Cameras: ARRI ALEXA Plus Camera, Red Epic Camera
Finishing Artist: Marketing
Kingsman: The Secret Service (2014)
Directed by: Matthew Vaughn
Cinematography by: George Richmond
Editing System: Avid Editing System
Digital Colorist: Marketing
The November Man (2014)
Directed by: Roger Donaldson
Cinematography by: Romain Lacourbas
Edited by: John Gilbert
Cameras: ARRI ALEXA Plus Camera
Lenses: Hawk V-Lite Vintage´74 Lens
Marketing Digital Colorist: Technicolor
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Marketing Digital Colorist: Technicolor
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Marketing Digital Colorist: Technicolor
The Family (2013)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Julien Rey
Marketing Digital Colorist: Technicolor
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Second Digital Colorist: EFILM
Ghost Rider (2007)
Directed by: Mark Steven Johnson
Cinematography by: Russell Boyd
Edited by: Richard Francis-Bruce
Cameras: Panavision Cameras
Second Digital Colorist: EFILM
Reign Over Me (2007)
Directed by: Mike Binder
Cinematography by: Russ T. Alsobrook
Cameras: Panavision Genesis Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Colorist
Ji jie hao (2007)
Directed by: Xiaogang Feng
Cinematography by: Yue Lü
Edited by: Miaomiao Liu
Digital Colorist Assist , Second Digital Colorist: EFILM
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Digital Colorist Assistant , Second Digital Colorist: EFILM
The Illusionist (2006)
Directed by: Neil Burger
Cinematography by: Dick Pope
Edited by: Naomi Geraghty
Digital Intermediate Assistant Colorist , Second Digital Colorist: EFILM
Little Children (2006)
Directed by: Todd Field
Cinematography by: Antonio Calvache
Edited by: Leo Trombetta
Color Timing Assistant , Second Digital Colorist: EFILM
Eragon (2006)
Directed by: Stefen Fangmeier
Cinematography by: Hugh Johnson
Second Digital Colorist: EFILM
Running with Scissors (2006)
Directed by: Ryan Murphy
Cinematography by: Christopher Baffa
Edited by: Byron Smith
Second Digital Colorist: EFILM
The Break-Up (2006)
Directed by: Peyton Reed
Cinematography by: Eric Alan Edwards
Digital Colorist Assist , Second Digital Colorist: EFILM
Children of Men (2006)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Second Digital Colorist: EFILM
The Interpreter (2005)
Directed by: Sydney Pollack
Cinematography by: Darius Khondji
Edited by: William Steinkamp
Digital Intermediate Assist
The Great Raid (2005)
Directed by: John Dahl
Cinematography by: Peter Menzies Jr.
Digital Intermediate Color Assistant
Assault on Precinct 13 (2005)
Directed by: Jean-François Richet
Cinematography by: Robert Gantz
Edited by: Bill Pankow
Second Digital Colorist: EFILM
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Second Digital Colorist: EFilm
Wedding Crashers (2005)
Directed by: David Dobkin
Cinematography by: Julio Macat
Edited by: Mark Livolsi
Digital Colorist Assist , Second Digital Colorist: EFILM
Rent (2005)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Richard Pearson
Digital Intermediate Paint Artist
Finding Neverland (2004)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Editing System: Avid Editing System
Digital Intermediate Color Assistant
The Ladykillers (2004)
Cinematography by: Roger Deakins
Editing System: Final Cut Pro Editing System
Digital Color First Assistant: EFilm , Digital Colorist Assist
The Village (2004)
Directed by: M. Night Shyamalan
Cinematography by: Roger Deakins
Edited by: Christopher Tellefsen
Lenses: Cooke S4 Lenses
Second Digital Colorist: EFILM
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
Second Digital Colorist: EFILM
The Life Aquatic with Steve Zissou (2004)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: David Moritz
Digital Colorist Assistant , Digital Intermediate Color Assistant
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Second Digital Colorist: EFILM
The Life and Death of Peter Sellers (2004)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: John Smith
Digital Intermediate Assist: EFilm
The Rundown (2003)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Richard Pearson
Digital Intermediate Paint Artist
Intolerable Cruelty (2003)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Paint Artist
2 Fast 2 Furious (2003)
Directed by: John Singleton
Cinematography by: Matthew F. Leonetti
Lenses: Cooke S4 Lenses
Digital Intermediate Paint Artist
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
Digital Intermediate Paint Artist
American Wedding (2003)
Directed by: Jesse Dylan
Cinematography by: Lloyd Ahern II
Edited by: Stuart H. Pappé
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Intermediate Paint Artist
Daredevil (2003)
Directed by: Mark Steven Johnson
Cinematography by: Ericson Core
Digital Intermediate Assist: EFilm
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Digital Intermediate Paint Artist
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
Digital Intermediate Paint Artist
Terminator 3: Rise of the Machines (2003)
Directed by: Jonathan Mostow
Cinematography by: Don Burgess
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Intermediate Assist: EFilm
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Editing System: Avid Editing System
Digital Intermediate Paint Artist
Down with Love (2003)
Directed by: Peyton Reed
Cinematography by: Jeff Cronenweth
Edited by: Larry Bock
Cameras: Panavision Panaflex Platinum Camera
Digital I/O: Computer Cafe
Spy Kids 2: Island of Lost Dreams (2002)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Cameras: Sony HDW-F900 Camera
