President: Company 3
The Beekeeper (2024)
Directed by: David Ayer
Cinematography by: Gabriel Beristain
Edited by: Geoffrey O'Brien
Cameras: ARRI Alexa 35 Camera
Executive Finishing Producer: Company 3
'Stranger Things' Chapter One: The Crawl (2023)
Senior Colorist: Company 3 New York
Maestro (2023)
Directed by: Bradley Cooper
Cinematography by: Matthew Libatique
Edited by: Michelle Tesoro
Lenses: Panavision PVintage Prime Lenses
Senior Colorist
Rustin (2023)
Directed by: George C. Wolfe
Cinematography by: Tobias A. Schliessler
Edited by: Andrew Mondshein
Cameras: ARRI ALEXA Mini LF Camera
Lenses: ARRI Rental DNA LF Lenses
Colorist
The Color Purple (2023)
Directed by: Blitz Bazawule
Cinematography by: Dan Laustsen
Edited by: Jon Poll
Lenses: ARRI Signature Prime Lenses
Executive Producer: Company 3 / Senior Supervising Finishing Artist: Company 3
Guardians of the Galaxy Vol. 3 (2023)
Directed by: James Gunn
Cinematography by: Henry Braham
Executive Producer: Company 3
Indiana Jones and the Dial of Destiny (2023)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
President: Company 3
John Wick: Chapter 4 (2023)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Nathan Orloff
Executive Producer/digital Intermediate Colorist: Company 3
Top Gun: Maverick (2022)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Eddie Hamilton
Cameras: Sony CineAlta VENICE Camera
Executive Finishing Producer: Company 3
'Stranger Things' Chapter Nine: The Piggyback (2022)
Cinematography by: Caleb Heymann
Executive Finishing Producer: Company 3
'Stranger Things' Chapter Eight: Papa (2022)
Cinematography by: Caleb Heymann
Edited by: Katheryn Naranjo
Executive Finishing Producer: Company 3
'Stranger Things' Chapter Seven: The Massacre at Hawkins Lab (2022)
Cinematography by: Caleb Heymann
Executive Finishing Producer: Company 3
'Stranger Things' Chapter Six: The Dive (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Executive Finishing Producer: Company 3
'Stranger Things' Chapter Five: The Nina Project (2022)
Directed by: Nimród Antal
Cinematography by: Caleb Heymann
Executive Finishing Producer: Company 3
'Stranger Things' Chapter Three: The Monster and the Superhero (2022)
Directed by: Shawn Levy
Cinematography by: Brett Jutkiewicz
Executive Finishing Producer: Company 3
'Stranger Things' Chapter Four: Dear Billy (2022)
Directed by: Shawn Levy
Cinematography by: Brett Jutkiewicz
Edited by: Dean Zimmerman
Executive Finishing Producer: Company 3
'Stranger Things' Chapter Two: Vecna's Curse (2022)
Cinematography by: Caleb Heymann
Executive Finishing Producer: Company 3
'Stranger Things' Chapter One: The Hellfire Club (2022)
Cinematography by: Caleb Heymann
Edited by: Dean Zimmerman
Executive Finishing Producer: Company3
'Euphoria' All My Life, My Heart Has Yearned for a Thing I Cannot Name (2022)
Directed by: Sam Levinson
Cinematography by: Marcell Rév
Executive Finishing Producer: Company 3
'Euphoria' The Theater and Its Double (2022)
Directed by: Sam Levinson
Cinematography by: Marcell Rév
Executive Producer: Company 3
Babylon (2022)
Directed by: Damien Chazelle
Cinematography by: Linus Sandgren
Edited by: Tom Cross
Executive Producer: CO3
Black Panther: Wakanda Forever (2022)
Directed by: Ryan Coogler
Cinematography by: Autumn Durald Arkapaw
Cameras: Sony CineAlta VENICE Camera
Executive Producer/colorist: Company 3
Ambulance (2022)
Directed by: Michael Bay
Cinematography by: Roberto De Angelis
Cameras: Red Epic Helium Camera, Red Komodo Camera
Executive Producer For Company 3/senior Colorist
Zack Snyder's Justice League (2021)
Directed by: Zack Snyder
Cinematography by: Fabian Wagner
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Leitz Summilux-C Series Lenses
Senior Colorist - 6 Episodes, 2021
Them (2021)
Cinematography by: Checco Varese
Edited by: David Kashevaroff, Jeff Israel, Kevin D. Ross, Genevieve Butler, Dan Downer, Andrew Parkhurst, Daniel Williams
Cameras: Sony CineAlta VENICE Camera
Senior Colorist
'Them' Day 3 (2021)
Directed by: Nelson Cragg
Cinematography by: Xavier Grobet
Edited by: David Kashevaroff
Senior Colorist
'Them' Covenant I. (2021)
Directed by: Janicza Bravo
Cinematography by: Checco Varese
Edited by: David Kashevaroff
Senior Colorist
'Them' Day 7: Morning (2021)
Directed by: Craig William Macneill
Cinematography by: Xavier Grobet
Edited by: Kevin D. Ross
Digital Intermediate Supervising Colourist / Executive Producer For Company 3/senior Colorist
Wonder Woman 1984 (2020)
Directed by: Patty Jenkins
Cinematography by: Matthew Jensen
Edited by: Richard Pearson
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
President/executive Producer/senior Colorist: Company 3
Greyhound (2020)
Directed by: Aaron Schneider
Cinematography by: Shelly Johnson
Cameras: Panavision Millennium DXL Camera
Digital Intermediate Colorist
The Intruder (2019)
Directed by: Deon Taylor
Cinematography by: Daniel Pearl
Edited by: Melissa Kent
Cameras: ARRI ALEXA Mini Camera
Supervising Colorist
'The Resident' Broker and Broker (2019)
Directed by: Jann Turner
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' Snowed In (2019)
Directed by: Kelli Williams
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' Stuck as Foretold (2019)
Directed by: Paul McCrane
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' If Not Now, When? (2019)
Directed by: Rob Corn
Cinematography by: John Brawley
Edited by: Nicole Vaskell
Supervising Colorist
'The Resident' Betrayal (2019)
Directed by: Robert Duncan McNeill
Cinematography by: John Brawley
Supervising Colorist
'The Resident' Emergency Contact (2019)
Directed by: Satya Bhabha
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' Operator Error (2019)
Directed by: Timothy A. Good
Cinematography by: John Brawley
Supervising Colorist
'The Resident' Fear Finds a Way (2019)
Directed by: Bronwen Hughes
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' Virtually Impossible (2019)
Directed by: Valerie Weiss
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' Stupid Things in the Name of Sex (2019)
Directed by: David Crabtree
Cinematography by: Hilda Mercado
Supervising Colorist
'The Resident' Adverse Events (2019)
Directed by: Bronwen Hughes
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' Queens (2019)
Directed by: John Brawley
Cinematography by: Hilda Mercado
Edited by: William Paley
Supervising Colorist
'The Resident' After the Fall (2019)
Directed by: Edward Ornelas
Cinematography by: John Brawley
Edited by: Greg Babor
Digital Intermediate Colorist, Executive Finishing Producer: Company3 / Senior Colorist
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Executive Producer For Company 3/digital Intermediate Colorist
Five Feet Apart (2019)
Directed by: Justin Baldoni
Cinematography by: Frank G. DeMarco
Edited by: Angela M. Catanzaro
Cameras: ARRI AMIRA Camera
Lenses: Cooke Lenses, Cooke Spherical Lenses
Executive Producer: Company 3
The Lion King (2019)
Directed by: Jon Favreau
Cinematography by: Caleb Deschanel
Cameras: ARRI ALEXA 65 Camera
Executive Finishing Producer: Company 3 / Executive Finishing Producer: Company3 - 1 Episode, 2022, Executive Finishing Producer: Company 3 / Executive Finishing Producer: Company3 - 2 Episodes, 2022
Euphoria (2019)
Edited by: Julio C. Perez IV, Laura Zempel, Nikola Boyanov, Aaron I. Butler, Harry Yoon, Darrin Navarro
Cameras: ARRI ALEXA 65 Camera, ARRICAM Lite (LT) Camera
Executive Producer/senior Colorist: Company 3
Star Wars: Episode IX - The Rise of Skywalker (2019)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Executive Producer: CO3
John Wick: Chapter 3 - Parabellum (2019)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Evan Schiff
Executive Producer/colorist: Company 3
6 Underground (2019)
Directed by: Michael Bay
Cinematography by: Bojan Bazelli
Supervising Colorist - 36 Episodes, 2018-2019
The Resident (2018)
Directed by: Rob Corn, David Crabtree, Bronwen Hughes, James Roday, Paul McCrane, Jann Turner, Phillip Noyce, Thomas Carter, Bill D'Elia, Rob Greenlea, Geary McLeod, David Rodriguez, Elizabeth Allen Rosenbaum, Nicole Rubio, James Whitmore Jr., Satya Bhabha, John Brawley, Timothy A. Good, Robert Duncan McNeill, Edward Ornelas, Valerie Weiss, Kelli Williams
Edited by: Timothy A. Good, William Paley, Nicole Vaskell, Greg Babor, Amanda Panella, Emily Mendez, Patrick McMahon
Cameras: ARRI ALEXA Mini Camera, Blackmagic Micro Cinema Camera, Blackmagic Pocket Cinema 4K Camera, Blackmagic URSA Mini Pro 4.6K G2 Camera, Blackmagic URSA Mini Pro Camera
Lenses: Leitz Summicron-C 135 mm T2.0 Lens, Leitz Summicron-C 18 mm T2.0 Lens, Leitz Summicron-C 21 mm T2.0 Lens, Leitz Summicron-C 25 mm T2.0 Lens, Leitz Summicron-C 29 mm T2.0 Lens, Leitz Summicron-C 35 mm T2.0 Lens, Leitz Summicron-C 40 mm T2.0 Lens, Leitz Summicron-C 50 mm T2.0 Lens, Leitz Summicron-C 75 mm T2.0 Lens, Panavision Primo Primes Spherical Lenses, SLR Magic APO HyperPrime Cine 25mm T2.1 Lens, SLR Magic APO HyperPrime Cine 32mm T2.1 Lens, SLR Magic APO HyperPrime Cine 50mm T2.1 Lens, SLR Magic APO HyperPrime Cine 85mm T2.1 Lens, Zeiss Lenses
Editing System: Avid Editing System
Supervising Colorist
'The Resident' The Dance (2018)
Directed by: Rob Corn
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' Heart in a Box (2018)
Directed by: James Whitmore Jr.
Cinematography by: John Brawley
Supervising Colorist
'The Resident' Trial & Error (2018)
Directed by: Rob Greenlea
Cinematography by: John Brawley
Edited by: Greg Babor
Supervising Colorist
'The Resident' Nightmares (2018)
Directed by: David Crabtree
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' The Germ (2018)
Directed by: Jann Turner
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' About Time (2018)
Directed by: Geary McLeod
Cinematography by: John Brawley
Edited by: Greg Babor
Supervising Colorist
'The Resident' Three Words (2018)
Directed by: Paul McCrane
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' The Prince & the Pauper (2018)
Directed by: Nicole Rubio
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' 00:42:30 (2018)
Directed by: Rob Corn
Cinematography by: John Brawley
Edited by: Nicole Vaskell
Supervising Colorist
'The Resident' Total Eclipse of the Heart (2018)
Directed by: Rob Corn
Cinematography by: John Brawley
Supervising Colorist
'The Resident' Run, Doctor, Run (2018)
Directed by: James Roday
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' Rude Awakenings and the Raptor (2018)
Directed by: James Roday
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' And the Nurses Get Screwed (2018)
Directed by: Elizabeth Allen Rosenbaum
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' Haunted (2018)
Directed by: David Crabtree
Cinematography by: John Brawley
Edited by: Nicole Vaskell
Supervising Colorist
'The Resident' Independence Day (2018)
Directed by: Phillip Noyce
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' Lost Love (2018)
Directed by: Bronwen Hughes
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' Family Affair (2018)
Directed by: Thomas Carter
Cinematography by: John Brawley
Edited by: Nicole Vaskell
Supervising Colorist
'The Resident' The Elopement (2018)
Directed by: Rob Corn
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' No Matter the Cost (2018)
Directed by: David Rodriguez
Cinematography by: John Brawley
Edited by: Nicole Vaskell
Supervising Colorist
'The Resident' None the Wiser (2018)
Directed by: James Roday
Cinematography by: John Brawley
Edited by: Timothy A. Good
Supervising Colorist
'The Resident' Identity Crisis (2018)
Directed by: Bill D'Elia
Cinematography by: John Brawley
Edited by: William Paley
Supervising Colorist
'The Resident' Comrades in Arms (2018)
Directed by: Rob Corn
Cinematography by: John Brawley
Edited by: Nicole Vaskell
Supervising Colorist
'The Resident' Pilot (2018)
Directed by: Phillip Noyce
Cinematography by: Elliot Davis
Executive Producer: Company 3
BlacKkKlansman (2018)
Directed by: Spike Lee
Cinematography by: Chayse Irvin
Edited by: Barry Alexander Brown
Digital Intermediate Colorist
A Quiet Place (2018)
Directed by: John Krasinski
Cinematography by: Charlotte Bruus Christensen
Edited by: Christopher Tellefsen
Lenses: Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Macro Anamorphic Panatar Prime Lenses, Panavision Primo Anamorphic Lenses, Panavision Super Speed Lenses, Panavision T Series Anamorphic Lenses
Executive Producer: CO3
Christopher Robin (2018)
Directed by: Marc Forster
Cinematography by: Matthias Koenigswieser
Edited by: Matt Chesse
Executive Producer For Company 3/digital Intermediate Colorist
A Star Is Born (2018)
Directed by: Bradley Cooper
Cinematography by: Matthew Libatique
Edited by: Jay Cassidy
Cameras: ARRI ALEXA Mini Camera
Lenses: Angenieux Optimo Anamorphic Lenses, Cooke Anamorphic/i SF 25mm T2.3 Lens, Cooke Anamorphic/i SF 32mm T2.3 Lens, Cooke Anamorphic/i SF 40mm T2.3 Lens, Cooke Anamorphic/i SF 50mm T2.3 Lens, Cooke Anamorphic/i SF 75mm T2.3 Lens, Cooke Anamorphic/i SF Prime Lenses, Kowa Cine Prominar Anamorphic Lenses
Executive Producer For Company 3/digital Intermediate Colorist, Executive Producer: Company 3
Free Solo (2018)
Edited by: Bob Eisenhardt
Executive Finishing Producer: Company 3
Red Sparrow (2018)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Executive Producer/colorist: Company 3
Skyscraper (2018)
Directed by: Rawson Marshall Thurber
Cinematography by: Robert Elswit
Executive Producer/colorist: Company 3
Overlord (2018)
Directed by: Julius Avery
Edited by: Matt Evans
Digital Intermediate Colorist, Senior Colorist
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Cinematography by: Paul Cameron
Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera
Digital Intermediate Executive Producer
First Reformed (2017)
Directed by: Paul Schrader
Cinematography by: Alexander Dynan
Edited by: Benjamin Rodriguez Jr.
Cameras: ARRI ALEXA SXT Series Cameras
Digital Intermediate Executive Producer: CO3 / Senior Colorist
The Book of Henry (2017)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Lenses: Panavision Lenses
Executive Finishing Producer: Company 3
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Senior Colorist
Beauty and the Beast (2017)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Executive Producer: Colourist, CO3
Suburbicon (2017)
Directed by: George Clooney
Cinematography by: Robert Elswit
Edited by: Stephen Mirrione
Cameras: ARRI ALEXA XT Plus Camera
Colorist
Roman J. Israel, Esq. (2017)
Directed by: Dan Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Senior Colorist
Wonder Woman (2017)
Directed by: Patty Jenkins
Cinematography by: Matthew Jensen
Edited by: Martin Walsh
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera
Lenses: ARRI Rental Prime 65 Lenses
Senior Colorist
The Mummy (2017)
Directed by: Alex Kurtzman
Cinematography by: Ben Seresin
Senior Colorist: Company 3
Geostorm (2017)
Directed by: Dean Devlin
Cinematography by: Roberto Schaefer
Cameras: Red Epic Dragon Camera
Executive Producer: CO3
John Wick: Chapter 2 (2017)
Directed by: Chad Stahelski
Cinematography by: Dan Laustsen
Edited by: Evan Schiff
Cameras: ARRI ALEXA XT Plus Camera
Digital Intermediate Colorist / Executive Producer Digital Intermediate
Zoolander 2 (2016)
Directed by: Ben Stiller
Cinematography by: Dan Mindel
Edited by: Greg Hayden
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Plus Camera
Editing System: Avid Editing System
Digital Intermediate Colorist / Digital Intermediate Producer
Batman v Superman: Dawn of Justice (2016)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: David Brenner
Digital Intermediate Colorist / Executive Producer Digital Intermediate
The Finest Hours (2016)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Leitz Summilux-C Series Lenses
Executive Producer: CO3
The Boy (2016)
Directed by: William Brent Bell
Cinematography by: Daniel Pearl
Edited by: Brian Berdan
Cameras: ARRI ALEXA XT Plus Camera
Lenses: Hawk Vantage One Lenses
Supervising Colorist
Gods of Egypt (2016)
Directed by: Alex Proyas
Cinematography by: Peter Menzies Jr.
Edited by: Richard Learoyd
Cameras: Red Epic Dragon Camera
Lenses: Panavision Primo 70 Lenses
Digital Intermediate Executive Producer: Company 3
Blood Father (2016)
Directed by: Jean-François Richet
Cinematography by: Robert Gantz
Edited by: Steven Rosenblum
Digital Intermediate Colorist
Why Him? (2016)
Directed by: John Hamburg
Cinematography by: Kris Kachikis
Edited by: William Kerr
Executive Finishing Producer: Company 3 - 9 Episodes, 2022-2025
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
Finishing Supervisor/senior Finishing Colorist: Company 3, Senior Colorist
13 Hours: The Secret Soldiers of Benghazi (2016)
Directed by: Michael Bay
Cinematography by: Dion Beebe
Digital Intermediate Colorist / Executive Producer Digital Intermediate
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
Digital Intermediate Colorist
Entourage (2015)
Directed by: Doug Ellin
Cinematography by: Steven Fierberg
Edited by: Jeff Groth
Cameras: ARRICAM Lite (LT) Camera
Digital Intermediate Colorist / Digital Intermediate Producer
Trainwreck (2015)
Directed by: Judd Apatow
Cinematography by: Jody Lee Lipes
Cameras: ARRICAM Lite (LT) Camera
Lenses: Cooke 5/i Lenses
Digital Intermediate Colorist / Executive Producer Digital Intermediate, Executive Producer/supervising Digital Intermediate Colourist: Company 3
Mission: Impossible - Rogue Nation (2015)
Directed by: Christopher McQuarrie
Cinematography by: Robert Elswit
Edited by: Eddie Hamilton
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera
Editing System: Avid Editing System
Digital Intermediate Colorist
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Executive Producer: Color
The Intern (2015)
Directed by: Nancy Meyers
Cinematography by: Stephen Goldblatt
Edited by: Robert Leighton
Cameras: ARRI ALEXA XT Camera
Executive Producer: Color
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 Intermediate Colorist
The 33 (2015)
Directed by: Patricia Riggen
Cinematography by: Checco Varese
Edited by: Michael Tronick
Supervising Colorist - 1 Episode, 2015
Narcos (2015)
Directed by: Andrés Baiz, Josef Kubota Wladyka, Fernando Coimbra, Gerardo Naranjo, Guillermo Navarro, José Padilha, Gabriel Ripstein
Cinematography by: Adrian Teijido, Mauricio Vidal, Carmen Cabana, Juan Carlos Gil, Lula Carvalho, Luis David Sansans
Digital Intermediate Colorist
Dawn of the Planet of the Apes (2014)
Directed by: Matt Reeves
Cinematography by: Michael Seresin
Cameras: ARRI ALEXA M Camera
Editing System: Avid Editing System
Digital Intermediate Colorist
300: Rise of an Empire (2014)
Directed by: Noam Murro
Cinematography by: Simon Duggan
Cameras: Red Epic Camera
Digital Intermediate Colorist / Digital Intermediate Producer
Transformers: Age of Extinction (2014)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera, Vision Research Phantom 65 Camera
Editing System: Avid Editing System
Digital Intermediate Colorist
Million Dollar Arm (2014)
Directed by: Craig Gillespie
Cinematography by: Gyula Pados
Edited by: Tatiana S. Riegel
Digital Intermediate Colorist / Executive Producer: Color - Company 3
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
Digital Intermediate Colorist
Dracula Untold (2014)
Directed by: Gary Shore
Cinematography by: John Schwartzman
Edited by: Richard Pearson
Digital Intermediate Colorist
Hercules (2014)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Cameras: ARRI ALEXA XT Camera
Supervising Colorist
Nightcrawler (2014)
Directed by: Dan Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Digital Intermediate Colorist
The Imitation Game (2014)
Directed by: Morten Tyldum
Cinematography by: Oscar Faura
Edited by: William Goldenberg
Lenses: Zeiss Master Prime Lenses
Co-executive Producer, Executive Producer: CO3
Infinitely Polar Bear (2014)
Directed by: Maya Forbes
Cinematography by: Bobby Bukowski
Edited by: Michael R. Miller
Cameras: ARRI ALEXA Camera
Lenses: Angenieux Optimo Style Lenses
Digital Intermediate Colorist
Hansel & Gretel: Witch Hunters (2013)
Directed by: Tommy Wirkola
Cinematography by: Michael Bonvillain
Edited by: Jim Page
Cameras: ARRI ALEXA Camera, ARRI ALEXA Plus Camera
Digital Intermediate Colorist
Broken City (2013)
Directed by: Allen Hughes
Cinematography by: Ben Seresin
Edited by: Cindy Mollo
Cameras: ARRI ALEXA Camera, ARRI ALEXA Studio Camera
Editing System: Avid Editing System
Digital Intermediate Colorist
The Last Stand (2013)
Directed by: Jee-woon Kim
Cinematography by: Ji-yong Kim
Edited by: Steven Kemper
Cameras: ARRI ALEXA Plus Camera
Post-production Services: Company 3 - Segment "Happy Birthday"
Movie 43 (2013)
Directed by: Elizabeth Banks, Steven Brill, Steve Carr, Rusty Cundieff, James Duffy, Griffin Dunne, Peter Farrelly, Patrik Forsberg, Will Graham, James Gunn, Brett Ratner, Jonathan van Tulleken, Bob Odenkirk
Cinematography by: Mattian Anderssonn Rudh, Frank G. DeMarco, Steve Gainer, Matthew F. Leonetti, Daryn Okada, William Rexer, Eric Scherbarth, Newton Thomas Sigel, Tim Suhrstedt
Edited by: Debra Chiate, Patrick J. Don Vito, Suzy Elmiger, Mark Helfrich, Craig Herring, Myron Kerstein, Jason Macdonald, Joe Randall-Cutler, Sam Seig, Cara Silverman, Sandy S. Solowitz, Jonathan van Tulleken, Håkan Wärn, Paul Zucker
Cameras: Red One MX Camera
Colorist: Company 3 / Executive Producer: Company 3
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Colorist: Company 3 / Producer: Company 3
Man of Steel (2013)
Directed by: Zack Snyder
Cinematography by: Amir Mokri
Edited by: David Brenner
Digital Intermediate Colorist
The Lone Ranger (2013)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Colorist / Digital Intermediate Executive Producer: Company 3
Pain & Gain (2013)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: Canon EOS-7D Camera, GoPro HD Hero3 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom HD Gold Camera, Red Epic Camera
Editing System: Avid Editing System
Digital Intermediate Colorist
RED 2 (2013)
Directed by: Dean Parisot
Cinematography by: Enrique Chediak
Edited by: Don Zimmerman
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk V-Lite Lenses
Executive Producer: CO3
The Spectacular Now (2013)
Directed by: James Ponsoldt
Cinematography by: Jess Hall
Edited by: Darrin Navarro
Digital Intermediate Executive Producer: Company 3
The Counselor (2013)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Cameras: Red Epic Camera
Executive Producer/colorist: CO3
The Secret Life of Walter Mitty (2013)
Directed by: Ben Stiller
Cinematography by: Stuart Dryburgh
Edited by: Greg Hayden
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses
Executive Producer: And Colorist - CO3
The Purge (2013)
Directed by: James DeMonaco
Cinematography by: Jacques Jouffret
Edited by: Peter Gvozdas
Cameras: ARRI ALEXA Plus Camera
Editing System: Avid Editing System
Digital Intermediate Colorist: Company 3 / Executive Producer: Company 3
Blue Jasmine (2013)
Directed by: Woody Allen
Cinematography by: Javier Aguirresarobe
Edited by: Alisa Lepselter
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Intermediate Executive Producer: Companyt 3
Out of the Furnace (2013)
Directed by: Scott Cooper
Cinematography by: Masanobu Takayanagi
Edited by: David Rosenbloom
Editing System: Avid Editing System
Digital Intermediate Executive Producer: Company 3
2 Guns (2013)
Directed by: Baltasar Kormákur
Cinematography by: Oliver Wood
Edited by: Michael Tronick
Digital Intermediate Colorist: Company 3 / Digital Intermediate Executive Producer: Company 3
The Fifth Estate (2013)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Supervising Digital Colorist: Company 3
Runner Runner (2013)
Directed by: Brad Furman
Cinematography by: Mauro Fiore
Edited by: Jeff McEvoy
Digital Intermediate Colorist
Lone Survivor (2013)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Colby Parker Jr.
Cameras: Phantom Flex Camera, Red Epic Camera
Colorist: CO3 / Executive Producer: CO3
Saving Mr. Banks (2013)
Directed by: John Lee Hancock
Cinematography by: John Schwartzman
Edited by: Mark Livolsi
Executive: Company 3
This Means War (2012)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Nicolas De Toth
Executive Producer: Company 3
Prometheus (2012)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Cameras: ARRI ALEXA Camera, Red Epic Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Executive Producer: Company 3
Underworld Awakening (2012)
Cinematography by: Scott Kevan
Edited by: Jeff McEvoy
Cameras: Red Epic Camera
Executive Producer
Robot & Frank (2012)
Directed by: Jake Schreier
Cinematography by: Matthew J. Lloyd
Edited by: Jacob Craycroft
Cameras: ARRI ALEXA Camera
Lenses: Cooke S4 Lenses
Colorist
Battleship (2012)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Digital Intermediate Executive Producer
Caroline and Jackie (2012)
Directed by: Adam Christian Clark
Cinematography by: Christian Swegal
Cameras: Red One MX Camera
Colorist: Company 3 / Digital Intermediate Executive Producer: Company 3
Act of Valor (2012)
Cinematography by: Shane Hurlbut
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Platinum Camera
Editing System: Adobe Premiere Editing System, Avid Editing System
Digital Intermediate Colorist
Alex Cross (2012)
Directed by: Rob Cohen
Cinematography by: Ricardo Della Rosa
Executive Producer: Company 3
The Place Beyond the Pines (2012)
Directed by: Derek Cianfrance
Cinematography by: Sean Bobbitt
Digital Intermediate Colorist
The Bourne Legacy (2012)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Canon EOS-5D Mark II Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Digital Intermediate Executive Producer
Spring Breakers (2012)
Directed by: Harmony Korine
Cinematography by: Benoît Debie
Edited by: Douglas Crise
Cameras: ARRICAM Lite (LT) Camera
Digital Film Colorist
Wanderlust (2012)
Directed by: David Wain
Cinematography by: Michael Bonvillain
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Intermediate Colorist
The Five-Year Engagement (2012)
Directed by: Nicholas Stoller
Cinematography by: Javier Aguirresarobe
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Master Prime Lenses
Digital Film Colorist
This Is 40 (2012)
Directed by: Judd Apatow
Cinematography by: Phedon Papamichael
Cameras: ARRI ALEXA Camera
Digital Intermediate Executive Producer: Company 3
Hello I Must Be Going (2012)
Directed by: Todd Louiso
Cinematography by: Julie Kirkwood
Edited by: Tom McArdle
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Intermediate Executive Producer: Company 3
Celeste & Jesse Forever (2012)
Directed by: Lee Toland Krieger
Cinematography by: David Lanzenberg
Edited by: Yana Gorskaya
Cameras: ARRI ALEXA Camera
Digital Intermediate Executive Producer: Company 3
The Sessions (2012)
Directed by: Ben Lewin
Cinematography by: Geoffrey Simpson
Edited by: Lisa Bromwell
Cameras: Red One MX Camera
CO3 Executive Producer
Stand Up Guys (2012)
Directed by: Fisher Stevens
Cinematography by: Michael Grady
Edited by: Mark Livolsi
Cameras: Red Epic Camera
Digital Intermediate Executive Producer: Company 3
The Company You Keep (2012)
Directed by: Robert Redford
Cinematography by: Adriano Goldman
Edited by: Mark Day
Cameras: ARRICAM Lite (LT) Camera
Digital Intermediate Colorist
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Digital Intermediate Executive Producer
Circumstance (2011)
Directed by: Maryam Keshavarz
Cinematography by: Brian Rigney Hubbard
Edited by: Andrea Chignoli
Colorist / Digital Intermediate Executive Producer: Company 3
I Am Number Four (2011)
Directed by: D.J. Caruso
Cinematography by: Guillermo Navarro
Digital Intermediate Colorist
Tower Heist (2011)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Edited by: Mark Helfrich
Executive Producer: Company 3
Machine Gun Preacher (2011)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Hawk V-Lite 16 110 mm T3.0 Lens, Hawk V-Lite 16 14 mm T1.5 Lens, Hawk V-Lite 16 18 mm T1.5 Lens, Hawk V-Lite 16 24 mm T1.5 Lens, Hawk V-Lite 16 28 mm T1.5 Lens, Hawk V-Lite 16 35 mm T1.5 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens
Digital Intermediate Executive Producer: Company 3
Drive (2011)
Directed by: Nicolas Winding Refn
Cinematography by: Newton Thomas Sigel
Edited by: Matthew Newman
Digital Intermediate Executive Producer
The Lincoln Lawyer (2011)
Directed by: Brad Furman
Cinematography by: Lukas Ettlin
Edited by: Jeff McEvoy
Cameras: Red One MX Camera
Digital Intermediate Colorist
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 / Digital Intermediate Executive Producer
The Rum Diary (2011)
Directed by: Bruce Robinson
Cinematography by: Dariusz Wolski
Edited by: Carol Littleton
Lenses: Zeiss Ultra Prime Lenses
Colorist
Extremely Loud & Incredibly Close (2011)
Directed by: Stephen Daldry
Cinematography by: Chris Menges
Edited by: Claire Simpson
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Intermediate Executive Producer: Co3
Dream House (2011)
Directed by: Jim Sheridan
Cinematography by: Caleb Deschanel
Digital Intermediate Executive Producer
A Little Bit of Heaven (2011)
Directed by: Nicole Kassell
Cinematography by: Russell Carpenter
Edited by: Stephen A. Rotter
Digital Intermediate Colorist / Executive Producer: Company 3
Fright Night (2011)
Directed by: Craig Gillespie
Cinematography by: Javier Aguirresarobe
Edited by: Tatiana S. Riegel
Cameras: Red One MX Camera
Lenses: Zeiss Master Prime Lenses
Digital Intermediate Executive Producer
The Mechanic (2011)
Directed by: Simon West
Cinematography by: Eric Schmidt
Digital Executive Producer: Company 3
Love, Wedding, Marriage (2011)
Directed by: Dermot Mulroney
Cinematography by: Óttar Guðnason
Edited by: Heather Persons
Colorist / Digital Intermediate Executive Producer: Company 3
Super 8 (2011)
Directed by: J.J. Abrams
Cinematography by: Larry Fong
Cameras: ARRIFLEX 16SR3 Camera, ARRIFLEX 435 Camera, Beaulieu 4008 ZM 4 Camera, Bell & Howell Eyemo Camera, Canon 1014XL-S Camera, Panavision Panaflex Millennium XL2 Camera, Red One MX 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 Primo Anamorphic Lenses, Zeiss Super Speed Lenses
Editing System: Avid Editing System
Colorist: Company 3 LA / Executive Producer: Company 3 LA
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Colorist / Digital Intermediate Producer
Sucker Punch (2011)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: Panavision Cameras
Digital Intermediate Colorist
Mission: Impossible - Ghost Protocol (2011)
Directed by: Brad Bird
Cinematography by: Robert Elswit
Edited by: Paul Hirsch
Cameras: ARRIFLEX 435 Xtreme Camera, IMAX MSM 9802 Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Colorist / Digital Intermediate Executive Producer: Company 3
The Change-Up (2011)
Directed by: David Dobkin
Cinematography by: Eric Alan Edwards
Lenses: Cooke S4 Lenses
Colorist
Rango (2011)
Directed by: Gore Verbinski
Cinematography by: Roger Deakins
Edited by: Craig Wood
Editing System: Avid Editing System
Executive Producer
The Romantics (2010)
Directed by: Galt Niederhoffer
Cinematography by: Sam Levy
Edited by: Jacob Craycroft
Colorist
Get Him to the Greek (2010)
Directed by: Nicholas Stoller
Cinematography by: Robert D. Yeoman
Cameras: Panavision Cameras
Digital Intermediate Colorist
Morning Glory (2010)
Directed by: Roger Michell
Cinematography by: Alwin H. Küchler
Editing System: Avid Editing System
Colorist / Executive Producer
The Sorcerer's Apprentice (2010)
Directed by: Jon Turteltaub
Cinematography by: Bojan Bazelli
Edited by: William Goldenberg
Colorist
The Crazies (2010)
Directed by: Breck Eisner
Cinematography by: Maxime Alexandre
Edited by: Billy Fox
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Digital Colorist
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Executive Producer
The Conspirator (2010)
Directed by: Robert Redford
Cinematography by: Newton Thomas Sigel
Edited by: Craig McKay
Colorist / Digital Intermediate Executive Producer: Company 3
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Digital Intermediate Executive Producer
All Good Things (2010)
Directed by: Andrew Jarecki
Cinematography by: Michael Seresin
Colorist: Company 3 LA / Executive Producer: Company 3 LA
A Nightmare on Elm Street (2010)
Directed by: Samuel Bayer
Cinematography by: Jeff Cutter
Edited by: Glen Scantlebury
Digital Intermediate Executive Producer
Let Me In (2010)
Directed by: Matt Reeves
Cinematography by: Greig Fraser
Edited by: Stan Salfas
Colorist
Life as We Know It (2010)
Directed by: Greg Berlanti
Cinematography by: Andrew Dunn
Edited by: Jim Page
Colorist
Unstoppable (2010)
Directed by: Tony Scott
Cinematography by: Ben Seresin
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera
Editing System: Avid Editing System
Digital Intermediate Executive Producer
The Switch (2010)
Cinematography by: Jess Hall
Edited by: John Axelrad
Lenses: Cooke S4 Lenses
Colorist: Company 3 / Executive Producer: Company 3
Brooklyn's Finest (2009)
Directed by: Antoine Fuqua
Cinematography by: Patrick Murguia
Edited by: Barbara Tulliver
Digital Intermediate Executive Producer
Surrogates (2009)
Directed by: Jonathan Mostow
Cinematography by: Oliver Wood
Edited by: Kevin Stitt
Digital Intermediate Executive Producer: Company 3
The Uninvited (2009)
Cinematography by: Daniel Landin
Cameras: Panavision Cameras
Colorist: Company 3 / Executive Producer: Company 3
Public Enemies (2009)
Directed by: Michael Mann
Cinematography by: Dante Spinotti
Digital Intermediate Colorist
He's Just Not That Into You (2009)
Directed by: Ken Kwapis
Cinematography by: John Bailey
Edited by: Cara Silverman
Digital Intermediate Executive Producer
The Taking of Pelham 123 (2009)
Directed by: Tony Scott
Cinematography by: Tobias A. Schliessler
Edited by: Chris Lebenzon
Colorist / Digital Intermediate Executive Producer: Company 3
Whiteout (2009)
Directed by: Dominic Sena
Cinematography by: Christopher Soos
Edited by: Martin Hunter
Digital Intermediate Executive Producer: Company 3
The Unborn (2009)
Directed by: David S. Goyer
Cinematography by: James Hawkinson
Edited by: Jeff Betancourt
Cameras: Panavision Cameras
Digital Intermediate Executive Producer: Company 3
Law Abiding Citizen (2009)
Directed by: F. Gary Gray
Cinematography by: Jonathan Sela
Edited by: Tariq Anwar
Lenses: Cooke S4 Lenses
Colorist / Digital Intermediate Executive Producer
G-Force (2009)
Directed by: Hoyt Yeatman
Cinematography by: Bojan Bazelli
Colorist
Where the Wild Things Are (2009)
Directed by: Spike Jonze
Cinematography by: Lance Acord
Editing System: Final Cut Pro Editing System
Digital Intermediate Executive Producer: Company 3
A Single Man (2009)
Directed by: Tom Ford
Cinematography by: Eduard Grau
Edited by: Joan Sobel
Colorist / Digital Intermediate Executive Producer, Visual Effects Executive Producer: Company 3
Horsemen (2009)
Directed by: Jonas Åkerlund
Cinematography by: Eric Broms
Digital Intermediate Executive Producer
Drag Me to Hell (2009)
Directed by: Sam Raimi
Cinematography by: Peter Deming
Edited by: Bob Murawski
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Intermediate Executive Producer: Company 3
Friday the 13th (2009)
Directed by: Marcus Nispel
Cinematography by: Daniel Pearl
Edited by: Ken Blackwell
Colorist
Transformers: Revenge of the Fallen (2009)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Iwerks IW5A Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Canon Lenses, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Digital Intermediate Executive Producer: Company 3
What Just Happened (2008)
Directed by: Barry Levinson
Cinematography by: Stéphane Fontaine
Edited by: Hank Corwin
Cameras: Aaton 35-III Camera, ARRICAM Lite (LT) Camera
Editing System: Avid Editing System
Digital Intermediate Colorist
The Eye (2008)
Cinematography by: Jeffrey Jur
Edited by: Patrick Lussier
Digital Intermediate Executive Producer: Company 3
Untraceable (2008)
Directed by: Gregory Hoblit
Cinematography by: Anastas N. Michos
Digital Intermediate Executive Producer: CO3
Sunshine Cleaning (2008)
Directed by: Christine Jeffs
Cinematography by: John Toon
Edited by: Heather Persons
Colorist / Digital Intermediate Executive Producer
The Mummy: Tomb of the Dragon Emperor (2008)
Directed by: Rob Cohen
Cinematography by: Simon Duggan
Editing System: Avid Editing System
Digital Intermediate Executive Producer: Company 3
The Midnight Meat Train (2008)
Directed by: Ryûhei Kitamura
Cinematography by: Jonathan Sela
Edited by: Toby Yates
Digital Intermediate Colorist: Mr. Ratner's Segment
New York, I Love You (2008)
Directed by: Fatih Akin, Yvan Attal, Randall Balsmeyer, Allen Hughes, Shunji Iwai, Wen Jiang, Shekhar Kapur, Joshua Marston, Mira Nair, Natalie Portman, Brett Ratner
Cinematography by: Jean-Louis Bompoint, Benoît Debie, Pawel Edelman, Ping Bin Lee, Michael McDonough, Andrij Parekh, Declan Quinn, Mauricio Rubinstein
Digital Intermediate Executive Producer: Company 3, Visual Effects Executive Producer: Company 3
The Hurt Locker (2008)
Directed by: Kathryn Bigelow
Cinematography by: Barry Ackroyd
Editing System: Avid Editing System
Digital Intermediate Executive Producer: Company 3
Body of Lies (2008)
Directed by: Ridley Scott
Cinematography by: Alexander Witt
Edited by: Pietro Scalia
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Colorist / Digital Intermediate Executive Producer
Eagle Eye (2008)
Directed by: D.J. Caruso
Cinematography by: Dariusz Wolski
Edited by: Jim Page
Digital Intermediate Executive Producer
Flash of Genius (2008)
Directed by: Marc Abraham
Cinematography by: Dante Spinotti
Edited by: Jill Savitt
Colorist: Company 3 / Executive Producer: Company 3
Two Lovers (2008)
Directed by: James Gray
Cinematography by: Joaquín Baca-Asay
Edited by: John Axelrad
Lenses: Cooke S4 Lenses
Executive Producer: Company 3
The Burning Plain (2008)
Directed by: Guillermo Arriaga
Cinematography by: Robert Elswit
Edited by: Craig Wood
Cameras: Panavision Cameras
Colorist: Company 3
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 / Digital Intermediate Head Of Department
Fred Claus (2007)
Directed by: David Dobkin
Cinematography by: Remi Adefarasin
Edited by: Mark Livolsi
Lenses: Zeiss Ultra Prime Lenses
Executive Producer: Company 3
War (2007)
Directed by: Philip G. Atwell
Cinematography by: Pierre Morel
Edited by: Scott Richter
Colorist: Company 3, Executive Producer: Company 3
The Hitcher (2007)
Directed by: Dave Meyers
Cinematography by: James Hawkinson
Edited by: Jim May
Digital Colorist
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Colorist: Company 3
Into the Wild (2007)
Directed by: Sean Penn
Cinematography by: Eric Gautier
Edited by: Jay Cassidy
Lenses: Canon Lenses, Zeiss Ultra Prime Lenses
Digital Intermediate Colorist
The Life Before Her Eyes (2007)
Directed by: Vadim Perelman
Cinematography by: Pawel Edelman
Digital Intermediate Colorist, Executive Producer: Company 3
Hounddog (2007)
Directed by: Deborah Kampmeier
Edited by: Sabine Hoffman
Digital Intermediate Colorist, Executive Producer: Company 3
Transformers (2007)
Directed by: Michael Bay
Cinematography by: Mitchell Amundsen
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Xtreme Camera, Bell & Howell Eyemo Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Cooke Varotal Lenses, Panavision C Series Anamorphic Lenses, Panavision C60 60 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Intermediate Colorist, Executive Producer: Company 3
Pirates of the Caribbean: At World's End (2007)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Lenses: Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL14.5-CF 14.5 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL17.5-CF 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL21-CF 21 mm T1.9 Lens, Panavision SL24-CF 24 mm T1.8 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL27-CF 27 mm T1.9 Lens, Panavision SL30-CF 30 mm T1.8 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Digital Intermediate Executive Producer: Company 3
The Jane Austen Book Club (2007)
Directed by: Robin Swicord
Cinematography by: John Toon
Edited by: Maryann Brandon
Digital Intermediate Executive Producer: Company 3
Feast of Love (2007)
Directed by: Robert Benton
Cinematography by: Kramer Morgenthau
Edited by: Andrew Mondshein
Colorist, Executive Producer: Company 3
Shooter (2007)
Directed by: Antoine Fuqua
Cinematography by: Peter Menzies Jr.
Executive Producer: Company 3
Slipstream (2007)
Directed by: Anthony Hopkins
Cinematography by: Dante Spinotti
Edited by: Michael R. Miller
Digital Intermediate Colorist, Executive Producer: Company 3
Rush Hour 3 (2007)
Directed by: Brett Ratner
Cinematography by: James M. Muro
Digital Intermediate Colorist
The Game Plan (2007)
Directed by: Andy Fickman
Cinematography by: Greg Gardiner
Edited by: Michael Jablow
Cameras: Panavision Cameras
Digital Intermediate Executive Producer: Company 3, Executive Producer: Company 3
Blades of Glory (2007)
Cinematography by: Stefan Czapsky
Edited by: Richard Pearson
Colorist: Company 3 / Digital Intermediate Executive Producer: Company 3, Digital Intermediate Colorist
Dreamgirls (2006)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Digital Film Colorist / Digital Intermediate Executive Producer: Company 3
X-Men: The Last Stand (2006)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Colorist, Executive Producer: Company 3
Miami Vice (2006)
Directed by: Michael Mann
Cinematography by: Dion Beebe
Cameras: Thomson Viper Camera
Executive Producer: Company 3
I'm Reed Fish (2006)
Directed by: Zackary Adler
Cinematography by: Doug Chamberlain
Edited by: Yuka Ruell
Digital Colorist
Gridiron Gang (2006)
Directed by: Phil Joanou
Cinematography by: Jeff Cutter
Edited by: Joel Negron
Digital Intermediate Executive Producer: Company 3
Pulse (2006)
Directed by: Jim Sonzero
Cinematography by: Mark Plummer
Colorist, Executive Producer: Company 3
Mission: Impossible III (2006)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Digital Film Colorist / Digital Intermediate Executive Producer: Company 3
Glory Road (2006)
Directed by: James Gartner
Colorist, Executive Producer: Company 3
The Texas Chainsaw Massacre: The Beginning (2006)
Directed by: Jonathan Liebesman
Cinematography by: Lukas Ettlin
Digital Intermediate Executive Producer: Company 3
Deliver Us from Evil (2006)
Directed by: Amy Berg
Edited by: Matthew Cooke
Cameras: Sony HVR-Z1E Camera
Colorist, Executive Producer: Company 3
300 (2006)
Directed by: Zack Snyder
Cinematography by: Larry Fong
Edited by: William Hoy
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera, Photo-Sonics 35mm-4ER Camera
Editing System: Final Cut Pro Editing System
Digital Color Timer
Pirates of the Caribbean: Dead Man's Chest (2006)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Colorist, Executive Producer: Company 3
Deja Vu (2006)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Colorist
War of the Worlds (2005)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Colorist: Company 3, Executive Producer: Company 3
The Weather Man (2005)
Directed by: Gore Verbinski
Cinematography by: Phedon Papamichael
Edited by: Craig Wood
Associate Producer, Colorist: Company 3, Executive Producer: Company 3
The Amityville Horror (2005)
Directed by: Andrew Douglas
Cinematography by: Peter Lyons Collister
Colorist / Executive Producer: Company 3
Domino (2005)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Colorist
The Island (2005)
Directed by: Michael Bay
Cinematography by: Mauro Fiore
Colorist, Executive Producer: Company 3
Man on Fire (2004)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Intermediate Executive Producer: Company 3
King Arthur (2004)
Directed by: Antoine Fuqua
Cinematography by: Slawomir Idziak
Colorist
Collateral (2004)
Directed by: Michael Mann
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Sony HDC-F950 Camera, Sony HDW-F900 Camera, Thomson Viper Camera
Editing System: Avid Editing System
Digital Intermediate Executive Producer
After the Sunset (2004)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Edited by: Mark Helfrich
Cameras: ARRICAM Lite (LT) Camera, Panavision Cameras
Colorist
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Directed by: Gore Verbinski
Cinematography by: Dariusz Wolski
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Colorist
Bad Boys II (2003)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: Bell & Howell Eyemo Camera, Cine SL-35 Camera, Pan-Arri 435es Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Telecine Colorist
Spy Game (2001)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Intermediate Colorist
Black Hawk Down (2001)
Directed by: Ridley Scott
Cinematography by: Slawomir Idziak
Edited by: Pietro Scalia
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 ES Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
Colorist: Company 3
The Cell (2000)
Directed by: Tarsem Singh
Cinematography by: Paul Laufer
Colorist: Videotape
Being John Malkovich (1999)
Directed by: Spike Jonze
Cinematography by: Lance Acord
Edited by: Eric Zumbrunnen
Lenses: Cooke S4 Lenses
