Digital Film Colorist
Nomadland (2020)
Directed by: Chloé Zhao
Cinematography by: Joshua James Richards
Cameras: ARRI ALEXA Mini Camera, ARRI AMIRA Camera
Associate Colorist
The Irishman (2019)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Mini Camera, ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, Red Digital Cinema Cameras
Editing System: Lightworks Editing System
Associate Colorist, Dailies And DI Associate Colorist
Once Upon a Time in Hollywood (2019)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Cameras: Aaton A-Minima Camera, ARRIFLEX Camera, Bolex Cameras, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision T Series Anamorphic Lenses
Editing System: Avid Editing System
Digital Colorist
Term Life (2016)
Directed by: Peter Billingsley
Cinematography by: Roberto Schaefer
Cameras: ARRI ALEXA Camera, Red Epic Dragon Camera
Second Digital Colorist
Child 44 (2015)
Directed by: Daniel Espinosa
Cinematography by: Oliver Wood
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk Anamorphic Lenses
2nd Digital Colorist
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Second Digital Colorist
The Maze Runner (2014)
Directed by: Wes Ball
Cinematography by: Enrique Chediak
Edited by: Dan Zimmerman
Second Colorist
The Homesman (2014)
Directed by: Tommy Lee Jones
Cinematography by: Rodrigo Prieto
Edited by: Roberto Silvi
Cameras: ARRICAM Lite (LT) Camera, Sony PMW-F55 Camera
Associate Colorist
The Hunger Games: Mockingjay - Part 1 (2014)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
Digital Intermediate Associate Colorist: Deluxe New York
The Wolf of Wall Street (2013)
Directed by: Martin Scorsese
Cinematography by: Rodrigo Prieto
Edited by: Thelma Schoonmaker
Cameras: ARRI ALEXA Plus Camera, ARRI ALEXA Studio Camera, ARRICAM Lite (LT) Camera, Canon EOS-C500 Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 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, Hawk V-Plus 135 mm T3.0 Lens, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Series 180 mm T3.0 Lens, Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Second Colorist: Efilm
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, 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, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Colorist Assist: Efilm
To the Wonder (2012)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Colorist Assist: Efilm
People Like Us (2012)
Directed by: Alex Kurtzman
Cinematography by: Salvatore Totino
Edited by: Robert Leighton
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Colorist Assist: Efilm
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Color Assist: EFilm
End of Watch (2012)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Edited by: Dody Dorn
Colorist Assist: Efilm
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Colorist Assist: Efilm
The Twilight Saga: Breaking Dawn - Part 1 (2011)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Edited by: Virginia Katz
Editing System: Avid Editing System
Colorist Assist: Efilm
War Horse (2011)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Editing System: Avid Editing System
Colorist Assist: Efilm
Monte Carlo (2011)
Directed by: Thomas Bezucha
Cinematography by: Jonathan Brown
Edited by: Jeffrey Ford
Assistant Colorist
Rise of the Planet of the Apes (2011)
Directed by: Rupert Wyatt
Cinematography by: Andrew Lesnie
Cameras: ARRICAM Lite (LT) Camera
Colorist Assist: Efilm
In the Land of Blood and Honey (2011)
Directed by: Angelina Jolie
Cinematography by: Dean Semler
Edited by: Patricia Rommel
Color Timing Assistant: EFilm
Water for Elephants (2011)
Directed by: Francis Lawrence
Cinematography by: Rodrigo Prieto
Edited by: Alan Edward Bell
Editing System: Avid Editing System
Color Timing Assistant: Efilm
We Bought a Zoo (2011)
Directed by: Cameron Crowe
Cinematography by: Rodrigo Prieto
Edited by: Mark Livolsi
Cameras: ARRICAM Lite (LT) Camera
Lenses: Zeiss Ultra Prime Lenses
Colorist Assist: Efilm
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Colorist Assist: EFilm
The Next Three Days (2010)
Directed by: Paul Haggis
Cinematography by: Stéphane Fontaine
Edited by: Jo Francis
Digital Intermediate Colorist Assistant
Dinner for Schmucks (2010)
Directed by: Jay Roach
Cinematography by: Jim Denault
Editing System: Avid Editing System
Digital Intermediate Colorist Assistant
Wall Street: Money Never Sleeps (2010)
Directed by: Oliver Stone
Cinematography by: Rodrigo Prieto
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Zeiss Master Prime Lenses
Colorist Assist: Efilm
The A-Team (2010)
Directed by: Joe Carnahan
Cinematography by: Mauro Fiore
Colorist Assist: Efilm
Eat Pray Love (2010)
Directed by: Ryan Murphy
Cinematography by: Robert Richardson
Edited by: Bradley Buecker
Editing System: Final Cut Pro Editing System
Colorist Assist: EFilm
The Runaways (2010)
Directed by: Floria Sigismondi
Cinematography by: Benoît Debie
Edited by: Richard Chew
Cameras: ARRIFLEX 416 Camera
Lenses: Zeiss Master Prime Lenses
Digital Intermediate Editor: Deluxe Digital
Exam (2009)
Directed by: Stuart Hazeldine
Cinematography by: Tim Wooster
Edited by: Mark Talbot-Butler
Cameras: Panavision Cameras
Digital Intermediate Editor
The Invention of Lying (2009)
Cinematography by: Tim Suhrstedt
Edited by: Chris Gill
Digital Intermediate Editor
The Duchess (2008)
Directed by: Saul Dibb
Cinematography by: Gyula Pados
Edited by: Masahiro Hirakubo
Digital Intermediate Editor
Hellboy II: The Golden Army (2008)
Directed by: Guillermo del Toro
Cinematography by: Guillermo Navarro
Edited by: Bernat Vilaplana
Cameras: ARRIFLEX 235 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Lustre Assistant: Duboicolor
The Last Legion (2007)
Directed by: Doug Lefler
Cinematography by: Marco Pontecorvo
Edited by: Simon Cozens
Digital Intermediate Editor
La Vie en Rose (2007)
Directed by: Olivier Dahan
Cinematography by: Tetsuo Nagata
Edited by: Richard Marizy
Digital Intermediate Editor
La face cachée (2007)
Directed by: Bernard Campan
Cinematography by: Matthieu Poirot-Delpech
Edited by: Philippe Bourgueil
Digital Intermediate Editor
Goodbye Bafana (2007)
Directed by: Bille August
Cinematography by: Robert Fraisse
Edited by: Hervé Schneid
Digital Intermediate Editor
Le deuxième souffle (2007)
Directed by: Alain Corneau
Cinematography by: Yves Angelo
Edited by: Marie-Josèphe Yoyotte
Digital Intermediate Editor
Prête-moi ta main (2006)
Directed by: Eric Lartigau
Cinematography by: Régis Blondeau
Edited by: Juliette Welfling
Digital Intermediate Editor
Nuovomondo (2006)
Directed by: Emanuele Crialese
Cinematography by: Agnès Godard
Edited by: Maryline Monthieux
Digital Intermediate Editor
March of the Penguins (2005)
Directed by: Luc Jacquet
Edited by: Sabine Emiliani
Cameras: Aaton XTR Prod Camera
Digital Intermediate Editor
Angel-A (2005)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Scanner Operator
A Very Long Engagement (2004)
Directed by: Jean-Pierre Jeunet
Cinematography by: Bruno Delbonnel
Edited by: Hervé Schneid
