Digital Colorist: Technicolor
Greenland (2020)
Directed by: Ric Roman Waugh
Cinematography by: Dana Gonzales
Edited by: Gabriel Fleming
Cameras: ARRI ALEXA Mini Camera
HDR/SDR Mastering Colorist
Mary Poppins Returns (2018)
Directed by: Rob Marshall
Cinematography by: Dion Beebe
Edited by: Wyatt Smith
Lenses: Angenieux Optimo Anamorphic Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo V Lenses, Panavision Primo V PV21 21mm T1.9 Lens, Panavision Primo V PV27 27mm T1.9 Lens, Panavision Primo V PV50 50mm T1.9 Lens
Stereo Finishing Artist/colorist
Black Panther (2018)
Directed by: Ryan Coogler
Cinematography by: Rachel Morrison
Stereo Finishing Artist
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
3d Colorist
Spider-Man: Homecoming (2017)
Directed by: Jon Watts
Cinematography by: Salvatore Totino
Lenses: Angenieux Lenses, Cooke S4/i Lenses
Digital Intermediate Color Assistant
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
3D Convergence Artist
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 Color Assistant
Exodus: Gods and Kings (2014)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
3D Convergence Artist
X-Men: Days of Future Past (2014)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA M Camera, ARRI ALEXA XT Camera
Digital Intermediate Color Assistant
Seventh Son (2014)
Directed by: Sergei Bodrov
Cinematography by: Newton Thomas Sigel
Cameras: ARRI ALEXA Camera
3D Convergence Artist
Jack the Giant Slayer (2013)
Directed by: Bryan Singer
Cinematography by: Newton Thomas Sigel
Digital Intermediate Color Assistant
Oz the Great and Powerful (2013)
Directed by: Sam Raimi
Cinematography by: Peter Deming
Edited by: Bob Murawski
Cameras: Red Epic Camera
Editing System: Avid Editing System
Digital Intermediate Color Assist
The Wolverine (2013)
Directed by: James Mangold
Cinematography by: Ross Emery
Edited by: Michael McCusker
Cameras: ARRI ALEXA Camera
Digital Intermediate Color Assistant: Company 3
2 Guns (2013)
Directed by: Baltasar Kormákur
Cinematography by: Oliver Wood
Edited by: Michael Tronick
Digital Intermediate Color Assistant
Anchorman 2: The Legend Continues (2013)
Directed by: Adam McKay
Cinematography by: Oliver Wood
Cameras: ARRI ALEXA Camera
Color Assistant: Company 3
Underworld Awakening (2012)
Cinematography by: Scott Kevan
Edited by: Jeff McEvoy
Cameras: Red Epic Camera
Additional Digital Intermediate Colorist: Company 3
The Sessions (2012)
Directed by: Ben Lewin
Cinematography by: Geoffrey Simpson
Edited by: Lisa Bromwell
Cameras: Red One MX Camera
3D Convergence Artist
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
Digital Intermediate Colorist Assist
The Mechanic (2011)
Directed by: Simon West
Cinematography by: Eric Schmidt
Color Assistant
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
Color Assist: 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
3D Stereo Assist
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
3D Digital Intermediate Colorist Assist
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
Digital Intermediate Colorist Assist
Faster (2010)
Directed by: George Tillman Jr.
Cinematography by: Michael Grady
Edited by: Dirk Westervelt
3D Digital Intermediate Colorist Assist
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
Di Colorist Assist
Just Wright (2010)
Directed by: Sanaa Hamri
Cinematography by: Terry Stacey
Edited by: Melissa Kent
Digital Intermediate Color Assist: Pacific Title & Art Studio
Orphan (2009)
Directed by: Jaume Collet-Serra
Cinematography by: Jeff Cutter
Edited by: Timothy Alverson
Colorist Assist
Blood Creek (2009)
Directed by: Joel Schumacher
Cinematography by: Darko Suvak
Edited by: Mark Stevens
Colorist Assist
Kill Theory (2009)
Directed by: Chris Moore
Cinematography by: David A. Armstrong
Edited by: Maureen Meulen
Colorist Assist
Ninja Assassin (2009)
Directed by: James McTeigue
Cinematography by: Karl Walter Lindenlaub
Lenses: Zeiss Master Prime Lenses
Digital Colorist Assist
The Sisterhood of the Traveling Pants 2 (2008)
Directed by: Sanaa Hamri
Cinematography by: Jim Denault
Edited by: Melissa Kent
Digital Colorist Assist
Speed Racer (2008)
Cinematography by: David Tattersall
Lenses: Zeiss DigiPrime Lenses
Digital Intermediate Assistant
Righteous Kill (2008)
Directed by: Jon Avnet
Cinematography by: Denis Lenoir
Edited by: Paul Hirsch
Line-up And Negative Department: Pacific Title And Art Studio
Seraphim Falls (2006)
Directed by: David Von Ancken
Cinematography by: John Toll
Edited by: Conrad Buff IV
Lineup: Pacific Title
Confidence (2003)
Directed by: James Foley
Cinematography by: Juan Ruiz Anchía
Edited by: Stuart Levy
Line-up: Pacific Title
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 Lineup: Pacific Title Digital
The Bourne Identity (2002)
Directed by: Doug Liman
Cinematography by: Oliver Wood
Edited by: Saar Klein
