Supervising Digital Colorist
Trap (2024)
Directed by: M. Night Shyamalan
Cinematography by: Sayombhu Mukdeeprom
Edited by: Noemi Katharina Preiswerk
Cameras: ARRICAM Lite (LT) Camera
Supervising Digital Intermediate Colorist: Technicolor
The Fabelmans (2022)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Supervising Digital Colorist
West Side Story (2021)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Supervising Digital Colorist: Technicolor
Greenland (2020)
Directed by: Ric Roman Waugh
Cinematography by: Dana Gonzales
Edited by: Gabriel Fleming
Cameras: ARRI ALEXA Mini Camera
Supervising Digital Colorist
Us (2019)
Directed by: Jordan Peele
Cinematography by: Mike Gioulakis
Edited by: Nicholas Monsour
Supervising Digital 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
Supervising Digital Colorist
Ready Player One (2018)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Supervising Digital Colorist
Molly's Game (2017)
Directed by: Aaron Sorkin
Cinematography by: Charlotte Bruus Christensen
Supervising Digital Colorist
The Post (2017)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Supervising Digital Colorist: Technicolor
Ghost in the Shell (2017)
Directed by: Rupert Sanders
Cinematography by: Jess Hall
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Supervising Digital Colorist
My Big Fat Greek Wedding 2 (2016)
Directed by: Kirk Jones
Cinematography by: Jim Denault
Edited by: Mark Czyzewski
Cameras: Red Epic Dragon Camera
Supervising Digital Colorist
The Huntsman: Winter's War (2016)
Directed by: Cedric Nicolas-Troyan
Cinematography by: Phedon Papamichael
Edited by: Conrad Buff IV
Supervising Digital Colorist
The Hollars (2016)
Directed by: John Krasinski
Cinematography by: Eric Alan Edwards
Edited by: Heather Persons
Cameras: ARRI ALEXA Plus 4:3 Camera
Supervising Digital Colorist
The BFG (2016)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRI ALEXA XT Series Cameras
Supervising Digital Colorist
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Supervising Digital Colorist
Pitch Perfect 2 (2015)
Directed by: Elizabeth Banks
Cinematography by: Jim Denault
Edited by: Craig Alpert
Cameras: ARRI ALEXA Plus Camera
Supervising Digital Colorist
Bridge of Spies (2015)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Digital Intermediate Colorist, 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
Supervising Digital Colorist
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Digital Intermediate Colorist
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
Supervising Digital Colorist
The Judge (2014)
Directed by: David Dobkin
Cinematography by: Janusz Kaminski
Edited by: Mark Livolsi
Digital Intermediate Colorist
Gangster Squad (2013)
Directed by: Ruben Fleischer
Cinematography by: Dion Beebe
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Editing System: Avid Editing System
Supervising Digital Colorist: Technicolor
Warm Bodies (2013)
Directed by: Jonathan Levine
Cinematography by: Javier Aguirresarobe
Edited by: Nancy Richardson
Editing System: Avid Editing System
Supervising Digital Colorist: Technicolor
The Heat (2013)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Editing System: Avid Editing System
Supervising Digital Colorist: Technicolor
August: Osage County (2013)
Directed by: John Wells
Cinematography by: Adriano Goldman
Edited by: Stephen Mirrione
Supervising Digital Colorist: Technicolor
Lawless (2012)
Directed by: John Hillcoat
Cinematography by: Benoît Delhomme
Edited by: Dylan Tichenor
Cameras: ARRI ALEXA Camera
Supervising Digital Colorist: Technicolor
The Hunger Games (2012)
Directed by: Gary Ross
Cinematography by: Tom Stern
Editing System: Avid Editing System
Supervising Digital Colorist: Technicolor
The Odd Life of Timothy Green (2012)
Directed by: Peter Hedges
Cinematography by: John Toll
Edited by: Andrew Mondshein
Supervising Digital Colorist: Technicolor
Lincoln (2012)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Digital Intermediate Colorist: Technicolor
Scream 4 (2011)
Directed by: Wes Craven
Cinematography by: Peter Deming
Edited by: Peter McNulty
Cameras: Panavision Cameras
Digital Intermediate Colorist: Technicolor
The Adjustment Bureau (2011)
Directed by: George Nolfi
Cinematography by: John Toll
Edited by: Jay Rabinowitz
Digital Intermediate Colorist: Technicolor
A Better Life (2011)
Directed by: Chris Weitz
Cinematography by: Javier Aguirresarobe
Edited by: Peter Lambert
Cameras: ARRICAM Lite (LT) Camera
Editing System: Avid Editing System
Supervising Digital Intermediate Colorist: Technicolor Creative Srvices
Limitless (2011)
Directed by: Neil Burger
Cinematography by: Jo Willems
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Red One Camera
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Digital Intermediate Colorist: Technicolor
Green Lantern (2011)
Directed by: Martin Campbell
Cinematography by: Dion Beebe
Edited by: Stuart Baird
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Angenieux Optimo Zoom Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Digital Intermediate Colorist: Technicolor
Dolphin Tale (2011)
Directed by: Charles Martin Smith
Cinematography by: Karl Walter Lindenlaub
Edited by: Harvey Rosenstock
Cameras: Red One MX Camera
Digital Colorist
The Company Men (2010)
Directed by: John Wells
Cinematography by: Roger Deakins
Edited by: Robert Frazen
Digital Intermediate Colorist: Efilm
Our Family Wedding (2010)
Directed by: Rick Famuyiwa
Cinematography by: Julio Macat
Edited by: Dirk Westervelt
Digital Intermediate Colorist: Technicolor
Devil (2010)
Directed by: John Erick Dowdle
Cinematography by: Tak Fujimoto
Edited by: Elliot Greenberg
Cameras: Panavision Cameras
Supervising Digital Colorist
Extraordinary Measures (2010)
Directed by: Tom Vaughan
Cinematography by: Andrew Dunn
Edited by: Anne V. Coates
Digital Intermediate Colorist
Trust (2010)
Directed by: David Schwimmer
Cinematography by: Andrzej Sekula
Edited by: Douglas Crise
Digital Intermediate Colorist: Efilm
The Road (2009)
Directed by: John Hillcoat
Cinematography by: Javier Aguirresarobe
Edited by: Jon Gregory
Cameras: ARRICAM Lite (LT) Camera
Supervising Colorist: Efilm
A Serious Man (2009)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Digital Intermediate Colorist: Efilm
Whip It (2009)
Directed by: Drew Barrymore
Cinematography by: Robert D. Yeoman
Edited by: Dylan Tichenor
Digital Intermediate Colorist: Efilm
Cirque du Freak: The Vampire's Assistant (2009)
Directed by: Paul Weitz
Cinematography by: James M. Muro
Edited by: Leslie Jones
Digital Intermediate Colorist:Efilm
The Twilight Saga: New Moon (2009)
Directed by: Chris Weitz
Cinematography by: Javier Aguirresarobe
Edited by: Peter Lambert
Supervising 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 Intermediate Colorist: Efilm
2012 (2009)
Directed by: Roland Emmerich
Cinematography by: Dean Semler
Cameras: Panavision Cameras, Panavision Genesis Camera
Editing System: Avid Editing System
Digital Intermediate Colorist: Efilm
Semi-Pro (2008)
Directed by: Kent Alterman
Cinematography by: Shane Hurlbut
Digital Intermediate Colorist: Efilm
Four Christmases (2008)
Directed by: Seth Gordon
Cinematography by: Jeffrey L. Kimball
Digital Intermediate Colorist: Efilm
Revolutionary Road (2008)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Tariq Anwar
Lenses: Zeiss Master Prime Lenses
Editing System: Lightworks Editing System
Digital Intermediate Colorist: Efilm
Sex and the City (2008)
Directed by: Michael Patrick King
Cinematography by: John Thomas
Edited by: Michael Berenbaum
Digital Intermediate Colorist: EFilm
Thomas Kinkade's Christmas Cottage (2008)
Directed by: Michael Campus
Cinematography by: Robert Brinkmann
Edited by: Don Brochu
Digital Intermediate Colorist
Death Race (2008)
Directed by: Paul W.S. Anderson
Cinematography by: Scott Kevan
Edited by: Niven Howie
Digital Intermediate Colorist: Efilm
Milk (2008)
Directed by: Gus Van Sant
Cinematography by: Harris Savides
Edited by: Elliot Graham
Digital Intermediate Colorist: Efilm
Doubt (2008)
Directed by: John Patrick Shanley
Cinematography by: Roger Deakins
Edited by: Dylan Tichenor
Cameras: ARRIFLEX 535 B Camera
Lenses: Zeiss Master Prime Lenses
Digital Intermediate Colorist: Deluxe UK
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Supervising Digital Colorist: Efilm
The Comebacks (2007)
Directed by: Tom Brady
Cinematography by: Anthony B. Richmond
Edited by: Alan Edward Bell
Co-digital Color Timer: Efilm
Tortilla Heaven (2007)
Directed by: Judy Hecht Dumontet
Cinematography by: Chuy Chávez
Digital Intermediate Colorist: EFilm
The Assassination of Jesse James by the Coward Robert Ford (2007)
Directed by: Andrew Dominik
Cinematography by: Roger Deakins
Lenses: Cooke Lenses, Cooke S4 Lenses
Digital Intermediate Colorist: Main Title Sequence, Efilm
Fracture (2007)
Directed by: Gregory Hoblit
Cinematography by: Kramer Morgenthau
Edited by: David Rosenbloom
Digital Intermediate Colorist: EFilm
In the Valley of Elah (2007)
Directed by: Paul Haggis
Cinematography by: Roger Deakins
Edited by: Jo Francis
Lenses: Zeiss Master Prime Lenses
Digital Intermediate Colorist: Efilm
The Seeker: The Dark Is Rising (2007)
Directed by: David L. Cunningham
Cinematography by: Joel Ransom
Cameras: Panavision Cameras
Digital Color Timer: Efilm
No Country for Old Men (2007)
Cinematography by: Roger Deakins
Lenses: Cooke S4 Lenses, Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Final Color Timer
Babel (2006)
Directed by: Alejandro G. Iñárritu
Cinematography by: Rodrigo Prieto
Color Timer
The Hills Have Eyes (2006)
Directed by: Alexandre Aja
Cinematography by: Maxime Alexandre
Edited by: Baxter
Color Timer
Seraphim Falls (2006)
Directed by: David Von Ancken
Cinematography by: John Toll
Edited by: Conrad Buff IV
Color Timer
Final Destination 3 (2006)
Directed by: James Wong
Cinematography by: Robert McLachlan
Edited by: Chris G. Willingham
Color Timer
Click (2006)
Directed by: Frank Coraci
Cinematography by: Dean Semler
Edited by: Jeff Gourson
Cameras: Panavision Genesis Camera
Color Timer
Idlewild (2006)
Directed by: Bryan Barber
Cinematography by: Pascal Rabaud
Edited by: Anne Goursaud
Lenses: Zeiss Ultra Prime Lenses
Color Timer
Assault on Precinct 13 (2005)
Directed by: Jean-François Richet
Cinematography by: Robert Gantz
Edited by: Bill Pankow
Color Timer
King's Ransom (2005)
Directed by: Jeffrey W. Byrd
Cinematography by: Robert McLachlan
Edited by: Jeffrey Cooper
Color Timer
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Color Timer
Fun with Dick and Jane (2005)
Directed by: Dean Parisot
Cinematography by: Jerzy Zielinski
Edited by: Don Zimmerman
Film Color Timer
Walk the Line (2005)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Edited by: Michael McCusker
Color Timer
Elizabethtown (2005)
Directed by: Cameron Crowe
Cinematography by: John Toll
Edited by: David Moritz
Color Timer
The Legend of Zorro (2005)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
Color Timer
Happy Endings (2005)
Directed by: Don Roos
Cinematography by: Clark Mathis
Edited by: David Codron
Editing System: Final Cut Pro Editing System
Color Timer
Sky Captain and the World of Tomorrow (2004)
Directed by: Kerry Conran
Cinematography by: Eric Adkins
Edited by: Sabrina Plisco
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
Lab Color Timer
The Punisher (2004)
Directed by: Jonathan Hensleigh
Cinematography by: Conrad W. Hall
Color Timer
The Clearing (2004)
Directed by: Pieter Jan Brugge
Cinematography by: Denis Lenoir
Edited by: Kevin Tent
Final Color Timer
Millions (2004)
Directed by: Danny Boyle
Cinematography by: Anthony Dod Mantle
Edited by: Chris Gill
Color Timer
Cellular (2004)
Directed by: David R. Ellis
Cinematography by: Gary Capo
Edited by: Eric A. Sears
Color Timer
Soul Plane (2004)
Directed by: Jessy Terrero
Cinematography by: Jonathan Sela
Edited by: Michael R. Miller
Color Timer
Garden State (2004)
Directed by: Zach Braff
Cinematography by: Lawrence Sher
Edited by: Myron Kerstein
Color Timer
Club Dread (2004)
Directed by: Jay Chandrasekhar
Cinematography by: Lawrence Sher
Edited by: Ryan Folsey
Co-color Timer
The Lord of the Rings: The Return of the King (2003)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX 535 B Camera, Mitchell Cameras, Moviecam Superlight Camera
Editing System: Avid Editing System
Color Timer
Sin (2003)
Directed by: Michael Stevens
Cinematography by: Zoran Popovic
Edited by: Suzanne Fenn
Color Timer
Elf (2003)
Directed by: Jon Favreau
Cinematography by: Greg Gardiner
Edited by: Dan Lebental
Cameras: Panavision Cameras
Color Timer
Pieces of April (2003)
Directed by: Peter Hedges
Cinematography by: Tami Reiker
Edited by: Mark Livolsi
Cameras: Sony DSR-PD150 Camera
Color Timer
Final Destination 2 (2003)
Directed by: David R. Ellis
Cinematography by: Gary Capo
Edited by: Eric A. Sears
Cameras: Panavision Cameras
Color Timer
Tupac: Resurrection (2003)
Directed by: Lauren Lazin
Cinematography by: Jon Else
Edited by: Richard Calderon
Color Timer
The Outsider (2002)
Directed by: Randa Haines
Cinematography by: Ben Nott
Edited by: Lisa Bromwell
Color Timer
Equilibrium (2002)
Directed by: Kurt Wimmer
Cinematography by: Dion Beebe
Lenses: Panavision Lenses
Color Timer
Stuart Little 2 (2002)
Directed by: Rob Minkoff
Cinematography by: Steven Poster
Edited by: Priscilla Nedd-Friendly
Co-color Timer
The Lord of the Rings: The Two Towers (2002)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Michael Horton
Lenses: Angenieux Lenses, Zeiss Ultra Prime Lenses
Color Timer
Below (2002)
Directed by: David Twohy
Cinematography by: Ian Wilson
Edited by: Martin Hunter
Color Timer
Maid in Manhattan (2002)
Directed by: Wayne Wang
Cinematography by: Karl Walter Lindenlaub
Edited by: Craig McKay
Color Timer
The Crocodile Hunter: Collision Course (2002)
Directed by: John Stainton
Cinematography by: David Burr
Color Timer
Ten Tiny Love Stories (2002)
Directed by: Rodrigo García
Cinematography by: Rodrigo Prieto
Edited by: Luis Cámara
Color Timer
City by the Sea (2002)
Directed by: Michael Caton-Jones
Cinematography by: Karl Walter Lindenlaub
Edited by: Jim Clark
Cameras: Panavision Cameras
Color Timer
The Banger Sisters (2002)
Directed by: Bob Dolman
Cinematography by: Karl Walter Lindenlaub
Edited by: Aram Nigoghossian
Color Timer
Eyeball Eddie (2001)
Directed by: Elizabeth Allen Rosenbaum
Cinematography by: Matthew Jensen
Color Timer
Piñero (2001)
Directed by: Leon Ichaso
Cinematography by: Claudio Chea
Edited by: David Tedeschi
Color Timer
Jackpot (2001)
Directed by: Michael Polish
Cinematography by: M. David Mullen
Edited by: Shawna Callahan
Color Timer
Hardball (2001)
Directed by: Brian Robbins
Cinematography by: Tom Richmond
Edited by: Ned Bastille
Color Timer
Uprising (2001)
Directed by: Jon Avnet
Cinematography by: Denis Lenoir
Edited by: Sabrina Plisco
Co-color Timer
The Lord of the Rings: The Fellowship of the Ring (2001)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: John Gilbert
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Color Timer
Hellraiser: Inferno (2000)
Directed by: Scott Derrickson
Cinematography by: Nathan Hope
Edited by: Kirk M. Morri
Color Timer
Who Killed Atlanta's Children? (2000)
Directed by: Charles Robert Carner
Cinematography by: Michael Goi
Edited by: Marc Leif
Color Timer
Endgame (2000)
Directed by: Conor McPherson
Cinematography by: Donal Gilligan
Edited by: Mary Finlay
Color Timer
Four Dogs Playing Poker (2000)
Directed by: Paul Rachman
Cinematography by: Claudio Rocha
Edited by: Conrad M. Gonzalez
Color Timer
Natural Selection (1999)
Directed by: Mark Lambert Bristol
Cinematography by: Rhet Bear
Edited by: Mark Coffey
Color Timer
Dusk Till Dawn 2: Texas Blood Money (1999)
Directed by: Scott Spiegel
Cinematography by: Philip Lee
Color Timer
Kate's Addiction (1999)
Directed by: Eric DelaBarre
Cinematography by: Jeffrey Wilkins
Edited by: Wendy Smith
Final Color Timer
Tumbleweeds (1999)
Directed by: Gavin O'Connor
Cinematography by: Dan Stoloff
Edited by: John Gilroy
Digital Intermediate Colorist
Schindler's List (1993)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Moviola Editing System
