Digital Intermediate Colorist: Technicolor
The Fabelmans (2022)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Second Colorist Technicolor
West Side Story (2021)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Second Colorist: Technicolor
Greenland (2020)
Directed by: Ric Roman Waugh
Cinematography by: Dana Gonzales
Edited by: Gabriel Fleming
Cameras: ARRI ALEXA Mini Camera
Second Colorist
Us (2019)
Directed by: Jordan Peele
Cinematography by: Mike Gioulakis
Edited by: Nicholas Monsour
Second Colorist: Technicolor
Ready Player One (2018)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Second Colorist Technicolor
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
Second Colorist: Technicolor
The Post (2017)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Digital Colorist: Technicolor
Molly's Game (2017)
Directed by: Aaron Sorkin
Cinematography by: Charlotte Bruus Christensen
Second Colorist: Technicolor
Ghost in the Shell (2017)
Directed by: Rupert Sanders
Cinematography by: Jess Hall
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera
Second Colorist: Technicolor
The BFG (2016)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRI ALEXA XT Series Cameras
Digital Colorist: Technicolor
The Hollars (2016)
Directed by: John Krasinski
Cinematography by: Eric Alan Edwards
Edited by: Heather Persons
Cameras: ARRI ALEXA Plus 4:3 Camera
Second Colorist: Technicolor
The Huntsman: Winter's War (2016)
Directed by: Cedric Nicolas-Troyan
Cinematography by: Phedon Papamichael
Edited by: Conrad Buff IV
Second 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
Second Colorist: Technicolor
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Second Colorist: Technicolor
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Second Colorist: Technicolor
Pitch Perfect 2 (2015)
Directed by: Elizabeth Banks
Cinematography by: Jim Denault
Edited by: Craig Alpert
Cameras: ARRI ALEXA Plus Camera
Second Colorist: Technicolor
Bridge of Spies (2015)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Second Colorist: Technicolor
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
Second Colorist: Technicolor
The Judge (2014)
Directed by: David Dobkin
Cinematography by: Janusz Kaminski
Edited by: Mark Livolsi
Digital Colorist: Technicolor
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
Second Colorist: Technicolor
August: Osage County (2013)
Directed by: John Wells
Cinematography by: Adriano Goldman
Edited by: Stephen Mirrione
Second Colorist
The Heat (2013)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Editing System: Avid Editing System
Second Colorist: Technicolor
Warm Bodies (2013)
Directed by: Jonathan Levine
Cinematography by: Javier Aguirresarobe
Edited by: Nancy Richardson
Editing System: Avid Editing System
Second Colorist: Technicolor
Gangster Squad (2013)
Directed by: Ruben Fleischer
Cinematography by: Dion Beebe
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Editing System: Avid Editing System
Second Digital Colorist: Technicolor
Lawless (2012)
Directed by: John Hillcoat
Cinematography by: Benoît Delhomme
Edited by: Dylan Tichenor
Cameras: ARRI ALEXA Camera
Second Colorist: Technicolor
The Hunger Games (2012)
Directed by: Gary Ross
Cinematography by: Tom Stern
Editing System: Avid Editing System
Second Colorist: Technicolor
Lincoln (2012)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Second Colorist: Technicolor
The Odd Life of Timothy Green (2012)
Directed by: Peter Hedges
Cinematography by: John Toll
Edited by: Andrew Mondshein
Digital Intermediate Second Colorist
Scream 4 (2011)
Directed by: Wes Craven
Cinematography by: Peter Deming
Edited by: Peter McNulty
Cameras: Panavision Cameras
Senior Digital Colorist Assist
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
Second Digital Intermediate Colorist
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 Second Colorist
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
Senior Digital Colorist Assist
The Adjustment Bureau (2011)
Directed by: George Nolfi
Cinematography by: John Toll
Edited by: Jay Rabinowitz
Digital Color Assistant
Trust (2010)
Directed by: David Schwimmer
Cinematography by: Andrzej Sekula
Edited by: Douglas Crise
Senior Digital Colorist Assist
Date Night (2010)
Directed by: Shawn Levy
Cinematography by: Dean Semler
Edited by: Dean Zimmerman
Cameras: Panavision Genesis Camera
Senior Digital Colorist Assist
Piranha 3D (2010)
Directed by: Alexandre Aja
Cinematography by: John R. Leonetti
Edited by: Baxter
Lenses: Angenieux HR Zoom Lenses, Cooke S4 Lenses, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses
Editing System: Avid Editing System
Senior Digital Colorist Assist
Devil (2010)
Directed by: John Erick Dowdle
Cinematography by: Tak Fujimoto
Edited by: Elliot Greenberg
Cameras: Panavision Cameras
Color Timing Assistant
Get Low (2009)
Directed by: Aaron Schneider
Cinematography by: David Boyd
Edited by: Aaron Schneider
Cameras: Panavision Panaflex Gold II Camera
Editing System: Final Cut Pro Editing System
Color Timing Assistant: Efilm
Up in the Air (2009)
Directed by: Jason Reitman
Cinematography by: Eric Steelberg
Edited by: Dana E. Glauberman
Digital Intermediate Colorist Assistant
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 Assist
Never Back Down (2008)
Directed by: Jeff Wadlow
Cinematography by: Lukas Ettlin
Senior Digital Colorist Assist
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 Assist: EFilm
Milk (2008)
Directed by: Gus Van Sant
Cinematography by: Harris Savides
Edited by: Elliot Graham
Senior Digital Colorist Assist
Death Race (2008)
Directed by: Paul W.S. Anderson
Cinematography by: Scott Kevan
Edited by: Niven Howie
Senior Digital Colorist Assist
Frost/Nixon (2008)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Lenses: Cooke S4 Lenses, Cooke Varotal Lenses
Editing System: Avid Editing System
Digital Colorist Assistant: EFilm
Thomas Kinkade's Christmas Cottage (2008)
Directed by: Michael Campus
Cinematography by: Robert Brinkmann
Edited by: Don Brochu
Digital Colorist Assistant: EFilm
Lions for Lambs (2007)
Directed by: Robert Redford
Cinematography by: Philippe Rousselot
Edited by: Joe Hutshing
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Colorist Assistant: EFilm
Hairspray (2007)
Directed by: Adam Shankman
Cinematography by: Bojan Bazelli
Edited by: Michael Tronick
Digital Intermediate Colorist Assist
The Brave One (2007)
Directed by: Neil Jordan
Cinematography by: Philippe Rousselot
Edited by: Tony Lawson
Cameras: Panavision Panaflex Camera
Digital Intermediate Colorist Assist: Efilm
Amazing Grace (2006)
Directed by: Michael Apted
Cinematography by: Remi Adefarasin
Edited by: Rick Shaine
Cameras: ARRI Cameras
Senior Digital Colorist Assist
Blood Diamond (2006)
Directed by: Edward Zwick
Cinematography by: Eduardo Serra
Edited by: Steven Rosenblum
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk C-Series Lenses, Hawk V-Series Lenses
Digital Intermediate Consultant
X-Men: The Last Stand (2006)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Senior Digital Colorist Assist
Night at the Museum (2006)
Directed by: Shawn Levy
Cinematography by: Guillermo Navarro
Edited by: Don Zimmerman
Senior Digital Colorist Assist
Ultraviolet (2006)
Directed by: Kurt Wimmer
Cinematography by: Arthur Wong
Edited by: William Yeh
Digital Color Assist: EFilm
The Painted Veil (2006)
Directed by: John Curran
Cinematography by: Stuart Dryburgh
Edited by: Alexandre de Franceschi
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Colorist Assist
RV (2006)
Directed by: Barry Sonnenfeld
Cinematography by: Fred Murphy
Edited by: Kevin Tent
Digital Colorist Assist: EFILM
World Trade Center (2006)
Directed by: Oliver Stone
Cinematography by: Seamus McGarvey
Digital Colorist Assistant
Failure to Launch (2006)
Directed by: Tom Dey
Cinematography by: Claudio Miranda
Edited by: Steven Rosenblum
Digital Colorist Assist
Freedomland (2006)
Directed by: Joe Roth
Cinematography by: Anastas N. Michos
Edited by: Nick Moore
Digital Colorist Assistant: Efilm
Idiocracy (2006)
Directed by: Mike Judge
Cinematography by: Tim Suhrstedt
Edited by: David Rennie
Digital Colorist Assist
xXx: State of the Union (2005)
Directed by: Lee Tamahori
Cinematography by: David Tattersall
Digital Colorist Assist: Efilm
Be Cool (2005)
Directed by: F. Gary Gray
Cinematography by: Jeffrey L. Kimball
Edited by: Sheldon Kahn
Digital Colorist Assist
A History of Violence (2005)
Directed by: David Cronenberg
Cinematography by: Peter Suschitzky
Edited by: Ronald Sanders
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Colorist Assist
Are We There Yet? (2005)
Directed by: Brian Levant
Cinematography by: Thomas E. Ackerman
Edited by: Lawrence Jordan
Digital Colorist Assist
The Forgotten (2004)
Directed by: Joseph Ruben
Cinematography by: Anastas N. Michos
Edited by: Richard Francis-Bruce
Digital Colorist Assist: Efilm
Ocean's Twelve (2004)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Stephen Mirrione
Digital Colorist Assistant
Flight of the Phoenix (2004)
Directed by: John Moore
Cinematography by: Brendan Galvin
Edited by: Don Zimmerman
Digital Colorist Assistant: EFilm
Intolerable Cruelty (2003)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 Camera
Editing System: Final Cut Pro Editing System
Digital Imaging Operator: Cinesite
The Mothman Prophecies (2002)
Directed by: Mark Pellington
Cinematography by: Fred Murphy
Edited by: Brian Berdan
Cameras: Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Panavision Lenses
Digital Imaging Operations
Solaris (2002)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Steven Soderbergh
Creative Consultant
Point of Origin (2002)
Directed by: Newton Thomas Sigel
Cinematography by: Anthony G. Nakonechnyj
Edited by: Cindy Mollo
Digital Imaging Operator
Spy Game (2001)
Directed by: Tony Scott
Cinematography by: Dan Mindel
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
