Color Assistant
'Criminal Minds' And in the End.... (2020)
Directed by: Glenn Kershaw
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Under the Skin (2020)
Directed by: Nelson McCormick
Edited by: Hibah Schweitzer
Color Assistant / Trailer Color Assistant
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
Color Assistant
'Criminal Minds' Family Tree (2019)
Directed by: Alec Smight
Cinematography by: Gary Tachell
Edited by: Joel Rice
Color Assistant
'Criminal Minds' Episode #15.7 (2019)
Cinematography by: Gary Tachell
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Ghost (2019)
Directed by: Diana Valentine
Cinematography by: Gary Tachell
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Saturday (2019)
Directed by: Edward Allen Bernero
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Chameleon (2019)
Directed by: A.J. Cook
Cinematography by: Darcy Spires
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Sick and Evil (2019)
Directed by: Rob Bailey
Cinematography by: Darcy Spires
Edited by: Joel Rice
Color Assistant
'Criminal Minds' Truth or Dare (2019)
Directed by: Glenn Kershaw
Cinematography by: Darcy Spires
Color Assistant
'Criminal Minds' Hamelin (2019)
Directed by: Simon Mirren
Cinematography by: Darcy Spires
Edited by: Tamara Luciano
Color Assistant
'Criminal Minds' Night Lights (2019)
Directed by: Nelson McCormick
Cinematography by: Darcy Spires
Edited by: Joel Rice
Color Assistant / Trailer Color Assistant
Doctor Sleep (2019)
Directed by: Mike Flanagan
Cinematography by: Michael Fimognari
Edited by: Mike Flanagan
Cameras: ARRI ALEXA 65 Camera
Lenses: Hasselblad Lenses
Color Assistant / Trailer Color Assistant
Terminator: Dark Fate (2019)
Directed by: Tim Miller
Cinematography by: Ken Seng
Edited by: Julian Clarke
Cameras: ARRI ALEXA LF Camera, ARRI ALEXA Mini Camera
Editing System: Adobe Premiere Editing System
Color Assistant / Trailer Color Assistant
Star Wars: Episode IX - The Rise of Skywalker (2019)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Color Assistant: Company 3
6 Underground (2019)
Directed by: Michael Bay
Cinematography by: Bojan Bazelli
Color Assistant
'Criminal Minds' Broken Wing (2018)
Directed by: Aisha Tyler
Cinematography by: Darcy Spires
Edited by: Tamara Luciano
Color Assistant
'Criminal Minds' Flesh and Blood (2018)
Directed by: Glenn Kershaw
Cinematography by: Darcy Spires
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Ashley (2018)
Directed by: Adam Rodriguez
Cinematography by: Darcy Spires
Color Assistant
'Criminal Minds' Twenty Seven (2018)
Directed by: Sharat Raju
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Luke (2018)
Directed by: Joe Mantegna
Cinematography by: Greg St. Johns
Edited by: Tamara Luciano
Color Assistant
'Criminal Minds' The Tall Man (2018)
Directed by: Matthew Gray Gubler
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Rule 34 (2018)
Directed by: Alec Smight
Cinematography by: Greg St. Johns
Edited by: Tamara Luciano
Color Assistant
'Criminal Minds' Innocence (2018)
Directed by: Lily Mariye
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' All You Can Eat (2018)
Directed by: Diana Valentine
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Mixed Signals (2018)
Directed by: Alec Smight
Cinematography by: Greg St. Johns
Edited by: Fred Peterson
Color Assistant
'Criminal Minds' Believer (2018)
Directed by: Glenn Kershaw
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' 300 (2018)
Directed by: Glenn Kershaw
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Starter Home (2018)
Directed by: Diana Valentine
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Ex Parte (2018)
Directed by: Lily Mariye
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' The Dance of Love (2018)
Directed by: Joe Mantegna
Cinematography by: Greg St. Johns
Edited by: Fred Peterson
Color Assistant
'Criminal Minds' The Capilanos (2018)
Directed by: Matthew Gray Gubler
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Last Gasp (2018)
Directed by: Adam Rodriguez
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Full-Tilt Boogie (2018)
Directed by: Simon Mirren
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Bad Moon on the Rise (2018)
Directed by: Christoph Schrewe
Cinematography by: Greg St. Johns
Edited by: Fred Peterson
Color Assistant
'Criminal Minds' Cure (2018)
Directed by: Glenn Kershaw
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Miasma (2018)
Directed by: Leon Ichaso
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Annihilator (2018)
Directed by: Rob Bailey
Cinematography by: Greg St. Johns
Edited by: Fred Peterson
Color Assistant
'Criminal Minds' Submerged (2018)
Directed by: Rob Bailey
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Digital Intermediate Editor
The Other Side of the Wind (2018)
Directed by: Orson Welles
Cinematography by: Gary Graver
Cameras: Éclair NPR Camera
Color Assistant
'Criminal Minds' False Flag (2017)
Directed by: Joe Mantegna
Cinematography by: Greg St. Johns
Edited by: Fred Peterson
Color Assistant
'Criminal Minds' Neon Terror (2017)
Directed by: Bethany Rooney
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Dust and Bones (2017)
Directed by: Marcus Stokes
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' The Bunker (2017)
Directed by: Aisha Tyler
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Lucky Strikes (2017)
Directed by: Tawnia McKiernan
Cinematography by: Greg St. Johns
Edited by: Fred Peterson
Color Assistant
'Criminal Minds' Blue Angel (2017)
Directed by: Sharat Raju
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Color Assistant
'Criminal Minds' Killer App (2017)
Directed by: Alec Smight
Cinematography by: Greg St. Johns
Edited by: Fred Peterson
Color Assistant
'Criminal Minds' To a Better Place (2017)
Directed by: Diana Valentine
Cinematography by: Greg St. Johns
Edited by: Michael Schweitzer
Color Assistant
'Criminal Minds' Wheels Up (2017)
Directed by: Glenn Kershaw
Cinematography by: Greg St. Johns
Edited by: Hibah Schweitzer
Digital Intermediate Editor
Only the Brave (2017)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Billy Fox
Cameras: Sony CineAlta F65 Camera
Assistant Digital Colorist
The Jungle Book (2016)
Directed by: Jon Favreau
Cinematography by: Bill Pope
Cameras: ARRI ALEXA XT M Camera
Digital Intermediate Color Assist/conform
Kubo and the Two Strings (2016)
Directed by: Travis Knight
Cinematography by: Frank Passingham
Edited by: Christopher Murrie
Digital Data Conformist
The Accountant (2016)
Directed by: Gavin O'Connor
Cinematography by: Seamus McGarvey
Edited by: Richard Pearson
Vfx Conform Editor
The Hunger Games: Mockingjay - Part 2 (2015)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Cameras: ARRI ALEXA XT Camera
High Definition Editorial Services
Spy (2015)
Directed by: Paul Feig
Cinematography by: Robert D. Yeoman
Cameras: ARRI ALEXA XT Camera
Finishing Editor
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
Digital Color Asssit
Terminator Genisys (2015)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Edited by: Roger Barton
Cameras: ARRI ALEXA XT Plus Camera
Digital Data Editorial
Need for Speed (2014)
Directed by: Scott Waugh
Cinematography by: Shane Hurlbut
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 19.5-94 mm T2.4 Lens, Angenieux Optimo Anamorphic Lenses, Canon CN-E 14.5-60 mm T2.6 Lens, Canon CN-E 15.5-47 mm T2.8 Lens, Canon CN-E 30-105 mm T2.8 Lens, Canon CN-E 30-300 mm T2.95 Lens, Cooke S4 Prime 100mm T2.0 Lens, Cooke S4 Prime 32mm T2.0 Lens, Cooke S4 Prime 40mm T2.0 Lens, Cooke S4 Prime 50mm T2.0 Lens, Cooke S4 Prime 75mm T2.0 Lens, Cooke S4/i Prime 12mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 14mm T2.0 Lens, Cooke S4/i Prime 180mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0, Leica Elmarit-R II 28 mm f2.0, Leica Super Angulon-R 21 mm f4.0, Leica Super-Elmarit-R 15 mm f2.8, Leitz Summicron-C 21 mm T2.0 Lens, Zeiss Distagon T* 15mm f2.8 ZE, Zeiss Distagon T* 18mm f3.5 ZE
Digital Data Conform/color Assist
Dolphin Tale 2 (2014)
Directed by: Charles Martin Smith
Cinematography by: Daryn Okada
Edited by: Harvey Rosenstock
Cameras: Sony PMW-F55 Camera
Digital Color Asssit
The Best of Me (2014)
Directed by: Michael Hoffman
Cinematography by: Oliver Stapleton
Edited by: Matt Chesse
Cameras: ARRI ALEXA XT Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
High Definition Editorial Services
Gravity (2013)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRI ALEXA Camera, ARRIFLEX 765 Camera
Lenses: ARRI / Zeiss Lenses, Panavision Primo Close Focus Spherical Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Digital Data Conform , Digital Data Conformist
Oblivion (2013)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Richard Francis-Bruce
Cameras: Red Epic Camera, Sony CineAlta F65 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 12 mm T1.3 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, Zeiss Master Prime Sonnar 75 mm T1.3 Lens
Editing System: Avid Editing System
Digital Data Editorial
Walking with Dinosaurs 3D (2013)
Cinematography by: John Brooks
Edited by: John Carnochan
Cameras: Red Epic Camera
Digital Data Conformist
Brake (2012)
Directed by: Gabe Torres
Cinematography by: James Mathers
Edited by: Sam Restivo
Conform Editor
Diary of a Wimpy Kid: Dog Days (2012)
Directed by: David Bowers
Cinematography by: Anthony B. Richmond
Edited by: Troy Takaki
Digital Intermediate Editor
American Reunion (2012)
Cinematography by: Daryn Okada
Edited by: Jeff Betancourt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
Digital Intermediate Editor
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 Data Conformist
Step Up Revolution (2012)
Directed by: Scott Speer
Cinematography by: Karsten Gopinath
Cameras: Red Epic Camera
Senior Digital Intermediate Conform Editor
Abraham Lincoln: Vampire Hunter (2012)
Directed by: Timur Bekmambetov
Cinematography by: Caleb Deschanel
Edited by: William Hoy
Digital Intermediate Conform Editor: Technicolor Hollywood
Life of Pi (2012)
Directed by: Ang Lee
Cinematography by: Claudio Miranda
Edited by: Tim Squyres
Cameras: ARRI ALEXA Camera
Editing System: Avid Editing System
Digital Data Conformist
Playing for Keeps (2012)
Directed by: Gabriele Muccino
Cinematography by: Peter Menzies Jr.
Edited by: Padraic McKinley
Digital Intermediate Editor
The Collection (2012)
Directed by: Marcus Dunstan
Cinematography by: Sam McCurdy
Cameras: ARRICAM Lite (LT) Camera
Lenses: Hawk V-Lite Lenses, Hawk V-Series Lenses
Data Editorial
Trade of Innocents (2012)
Directed by: Christopher M. Bessette
Cinematography by: Philip Hurn
Edited by: Diane Brunjes
Cameras: Red One MX Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Editor
The Darkest Hour (2011)
Directed by: Chris Gorak
Cinematography by: Scott Kevan
Cameras: Sony CineAlta F35 Camera, Sony HDC-P1 Camera
Digital Intermediate Conformist
Hop (2011)
Directed by: Tim Hill
Cinematography by: Peter Lyons Collister
Digital Intermediate Editor
The Ides of March (2011)
Directed by: George Clooney
Cinematography by: Phedon Papamichael
Edited by: Stephen Mirrione
Cameras: Panavision Panaflex Platinum Camera
Digital Intermediate Conform Editor
Red State (2011)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Cameras: Canon EOS-7D Camera, Red One MX Camera
Digital Intermediate Editor
Alvin and the Chipmunks: Chipwrecked (2011)
Directed by: Mike Mitchell
Cinematography by: Thomas E. Ackerman
Edited by: Peter Amundson
Digital Data Conformist
Justin Bieber: Never Say Never (2011)
Directed by: Jon M. Chu
Cinematography by: Reed Smoot
Digital Conform Editor
Big Mommas: Like Father, Like Son (2011)
Directed by: John Whitesell
Cinematography by: Anthony B. Richmond
Edited by: Priscilla Nedd-Friendly
Digital Intermediate Editor
You and I (2011)
Directed by: Roland Joffé
Cinematography by: Philip Robertson
Edited by: Richard Nord
Digital Intermediate Editor
Warrior (2011)
Directed by: Gavin O'Connor
Cinematography by: Masanobu Takayanagi
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision Primo Primes Spherical Lenses, Panavision Super Speed Lenses, Panavision Ultra Speed MKII Lenses, Panavision Ultra Speed Z Series (Zeiss) Lenses
Editing System: Avid Editing System
Digital Intermediate Conformist
Furry Vengeance (2010)
Directed by: Roger Kumble
Cinematography by: Peter Lyons Collister
Edited by: Lawrence Jordan
Digital Conform Editor
Cop Out (2010)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Digital Conform Editor
Vampires Suck (2010)
Cinematography by: Shawn Maurer
Edited by: Peck Prior
Cameras: Moviecam Compact Camera
Digital Intermediate Editor
Charlie St. Cloud (2010)
Directed by: Burr Steers
Cinematography by: Enrique Chediak
Edited by: Padraic McKinley
Lenses: Hawk V-Series Lenses
Digital Intermediate Conform Editor
Step Up 3D (2010)
Directed by: Jon M. Chu
Cinematography by: Ken Seng
Edited by: Andrew Marcus
Cameras: Sony CineAlta F23 Camera
Digital Conform Editor
My Sister's Keeper (2009)
Directed by: Nick Cassavetes
Cinematography by: Caleb Deschanel
Cameras: Panavision Panaflex Platinum Camera
Digital Intermediate Editor
Dragonball Evolution (2009)
Directed by: James Wong
Cinematography by: Robert McLachlan
High Definition Editorial Services
Funny People (2009)
Directed by: Judd Apatow
Cinematography by: Janusz Kaminski
Cameras: Panavision Panaflex Platinum Camera
High Definition Editorial Services
Ghosts of Girlfriends Past (2009)
Directed by: Mark Waters
Cinematography by: Daryn Okada
Edited by: Bruce Green
Digital Conform Editor
Cirque du Freak: The Vampire's Assistant (2009)
Directed by: Paul Weitz
Cinematography by: James M. Muro
Edited by: Leslie Jones
Digital Intermediate Editor
Black Dynamite (2009)
Directed by: Scott Sanders
Cinematography by: Shawn Maurer
Edited by: Adrian Younge
Digital Intermediate Editor
Bride Wars (2009)
Directed by: Gary Winick
Cinematography by: Frederick Elmes
Edited by: Susan Littenberg
Cameras: ARRI Cameras
Digital Intermediate Conformist
Spread (2009)
Directed by: David Mackenzie
Cinematography by: Steven Poster
Edited by: Nicholas Erasmus
Digital Intermediate Editor
Alvin and the Chipmunks: The Squeakquel (2009)
Directed by: Betty Thomas
Cinematography by: Anthony B. Richmond
Edited by: Matt Friedman
Lenses: Cooke S4 Lenses
Digital Intermediate Editor
The New Daughter (2009)
Directed by: Luiso Berdejo
Cinematography by: Checco Varese
High Definition Editorial Services
Lost Boys: The Tribe (2008)
Directed by: P.J. Pesce
Cinematography by: Barry Donlevy
Edited by: Amanda I. Kirpaul
Digital Data Conformist: LaserPacific
Zack and Miri Make a Porno (2008)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Digital Data Conformist / Digital Data Conformist: LaserPacific
Swing Vote (2008)
Directed by: Joshua Michael Stern
Cinematography by: Shane Hurlbut
Edited by: Jeff McEvoy
Digital Data Conformist: LaserPacific Media Corporation
Pride and Glory (2008)
Directed by: Gavin O'Connor
Cinematography by: Declan Quinn
Digital Conform Editor
Pathology (2008)
Directed by: Marc Schölermann
Cinematography by: Ekkehart Pollack
Edited by: Todd E. Miller
Digital Intermediate Editor
Disaster Movie (2008)
Cinematography by: Shawn Maurer
Edited by: Peck Prior
Digital Data Conform
Youth Without Youth (2007)
Directed by: Francis Ford Coppola
Cinematography by: Mihai Malaimare Jr.
Edited by: Walter Murch
Cameras: Sony HDW-F900 Camera
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Digital Intermediate Data Conformer
Captivity (2007)
Directed by: Roland Joffé
Cinematography by: Daniel Pearl
Edited by: Richard Nord
High Definition Editorial Services
The Number 23 (2007)
Directed by: Joel Schumacher
Cinematography by: Matthew Libatique
Edited by: Mark Stevens
Digital Data Conformist: Laser Pacific Media
The Kite Runner (2007)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Digital Data Conformist: LaserPacific
Balls of Fury (2007)
Directed by: Robert Ben Garant
Cinematography by: Thomas E. Ackerman
Edited by: John Refoua
Cameras: Panavision Genesis Camera
Editing System: Final Cut Pro Editing System
Digital Data Conformist
Good Time Max (2007)
Directed by: James Franco
Cinematography by: David Klein
Digital Data Conformist: LaserPacific
The Savages (2007)
Directed by: Tamara Jenkins
Cinematography by: W. Mott Hupfel III
Edited by: Brian A. Kates
Cameras: ARRICAM Lite (LT) Camera
Lenses: Cooke S4 Lenses
High Definition Editorial Services
The Fast and the Furious: Tokyo Drift (2006)
Directed by: Justin Lin
Cinematography by: Stephen F. Windon
Data Conform: Laser Pacific
Babel (2006)
Directed by: Alejandro G. Iñárritu
Cinematography by: Rodrigo Prieto
Digital Data Conformist: LaserPacific
Southland Tales (2006)
Directed by: Richard Kelly
Cinematography by: Steven Poster
Edited by: Sam Bauer
Digital Data Conformist, Digital Data Conformist: Laserpacific Media Corporation
First Snow (2006)
Directed by: Mark Fergus
Cinematography by: Eric Alan Edwards
Edited by: Jay Cassidy
High Definition Editorial Services
The Break-Up (2006)
Directed by: Peyton Reed
Cinematography by: Eric Alan Edwards
Digital Intermediate Editor
World Trade Center (2006)
Directed by: Oliver Stone
Cinematography by: Seamus McGarvey
High Definition Editorial Services
Flyboys (2006)
Directed by: Tony Bill
Cinematography by: Henry Braham
Digital Data Conformist
Big Momma's House 2 (2006)
Directed by: John Whitesell
Cinematography by: Mark Irwin
Edited by: Priscilla Nedd-Friendly
Digital Data Conformist
Stranger Than Fiction (2006)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Digital Data Conformist: LaserPacific
Clerks II (2006)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Digital Data Conform: Lustre
Flicka (2006)
Directed by: Michael Mayer
Cinematography by: James M. Muro
Edited by: Andrew Marcus
High Definition Editorial Services
The Woods (2006)
Directed by: Lucky McKee
Cinematography by: John R. Leonetti
Cameras: Panavision Cameras
Digital Data Conformist
For Your Consideration (2006)
Directed by: Christopher Guest
Cinematography by: Roberto Schaefer
Edited by: Robert Leighton
Cameras: Aaton XTR Prod Camera, Ultracam 35 Camera
High Definition Editorial Services
Are We There Yet? (2005)
Directed by: Brian Levant
Cinematography by: Thomas E. Ackerman
Edited by: Lawrence Jordan
High Definition Editorial Services
The Great Raid (2005)
Directed by: John Dahl
Cinematography by: Peter Menzies Jr.
High Definition Editorial Services
Be Cool (2005)
Directed by: F. Gary Gray
Cinematography by: Jeffrey L. Kimball
Edited by: Sheldon Kahn
High Definition Editorial Services
Kicking & Screaming (2005)
Directed by: Jesse Dylan
Cinematography by: Lloyd Ahern II
High Definition Editorial Services
Dark Water (2005)
Directed by: Walter Salles
Cinematography by: Affonso Beato
Edited by: Daniel Rezende
High Definition Editorial Services
The Game of Their Lives (2005)
Directed by: David Anspaugh
Cinematography by: Johnny E. Jensen
High Definition Editorial Services
Sin City (2005)
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Cameras: Sony HDC-F950 Camera, Sony Other Camera
Editing System: Avid Editing System
High Definition Editorial Services
Into the Blue (2005)
Directed by: John Stockwell
Cinematography by: Shane Hurlbut
Digital Data Conformist
Harsh Times (2005)
Directed by: David Ayer
Cinematography by: Steve Mason
Edited by: Conrad Buff IV
High Definition Editorial Services
The Interpreter (2005)
Directed by: Sydney Pollack
Cinematography by: Darius Khondji
Edited by: William Steinkamp
High Definition Editorial Services
The Legend of Zorro (2005)
Directed by: Martin Campbell
Cinematography by: Phil Meheux
Edited by: Stuart Baird
High Definition Editorial Services
Must Love Dogs (2005)
Directed by: Gary David Goldberg
Cinematography by: John Bailey
Cameras: Panavision Cameras
High Definition Editorial Services
Son of the Mask (2005)
Directed by: Lawrence Guterman
Cinematography by: Greg Gardiner
Color Assistant - 47 Episodes, 2017-2020, Color Assistant - 48 Episodes, 2017-2020
Criminal Minds (2005)
Directed by: Glenn Kershaw, Félix Enríquez Alcalá, Rob Bailey, Edward Allen Bernero, Matthew Gray Gubler, John Gallagher, Guy Norman Bee, Larry Teng, Joe Mantegna, Alec Smight, Rob Spera, Charles S. Carroll, Douglas Aarniokoski, Charles Haid, Rob Hardy, Tawnia McKiernan, Diana Valentine, Nelson McCormick, Karen Gaviola, Thomas Gibson, Steve Boyum, Gloria Muzio, Anna Foerster, John Terlesky, Michael Lange, Matt Earl Beesley, Bethany Rooney, Laura Belsey, Hanelle M. Culpepper, Gwyneth Horder-Payton, Jesse Warn, Christoph Schrewe, Sharat Raju, Simon Mirren, Richard Shepard, Andy Wolk, Tim Matheson, Adam Davidson, Bobby Roth, Michael W. Watkins, Dermott Downs, Constantine Makris, Marcus Stokes, Leon Ichaso, Aisha Tyler, Lily Mariye, Adam Rodriguez, Kevin Bray, Ernest R. Dickerson, Peter Ellis, Elodie Keene, Chris Long, Paul Shapiro, J. Miller Tobin, Thomas J. Wright, Steve Shill, John F. Showalter, Skipp Sudduth, Jesús Salvador Treviño, Paul Michael Glaser, Anthony Hemingway, Jason Alexander, John Badham, Jon Cassar, Jan Eliasberg, Rosemary Rodriguez, Guy Ferland, Ali Selim, John T. Kretchmer, Robert Lieberman, Alrick Riley, Heather Cappiello, Carlos Bernard, Oz Scott, A.J. Cook
Edited by: Jimmy Hill, Nina M. Gilberti, Hibah Schweitzer, Michael Schweitzer, Farrel Levy, Adam Wolfe, Jimmy Giritlian, Fred Peterson, Joel Rice, Tamara Luciano, Chris Peppe, Peter B. Ellis, Lisa Bromwell, Eli Nilsen, Dana B. Wilson, Randy Jon Morgan
High Definition Editorial Services
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
High Definition Editorial Services
Kill Bill: Vol. 2 (2004)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Cameras: Panavision Panaflex Platinum Camera
High Definition Editorial Services
Friday Night Lights (2004)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
High Definition Editorial Services
The Chronicles of Riddick (2004)
Directed by: David Twohy
Cinematography by: Hugh Johnson
High Definition Editorial Services
Man on Fire (2004)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
High Definition Editorial Services
Lemony Snicket's A Series of Unfortunate Events (2004)
Directed by: Brad Silberling
Cinematography by: Emmanuel Lubezki
Edited by: Michael Kahn
Cameras: Panavision Panaflex Platinum Camera
High Definition Editorial Services
Paparazzi (2004)
Directed by: Paul Abascal
Cinematography by: Daryn Okada
Edited by: Robin Russell
High Definition Editorial Services
Eternal Sunshine of the Spotless Mind (2004)
Directed by: Michel Gondry
Cinematography by: Ellen Kuras
Edited by: Valdís Óskarsdóttir
Cameras: ARRICAM Lite (LT) Camera
High Definition Editorial Services
The Forgotten (2004)
Directed by: Joseph Ruben
Cinematography by: Anastas N. Michos
Edited by: Richard Francis-Bruce
High Definition Editorial Services
Dawn of the Dead (2004)
Directed by: Zack Snyder
Cinematography by: Matthew F. Leonetti
Edited by: Niven Howie
High Definition Editorial Services
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
High Definition Editorial Services
Finding Neverland (2004)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Editing System: Avid Editing System
High Definition Editorial Services
In Good Company (2004)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Edited by: Myron Kerstein
High Definition Editorial Services
Torque (2004)
Directed by: Joseph Kahn
Cinematography by: Peter Levy
High Definition Editorial Services
The Ladykillers (2004)
Cinematography by: Roger Deakins
Editing System: Final Cut Pro Editing System
High Definition Editorial Services
Wicker Park (2004)
Directed by: Paul McGuigan
Cinematography by: Peter Sova
Edited by: Andrew Hulme
High Definition Editorial Services
Agent Cody Banks 2: Destination London (2004)
Directed by: Kevin Allen
Cinematography by: Denis Crossan
Edited by: Andrew MacRitchie
Cameras: Panavision Cameras
High Definition Editorial Services
Bridget Jones: The Edge of Reason (2004)
Directed by: Beeban Kidron
Cinematography by: Adrian Biddle
Edited by: Greg Hayden
High Definition Editorial Services: LaserPacific
Walking Tall (2004)
Directed by: Kevin Bray
Cinematography by: Glen MacPherson
High Definition Editorial Services
De-Lovely (2004)
Directed by: Irwin Winkler
Cinematography by: Tony Pierce-Roberts
Edited by: Julie Monroe
High Definition Editorial Services
Mean Girls (2004)
Directed by: Mark Waters
Cinematography by: Daryn Okada
Edited by: Wendy Greene Bricmont
Cameras: Panavision Cameras
High Definition Editorial Services
After the Sunset (2004)
Directed by: Brett Ratner
Cinematography by: Dante Spinotti
Edited by: Mark Helfrich
Cameras: ARRICAM Lite (LT) Camera, Panavision Cameras
High Definition Editorial Services
Intolerable Cruelty (2003)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 Camera
Editing System: Final Cut Pro Editing System
High Definition Editorial Services
Bulletproof Monk (2003)
Directed by: Paul Hunter
Cinematography by: Stefan Czapsky
Edited by: Robert K. Lambert
High Definition Editorial Services
Identity (2003)
Directed by: James Mangold
Cinematography by: Phedon Papamichael
Edited by: David Brenner
High Definition Editorial Services
Blue Collar Comedy Tour: The Movie (2003)
Directed by: C.B. Harding
Cinematography by: Bruce L. Finn
Edited by: Tony Hayman
High Definition Editorial Services
Open Range (2003)
Directed by: Kevin Costner
Cinematography by: James M. Muro
High Definition Editorial Services
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
High Definition Editorial Services
Once Upon a Time in Mexico (2003)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Cameras: Sony HDW-F900 Camera
High Definition Editorial Services
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
High Definition Editorial Services
Spy Kids 3-D: Game Over (2003)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
High Definition Editorial Services
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Editing System: Avid Editing System
High Definition Editorial Services
Gods and Generals (2003)
Directed by: Ron Maxwell
Cinematography by: Kees Van Oostrum
Edited by: Corky Ehlers
High Definition Editorial Services
Looney Tunes: Back in Action (2003)
Directed by: Joe Dante
Cinematography by: Dean Cundey
High Definition Editorial Services
Masked and Anonymous (2003)
Directed by: Larry Charles
Cinematography by: Rogier Stoffers
High Definition Editorial Services
Biker Boyz (2003)
Directed by: Reggie Rock Bythewood
Cinematography by: Greg Gardiner
High Definition Editorial Services
Freaky Friday (2003)
Directed by: Mark Waters
Cinematography by: Oliver Wood
Edited by: Bruce Green
High Definition Editorial Services: LaserPacific
A Guy Thing (2003)
Directed by: Chris Koch
Cinematography by: Robbie Greenberg
Edited by: David Moritz
High Definition Editorial Services: LaserPacific
Good Boy! (2003)
Directed by: John Hoffman
Cinematography by: James Glennon
Edited by: Craig Herring
Cameras: Panavision Cameras
Lenses: Panavision Lenses
High Definition Editorial Services
Seabiscuit (2003)
Directed by: Gary Ross
Cinematography by: John Schwartzman
Edited by: William Goldenberg
Editing System: Avid Editing System
High Definition Editorial Services
21 Grams (2003)
Directed by: Alejandro G. Iñárritu
Cinematography by: Rodrigo Prieto
Edited by: Stephen Mirrione
Cameras: Moviecam Superlight Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
High Definition Editorial Services
The Human Stain (2003)
Directed by: Robert Benton
Cinematography by: Jean-Yves Escoffier
Edited by: Christopher Tellefsen
High Definition Editorial Services
Final Destination 2 (2003)
Directed by: David R. Ellis
Cinematography by: Gary Capo
Edited by: Eric A. Sears
Cameras: Panavision Cameras
High Definition Editorial Services
Kill Bill: Vol. 1 (2003)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Sally Menke
Cameras: Panavision Panaflex Platinum Camera
High Definition Editorial Services: LaserPacific
Agent Cody Banks (2003)
Directed by: Harald Zwart
Cinematography by: Denis Crossan
Edited by: Jim Miller
Cameras: Panavision Cameras
Lenses: Panavision Lenses
High Definition Editorial Services
Windtalkers (2002)
Directed by: John Woo
Cinematography by: Jeffrey L. Kimball
High Definition Editorial Services
Blue Crush (2002)
Directed by: John Stockwell
Cinematography by: David Hennings
Edited by: Emma E. Hickox
High Definition Editorial Services
Barbershop (2002)
Directed by: Tim Story
Cinematography by: Tom Priestley Jr.
Edited by: John Carter
High Definition Editorial Services
Spy Kids 2: Island of Lost Dreams (2002)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Cameras: Sony HDW-F900 Camera
High Definition Editorial Services
Hart's War (2002)
Directed by: Gregory Hoblit
Cinematography by: Alar Kivilo
Edited by: David Rosenbloom
High Definition Editorial Services
The Crocodile Hunter: Collision Course (2002)
Directed by: John Stainton
Cinematography by: David Burr
High Definition Editorial Services
Scooby-Doo (2002)
Directed by: Raja Gosnell
Cinematography by: David Eggby
Edited by: Kent Beyda
Cameras: Panavision Cameras
High Definition Editorial Services
Spy Kids (2001)
Directed by: Robert Rodriguez
Cinematography by: Guillermo Navarro
Edited by: Robert Rodriguez
High Definition Editorial Services
Legally Blonde (2001)
Directed by: Robert Luketic
Cinematography by: Anthony B. Richmond
High Definition Editorial Services
15 Minutes (2001)
Directed by: John Herzfeld
Cinematography by: Jean-Yves Escoffier
Edited by: Steven Cohen
Cameras: Panavision Cameras
High Definition Editorial Services
Ali (2001)
Directed by: Michael Mann
Cinematography by: Emmanuel Lubezki
High Definition Editorial Services
Final Destination (2000)
Directed by: James Wong
Cinematography by: Robert McLachlan
Edited by: James Coblentz
High Definition Editorial Services
All the Pretty Horses (2000)
Directed by: Billy Bob Thornton
Cinematography by: Barry Markowitz
Edited by: Sally Menke
High Definition Editorial Services
Little Nicky (2000)
Directed by: Steven Brill
Cinematography by: Theo van de Sande
Edited by: Jeff Gourson
Cameras: Panavision Cameras
High Definition Editorial Services
How the Grinch Stole Christmas (2000)
Directed by: Ron Howard
Cinematography by: Donald Peterman
High Definition Editorial Services
The Emperor's New Groove (2000)
Directed by: Mark Dindal
Cinematography by: Thomas Baker
High Definition Editorial Services
Body Shots (1999)
Directed by: Michael Cristofer
Cinematography by: Rodrigo García
Edited by: Eric A. Sears
High Definition Editorial Services
Magnolia (1999)
Directed by: Paul Thomas Anderson
Cinematography by: Robert Elswit
Edited by: Dylan Tichenor
Cameras: Panavision Cameras, Pathé Cameras
Lenses: Panavision Lenses
