Colorist
The Banshees of Inisherin (2022)
Directed by: Martin McDonagh
Cinematography by: Ben Davis
Edited by: Mikkel E.G. Nielsen
Cameras: ARRI ALEXA Mini LF Camera
Lenses: ARRI Signature Prime Lenses
Dailies Colourist
Pokémon: Detective Pikachu (2019)
Directed by: Rob Letterman
Cinematography by: John Mathieson
Colorist: Dailies
Solo: A Star Wars Story (2018)
Directed by: Ron Howard
Cinematography by: Bradford Young
Edited by: Pietro Scalia
Dailies Colourist
Doctor Strange (2016)
Directed by: Scott Derrickson
Cinematography by: Ben Davis
Dailies Colourist
Rogue One (2016)
Directed by: Gareth Edwards
Cinematography by: Greig Fraser
Cameras: ARRI ALEXA 65 Camera
Lenses: Panavision APO Panatar Lenses
Editing System: Avid Editing System
Colorist: Dailies
Spectre (2015)
Directed by: Sam Mendes
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E100 100 mm T2.3 Lens, Panavision Primo 70 Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Colorist Dailies
Mission: Impossible - Rogue Nation (2015)
Directed by: Christopher McQuarrie
Cinematography by: Robert Elswit
Edited by: Eddie Hamilton
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Millennium XL2 Camera
Editing System: Avid Editing System
Colorist Dailies
Star Wars: Episode VII - The Force Awakens (2015)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRI ALEXA Camera, IMAX MKIII Reflex Camera, IMAX MSM 9802 Camera, Panavision Panaflex Millennium XL2 Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision Retro C 100mm T2.8 Lens, Panavision Retro C 35mm T2.8 Lens, Panavision Retro C 40mm T2.8 Lens, Panavision Retro C 50mm T2.8 Lens, Panavision Retro C 60mm T2.8 Lens, Panavision Retro C 75mm T2.8 Lens
Editing System: Avid Editing System
Colorist: Dailies
Jack Ryan: Shadow Recruit (2014)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Martin Walsh
Editing System: Avid Editing System
Dailies Colorist: Deluxe 142
The World's End (2013)
Directed by: Edgar Wright
Cinematography by: Bill Pope
Edited by: Paul Machliss
Colorist
RED 2 (2013)
Directed by: Dean Parisot
Cinematography by: Enrique Chediak
Edited by: Don Zimmerman
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk V-Lite Lenses
Hd Dailies Colorist
Wrath of the Titans (2012)
Directed by: Jonathan Liebesman
Cinematography by: Ben Davis
Edited by: Martin Walsh
Hd Dailies Colorist
Snow White and the Huntsman (2012)
Directed by: Rupert Sanders
Cinematography by: Greig Fraser
Hd Dailies Colorist
X: First Class (2011)
Directed by: Matthew Vaughn
Cinematography by: John Mathieson
Colorist: Dailies
The Iron Lady (2011)
Directed by: Phyllida Lloyd
Cinematography by: Elliot Davis
Edited by: Justine Wright
Colorist: Dailies, UK
W.E. (2011)
Directed by: Madonna
Cinematography by: Hagen Bogdanski
Edited by: Danny Tull
Lenses: Zeiss Ultra Prime Lenses
Colorist: Dailies
The Eagle (2011)
Directed by: Kevin Macdonald
Cinematography by: Anthony Dod Mantle
Edited by: Justine Wright
Colorist: Dailies
Nanny McPhee Returns (2010)
Directed by: Susanna White
Cinematography by: Mike Eley
Edited by: Sim Evan-Jones
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses, Zeiss Master Zoom 16.5–110mm T2.6 Lens
Editing System: Avid Editing System
Colorist: Dailies
Prince of Persia: The Sands of Time (2010)
Directed by: Mike Newell
Cinematography by: John Seale
Cameras: Pan-Arri 235 Camera, Pan-Arri 435 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Final Cut Pro Editing System
Colorist: High-definition Dailies
Green Zone (2010)
Directed by: Paul Greengrass
Cinematography by: Barry Ackroyd
Edited by: Christopher Rouse
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Colorist: Dailies
Never Let Me Go (2010)
Directed by: Mark Romanek
Cinematography by: Adam Kimmel
Edited by: Barney Pilling
Colorist: Dailies: UK Shoot
Get Him to the Greek (2010)
Directed by: Nicholas Stoller
Cinematography by: Robert D. Yeoman
Cameras: Panavision Cameras
Colorist: Dailies
Quantum of Solace (2008)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, ARRIFLEX D-21 Camera, Bell & Howell Eyemo Camera, Dalsa Origin Camera, Sony HDW-F900R Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Remastering Colorist
The Phantom of the Opera (2004)
Directed by: Joel Schumacher
Cinematography by: John Mathieson
Edited by: Terry Rawlings
Dailies Colorist
The Four Feathers (2002)
Directed by: Shekhar Kapur
Cinematography by: Robert Richardson
Edited by: Steven Rosenblum
