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
Colorist
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Colorist: Technicolor
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Colorist: Dreamworks Animation
Turbo (2013)
Directed by: David Soren
Cinematography by: Chris Stover
Edited by: James Ryan
Digital Colorist: Dreamworks Animation
Madagascar 3: Europe's Most Wanted (2012)
Edited by: Nick Fletcher
Editing System: Avid Editing System
Digital Colorist: Dreamworks Animation
Rise of the Guardians (2012)
Directed by: Peter Ramsey
Edited by: Joyce Arrastia
Digital Colorist: Dreamworks Animation
Puss in Boots (2011)
Directed by: Chris Miller
Cinematography by: Gil Zimmerman
Edited by: Erika Dapkewicz
Colorist
Journey to the Center of the Earth (2008)
Directed by: Eric Brevig
Cinematography by: Chuck Shuman
Flame Artist: Cos FX
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Compositor: Gray Matter Visual Effects
The Invisible (2007)
Directed by: David S. Goyer
Cinematography by: Gabriel Beristain
Edited by: Conrad Smart
Digital Opticals
Zodiac (2007)
Directed by: David Fincher
Cinematography by: Harris Savides
Edited by: Angus Wall
Cameras: Thomson Viper Camera
Lenses: Zeiss DigiPrime Lenses
Editing System: Final Cut Pro Editing System
Digital Intermediate Assistant Colorist
Big Stan (2007)
Directed by: Rob Schneider
Cinematography by: Victor Hammer
Visual Effects: R!ot
Live Free or Die Hard (2007)
Directed by: Len Wiseman
Cinematography by: Simon Duggan
Edited by: Nicolas De Toth
Lenses: Angenieux Optimo Zoom Lenses, Cooke S4/i Prime 21mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 27mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 35mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 65mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0
Editing System: Avid Editing System
Flame Artist: SPI
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by: Andrew Adamson
Cinematography by: Donald McAlpine
Cameras: ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Millennium Camera
Editing System: Avid Editing System
Inferno Artist: CIS Hollywood
Ice Princess (2005)
Directed by: Tim Fywell
Cinematography by: David Hennings
Edited by: Janice Hampton
Flame Artist: SPI
The Prize Winner of Defiance, Ohio (2005)
Directed by: Jane Anderson
Cinematography by: Jonathan Freeman
Edited by: Robert Dalva
Look Developer: CIS/EFilm
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Flame Artist: SPI
Bewitched (2005)
Directed by: Nora Ephron
Cinematography by: John Lindley
Edited by: Tia Nolan
Inferno Artist: Hydraulyx
Flightplan (2005)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Digital Artist: Dreamworks Feature Animation, Digital Colorist
Shark Tale (2004)
Inferno Artist
Ocean's Twelve (2004)
Directed by: Steven Soderbergh
Cinematography by: Steven Soderbergh
Edited by: Stephen Mirrione
Inferno Artist: Rhythm & Hues
Friday Night Lights (2004)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Inferno Artist: SPI
Darkness Falls (2003)
Directed by: Jonathan Liebesman
Cinematography by: Dan Laustsen
Additional Compositing, Colorist: Five-O
Seabiscuit (2003)
Directed by: Gary Ross
Cinematography by: John Schwartzman
Edited by: William Goldenberg
Editing System: Avid Editing System
Compositor / Digital Compositor
Reign of Fire (2002)
Directed by: Rob Bowman
Cinematography by: Adrian Biddle
Cameras: Panavision Cameras
Inferno Artist: Photon VFX, Australia
Ghost Ship (2002)
Directed by: Steve Beck
Cinematography by: Gale Tattersall
Edited by: Roger Barton
Inferno Artist: SPI , Interactive Compositor: SPI
I Spy (2002)
Directed by: Betty Thomas
Cinematography by: Oliver Wood
Edited by: Peter Teschner
Inferno Artist: Asylum
Bad Company (2002)
Directed by: Joel Schumacher
Cinematography by: Dariusz Wolski
Inferno Artist
Spider-Man (2002)
Directed by: Sam Raimi
Cinematography by: Don Burgess
Cameras: Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Editing System: Avid Editing System
High Speed Compositing Artist: SPI
America's Sweethearts (2001)
Directed by: Joe Roth
Cinematography by: Phedon Papamichael
Edited by: Stephen A. Rotter
High Speed Compositor: SPI
Harry Potter and the Sorcerer's Stone (2001)
Directed by: Chris Columbus
Cinematography by: John Seale
Edited by: Richard Francis-Bruce
Inferno Artist
Black Hawk Down (2001)
Directed by: Ridley Scott
Cinematography by: Slawomir Idziak
Edited by: Pietro Scalia
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 435 ES Camera, Moviecam Compact Camera, Moviecam Superlight Camera
Editing System: Avid Editing System
High Speed Compositing Artist: SPI
What Lies Beneath (2000)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Cameras: Panavision Panaflex Platinum Camera
Inferno Artist: DQI
Gone in 60 Seconds (2000)
Directed by: Dominic Sena
Cinematography by: Paul Cameron
High Speed Compositing Artist: SPI
Cast Away (2000)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Compositor: DQI
Inspector Gadget (1999)
Directed by: David Kellogg
Cinematography by: Adam Greenberg
Cameras: ARRIFLEX 435 Camera, ARRIFLEX 535 Camera
Compositor: DQI
Instinct (1999)
Directed by: Jon Turteltaub
Cinematography by: Philippe Rousselot
Edited by: Richard Francis-Bruce
Digital Compositor: DQI
My Favorite Martian (1999)
Directed by: Donald Petrie
Cinematography by: Thomas E. Ackerman
Edited by: Malcolm Campbell
Digital Compositor: DQI , Inferno Artist: DQI
Bicentennial Man (1999)
Directed by: Chris Columbus
Cinematography by: Phil Meheux
Cameras: Panavision Panaflex Gold II Camera
Digital Compositor: DQI
Six Days Seven Nights (1998)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Digital Compositor: DQI
Armageddon (1998)
Directed by: Michael Bay
Cinematography by: John Schwartzman
Digital Compositor: Digital Domain
Red Corner (1997)
Directed by: Jon Avnet
Cinematography by: Karl Walter Lindenlaub
Edited by: Peter E. Berger
Digital Compositor: Digital Domain
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Digital Artist
The Fifth Element (1997)
Directed by: Luc Besson
Cinematography by: Thierry Arbogast
Edited by: Sylvie Landra
Cameras: ARRIFLEX 35 IIC Camera, ARRIFLEX 35 IIIC Camera, ARRIFLEX 435 Camera, ARRIFLEX 535 B Camera, Bell & Howell Eyemo Camera
Lenses: Zeiss Lenses
