Supervising Digital Colorist
King Arthur: Legend of the Sword (2017)
Directed by: Guy Ritchie
Cinematography by: John Mathieson
Edited by: James Herbert
Cameras: ARRI ALEXA XT Camera
Colorist
Crouching Tiger, Hidden Dragon: Sword of Destiny (2016)
Directed by: Woo-Ping Yuen
Cinematography by: Newton Thomas Sigel
Edited by: Jeff Betancourt
Cameras: Red Epic Dragon Camera
Editing System: Avid Editing System
Supervising Digital Colorist
The Legend of Tarzan (2016)
Directed by: David Yates
Cinematography by: Henry Braham
Edited by: Mark Day
Cameras: Red Epic Dragon Camera
Supervising Digital Colourist
Fantastic Beasts and Where to Find Them (2016)
Directed by: David Yates
Cinematography by: Philippe Rousselot
Edited by: Mark Day
Cameras: ARRI ALEXA XT Camera
Supervising Digital Colourist
Pan (2015)
Directed by: Joe Wright
Cameras: ARRI ALEXA XT Camera, Phantom Flex Camera
Supervising Digital Colorist
Paddington (2014)
Directed by: Paul King
Cinematography by: Erik Wilson
Edited by: Mark Everson
Cameras: ARRI ALEXA Studio Camera, ARRI ALEXA XT Camera
Lenses: Cooke S4 Lenses
Supervising Digital Colourist
Edge of Tomorrow (2014)
Directed by: Doug Liman
Cinematography by: Dion Beebe
Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Supervising Digital Colorist
The Water Diviner (2014)
Directed by: Russell Crowe
Cinematography by: Andrew Lesnie
Edited by: Matt Villa
Cameras: ARRI ALEXA XT Camera
Supervising Digital Colorist
Big Eyes (2014)
Directed by: Tim Burton
Cinematography by: Bruno Delbonnel
Edited by: JC Bond
Editing System: Avid Editing System
Supervising Digital Colorist
The Theory of Everything (2014)
Directed by: James Marsh
Cinematography by: Benoît Delhomme
Edited by: Jinx Godfrey
Supervising Digital Colorist: Technicolor Postworks NY
Inside Llewyn Davis (2013)
Cinematography by: Bruno Delbonnel
Cameras: ARRICAM Lite (LT) Camera
Editing System: Adobe Premiere Editing System, Final Cut Pro Editing System
Supervising Digital Colorist
Dark Shadows (2012)
Directed by: Tim Burton
Cinematography by: Bruno Delbonnel
Edited by: Chris Lebenzon
Digital Intermediate Consultant
The Hobbit: An Unexpected Journey (2012)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jabez Olssen
Cameras: Red Epic Camera
Lenses: Angenieux Optimo DP 16-42mm T2.8 Lens, Angenieux Optimo DP 30-80mm T2.8 Lens, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Supervising Digital Colorist
Harry Potter and the Deathly Hallows: Part 2 (2011)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Lenses: Cooke S4 Lenses
Supervising Digital Colourist
Faust (2011)
Directed by: Aleksandr Sokurov
Cinematography by: Bruno Delbonnel
Edited by: Jörg Hauschild
Supervising Digital Colourist
Harry Potter and the Deathly Hallows: Part 1 (2010)
Directed by: David Yates
Cinematography by: Eduardo Serra
Edited by: Mark Day
Supervising Digital Colourist
Everybody's Fine (2009)
Directed by: Kirk Jones
Cinematography by: Henry Braham
Edited by: Andrew Mondshein
Supervising Digital Colorist
Harry Potter and the Half-Blood Prince (2009)
Directed by: David Yates
Cinematography by: Bruno Delbonnel
Edited by: Mark Day
Supervising Digital Colorist, Supervising Digital Colourist
The Golden Compass (2007)
Directed by: Chris Weitz
Cinematography by: Henry Braham
Supervising Digital Colorist
Harry Potter and the Order of the Phoenix (2007)
Directed by: David Yates
Cinematography by: Slawomir Idziak
Edited by: Mark Day
Cameras: ARRI Cameras
Supervising Digital Colorist
Dünyayi Kurtaran Adam'in Oglu (2006)
Directed by: Kartal Tibet
Cinematography by: Tolga Kutlar
Supervising Digital Colorist
Harry Potter and the Goblet of Fire (2005)
Directed by: Mike Newell
Cinematography by: Roger Pratt
Edited by: Mick Audsley
Supervising Digital Colorist
Charlie and the Chocolate Factory (2005)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Colour Supervisor
King Kong (2005)
Directed by: Peter Jackson
Cinematography by: Andrew Lesnie
Edited by: Jamie Selkirk
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Advanced Camera, Mitchell Cameras
Editing System: Avid Editing System
Supervising Digital Colorist
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography by: Michael Seresin
Edited by: Steven Weisberg
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Supervising Digital Colourist
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
Supervising Digital Colourist
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
Supervising Digital Colourist: The PostHoust AG
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
Creative Director: Dfilm Digital Effects, Title Designer: Opening Titles
Two Hands (1999)
Directed by: Gregor Jordan
Cinematography by: Malcolm McCulloch
Edited by: Lee Smith
Executive Producer: DFilm Services
The Matrix (1999)
Cinematography by: Bill Pope
Edited by: Zach Staenberg
Cameras: Pan-Arri 435 Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera, Photo-Sonics Cameras
Lenses: Panavision Lenses
Title Designer: Main Titles, Visual Effects Creative Director: DFilm Services
Dark City (1998)
Directed by: Alex Proyas
Cinematography by: Dariusz Wolski
Edited by: Dov Hoenig
Cameras: Panavision Panaflex Gold II Camera
Visual Effects Creative Director: Dfilm Digital Effects, Visual Effects Creative Director: DFilm Services
Oscar and Lucinda (1997)
Directed by: Gillian Armstrong
Cinematography by: Geoffrey Simpson
Edited by: Nicholas Beauman
Cameras: Panavision Panaflex Gold II Camera
Senior Digital Visual Effects Compositor: Mass. Illusion
Eraser (1996)
Directed by: Chuck Russell
Cinematography by: Adam Greenberg
Edited by: Michael Tronick