Standby Painter
Blonde (2022)
Directed by: Andrew Dominik
Cinematography by: Chayse Irvin
Edited by: Adam Robinson
Standby Painter
Top Gun: Maverick (2022)
Directed by: Joseph Kosinski
Cinematography by: Claudio Miranda
Edited by: Eddie Hamilton
Cameras: Sony CineAlta VENICE Camera
Standby Painter: US
Tenet (2020)
Directed by: Christopher Nolan
Cinematography by: Hoyte Van Hoytema
Edited by: Jennifer Lame
Cameras: ARRIFLEX 765 Camera, IMAX MKIII Reflex Camera, IMAX MKIV Reflex Camera, IMAX MSM 9802 Camera, Panavision System 65 Camera
Editing System: Avid Editing System
Onset Painter
Guardians of the Galaxy Vol. 2 (2017)
Directed by: James Gunn
Cinematography by: Henry Braham
Cameras: Red Weapon Dragon Camera
Lenses: Panavision Primo 70 Lenses
Standby Painter: Los Angeles
The Nice Guys (2016)
Directed by: Shane Black
Cinematography by: Philippe Rousselot
Edited by: Joel Negron
Cameras: ARRI ALEXA XT Camera
Standby Painter
War Dogs (2016)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Jeff Groth
Cameras: ARRI ALEXA XT Camera
Stand-by Painter
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Stand By Painter
Horrible Bosses 2 (2014)
Directed by: Sean Anders
Cinematography by: Julio Macat
Edited by: Eric Kissack
Cameras: ARRI ALEXA XT Camera
Lenses: Leitz Summilux-C Series Lenses
On-set Painter
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Standby Painter
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Stand-by Painter
John Carter (2012)
Directed by: Andrew Stanton
Cinematography by: Dan Mindel
Edited by: Eric Zumbrunnen
Lenses: Panavision ALZ3 270-840 mm T4.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Apple Final Cut Pro 7
Standby Painter
The Hangover Part II (2011)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
On-set Painter
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by: Rob Marshall
Cinematography by: Dariusz Wolski
Cameras: Red Epic Camera, Red One MX Camera
Stand By Painter
The Muppets (2011)
Directed by: James Bobin
Cinematography by: Don Burgess
Edited by: James Thomas
Cameras: Red Epic Camera, Red One MX Camera
Stand-by Painter: Los Angeles
Marmaduke (2010)
Directed by: Tom Dey
Cinematography by: Greg Gardiner
Edited by: Don Zimmerman
Stand-by Painter
Little Fockers (2010)
Directed by: Paul Weitz
Cinematography by: Remi Adefarasin
Cameras: ARRI Cameras
Stand-by Painter
Valentine's Day (2010)
Directed by: Garry Marshall
Cinematography by: Charles Minsky
Edited by: Bruce Green
Stand-by Painter
Terminator Salvation (2009)
Directed by: McG
Cinematography by: Shane Hurlbut
Edited by: Conrad Buff IV
Standby Painter: Los Angeles
It's Complicated (2009)
Directed by: Nancy Meyers
Cinematography by: John Toll
Stand-by Painter
Star Trek (2009)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Cameras: ARRIFLEX 435 ES 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 Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System, Avid Editing System
Stand-by Painter
The Hangover (2009)
Directed by: Todd Phillips
Cinematography by: Lawrence Sher
Edited by: Debra Neil-Fisher
Stand-by Painter
Iron Man (2008)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Edited by: Dan Lebental
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Stand-by Painter
Charlie Wilson's War (2007)
Directed by: Mike Nichols
Cinematography by: Stephen Goldblatt
Standby Painter
The Holiday (2006)
Directed by: Nancy Meyers
Cinematography by: Dean Cundey
Edited by: Joe Hutshing
Cameras: Panavision Panaflex Platinum Camera
Stand-by Painter
Big Momma's House 2 (2006)
Directed by: John Whitesell
Cinematography by: Mark Irwin
Edited by: Priscilla Nedd-Friendly
Stand-by Painter
Mission: Impossible III (2006)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Stand-by Painter
The 40-Year-Old Virgin (2005)
Directed by: Judd Apatow
Cinematography by: Jack N. Green
Edited by: Brent White
Stand-by Painter
The Skeleton Key (2005)
Directed by: Iain Softley
Cinematography by: Dan Mindel
Edited by: Joe Hutshing
Stand-by Painter
The Last Shot (2004)
Directed by: Jeff Nathanson
Cinematography by: John Lindley
Edited by: David Rosenbloom
Lead Painter
The Hunted (2003)
Directed by: William Friedkin
Cinematography by: Caleb Deschanel
Edited by: Augie Hess
Second Head Painter
All the Pretty Horses (2000)
Directed by: Billy Bob Thornton
Cinematography by: Barry Markowitz
Edited by: Sally Menke
Stand-by Painter
The Green Mile (1999)
Directed by: Frank Darabont
Cinematography by: David Tattersall
Edited by: Richard Francis-Bruce
Cameras: Panavision Panaflex Platinum Camera
Paint Foreman
Pleasantville (1998)
Directed by: Gary Ross
Cinematography by: John Lindley
Edited by: William Goldenberg
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Paint Foreman
L.A. Confidential (1997)
Directed by: Curtis Hanson
Cinematography by: Dante Spinotti
Edited by: Peter Honess
Cameras: Panavision Panaflex Gold II Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Paint Foreperson
Primal Fear (1996)
Directed by: Gregory Hoblit
Cinematography by: Michael Chapman
Edited by: David Rosenbloom
Cameras: Panavision Panaflex Gold II Camera
Second Lead
Under Siege 2: Dark Territory (1995)
Directed by: Geoff Murphy
Cinematography by: Robbie Greenberg
Edited by: Michael Tronick
Painter
Wyatt Earp (1994)
Directed by: Lawrence Kasdan
Cinematography by: Owen Roizman
Edited by: Carol Littleton
Stand-by Painter
The Beverly Hillbillies (1993)
Directed by: Penelope Spheeris
Cinematography by: Robert Brinkmann
Edited by: Ross Albert
Cameras: ARRIFLEX 535 B Camera
Paint Gang Boss
Weekend at Bernie's II (1993)
Directed by: Robert Klane
Cinematography by: Edward Morey III
Edited by: Peck Prior
Labor Forman
Overboard (1987)
Directed by: Garry Marshall
Cinematography by: John A. Alonzo
Cameras: Panavision Cameras
Propmaker
Starman (1984)
Directed by: John Carpenter
Cinematography by: Donald M. Morgan
Edited by: Marion Rothman
