Colorist
Office Ninja (2014)
Directed by: Bin Lee
Cinematography by: Jeff Samuelson
Edited by: Tim Leavitt
Additional Dailies Colorist
Saving Mr. Banks (2013)
Directed by: John Lee Hancock
Cinematography by: John Schwartzman
Edited by: Mark Livolsi
Additional Dailies Colorist
All Is Lost (2013)
Directed by: J.C. Chandor
Edited by: Pete Beaudreau
Cameras: ARRI ALEXA Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens, Zeiss Standard Speed Prime Lenses
Editing System: Avid Editing System
Additional Dailies Colorist
The Hunger Games: Catching Fire (2013)
Directed by: Francis Lawrence
Cinematography by: Jo Willems
Edited by: Alan Edward Bell
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, 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 Primo Anamorphic Lenses, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Additional Dailies Colorist
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Additional Dailies Colorist
Seven Psychopaths (2012)
Directed by: Martin McDonagh
Cinematography by: Ben Davis
Edited by: Lisa Gunning
Colorist
American Warships (2012)
Directed by: Thunder Levin
Cinematography by: Stuart Brereton
Edited by: Karl Armstrong
Additional Dailies Colorist
Django Unchained (2012)
Directed by: Quentin Tarantino
Cinematography by: Robert Richardson
Edited by: Fred Raskin
Lenses: Panavision ALZ11 48-550 mm T4.5 Lens, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Additional Dailies Colorist
Jack Reacher (2012)
Directed by: Christopher McQuarrie
Cinematography by: Caleb Deschanel
Edited by: Kevin Stitt
Colorist
My Sister's Keeper (2009)
Directed by: Nick Cassavetes
Cinematography by: Caleb Deschanel
Cameras: Panavision Panaflex Platinum Camera
Colorist: Dailies
Get Low (2009)
Directed by: Aaron Schneider
Cinematography by: David Boyd
Edited by: Aaron Schneider
Cameras: Panavision Panaflex Gold II Camera
Editing System: Final Cut Pro Editing System
Dailies Colorist: LaserPacific
Zack and Miri Make a Porno (2008)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Colorist
To Live and Die in Dixie (2008)
Directed by: Harper Philbin
Cinematography by: Jack Anderson
Colorist: Dailies
No Country for Old Men (2007)
Cinematography by: Roger Deakins
Lenses: Cooke S4 Lenses, Zeiss Master Prime Lenses
Editing System: Final Cut Pro Editing System
Colorist
The Kite Runner (2007)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Colorist: Dailies, Laser Pacific
Stranger Than Fiction (2006)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Dailies Colorist: LaserPacific
Clerks II (2006)
Directed by: Kevin Smith
Cinematography by: David Klein
Edited by: Kevin Smith
Colorist
Because of Winn-Dixie (2005)
Directed by: Wayne Wang
Cinematography by: Karl Walter Lindenlaub
Edited by: Deirdre Slevin
Colorist
Harsh Times (2005)
Directed by: David Ayer
Cinematography by: Steve Mason
Edited by: Conrad Buff IV
Dailies Timer
Venom (2005)
Directed by: Jim Gillespie
Cinematography by: Steve Mason
Edited by: Paul Martin Smith
Additional Dailies Colorist
Man on Fire (2004)
Directed by: Tony Scott
Cinematography by: Paul Cameron
Edited by: Christian Wagner
Cameras: Panavision Cameras
Lenses: Panavision Lenses
