Dailies Colorist: Company 3 Los Angeles
Maestro (2023)
Directed by: Bradley Cooper
Cinematography by: Matthew Libatique
Edited by: Michelle Tesoro
Lenses: Panavision PVintage Prime Lenses
Dailies Colorist: Company 3
Sonic the Hedgehog 2 (2022)
Directed by: Jeff Fowler
Cinematography by: Brandon Trost
Edited by: Jim May
Cameras: ARRI ALEXA Mini LF Camera
Editing System: Avid Editing System
Colorist: Dailies
Bombshell (2019)
Directed by: Jay Roach
Cinematography by: Barry Ackroyd
Edited by: Jon Poll
Cameras: ARRI ALEXA Mini Camera
Colorist: Dailies
The Book of Henry (2017)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Lenses: Panavision Lenses
Colorist: Dailies
Jane Got a Gun (2015)
Directed by: Gavin O'Connor
Cinematography by: Mandy Walker
Edited by: Alan Cody
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision B Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Colorist: Dailies
Straight Outta Compton (2015)
Directed by: F. Gary Gray
Cinematography by: Matthew Libatique
Cameras: Red Epic Dragon Camera
Colorist: Dailies
Jurassic World (2015)
Directed by: Colin Trevorrow
Cinematography by: John Schwartzman
Edited by: Kevin Stitt
Colorist: Dailies
Fury (2014)
Directed by: David Ayer
Cinematography by: Roman Vasyanov
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C1000 1000 mm T5.6 Lens, Panavision G Series Anamorphic Lenses
Editing System: Avid Editing System
Colorist: Dailies
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
Rigging Best Boy: New Mexico
The Host (2013)
Directed by: Andrew Niccol
Cinematography by: Roberto Schaefer
Edited by: Thomas J. Nordberg
Cameras: ARRI ALEXA Camera
Rigging Electrician: New Mexico
2 Guns (2013)
Directed by: Baltasar Kormákur
Cinematography by: Oliver Wood
Edited by: Michael Tronick
Colorist: Dailies
Saving Mr. Banks (2013)
Directed by: John Lee Hancock
Cinematography by: John Schwartzman
Edited by: Mark Livolsi
Colorist: Dailies
Good Deeds (2012)
Directed by: Tyler Perry
Cinematography by: Alexander Gruszynski
Edited by: Maysie Hoy
Cameras: ARRI ALEXA Camera
Colorist: Dailies
Ruby Sparks (2012)
Cinematography by: Matthew Libatique
Edited by: Pamela Martin
Lenses: Cooke Speed Panchro Lenses
Colorist: Dailies
People Like Us (2012)
Directed by: Alex Kurtzman
Cinematography by: Salvatore Totino
Edited by: Robert Leighton
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Colorist: CinemaScan
Argo (2012)
Directed by: Ben Affleck
Cinematography by: Rodrigo Prieto
Edited by: William Goldenberg
Colorist: Dailies
The Twilight Saga: Breaking Dawn - Part 2 (2012)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Editing System: Adobe Premiere Editing System, Avid Editing System
Colorist: Dailies
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
Cinema Scan Dailies Colorist: EFilm
Seven Psychopaths (2012)
Directed by: Martin McDonagh
Cinematography by: Ben Davis
Edited by: Lisa Gunning
Colorist: Dailies
The Guilt Trip (2012)
Directed by: Anne Fletcher
Cinematography by: Oliver Stapleton
Colorist: Dailies
Water for Elephants (2011)
Directed by: Francis Lawrence
Cinematography by: Rodrigo Prieto
Edited by: Alan Edward Bell
Editing System: Avid Editing System
Colorist: Dailies, Cinemascan
Cowboys & Aliens (2011)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Colorist: Dailies, Cinemascan
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Colorist: Dailies
The Twilight Saga: Breaking Dawn - Part 1 (2011)
Directed by: Bill Condon
Cinematography by: Guillermo Navarro
Edited by: Virginia Katz
Editing System: Avid Editing System
Digital Intermediate Dailies Colorist: CinemaScan
We Bought a Zoo (2011)
Directed by: Cameron Crowe
Cinematography by: Rodrigo Prieto
Edited by: Mark Livolsi
Cameras: ARRICAM Lite (LT) Camera
Lenses: Zeiss Ultra Prime Lenses
Colorist: Dailies
Captain America: The First Avenger (2011)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera
Editing System: Avid Editing System
Colorist: Dailies, Cinemascan
The Help (2011)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Hughes Winborne
Colorist: Dailies
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Colorist: Dailies
Eat Pray Love (2010)
Directed by: Ryan Murphy
Cinematography by: Robert Richardson
Edited by: Bradley Buecker
Editing System: Final Cut Pro Editing System
Colorist: Dailies
Shutter Island (2010)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: Thelma Schoonmaker
Cameras: ARRIFLEX 765 Camera, ARRIFLEX D-21 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex System 65 Studio Camera - 65SPFX Camera
Editing System: Lightworks Editing System
Colorist: Dailies
Dinner for Schmucks (2010)
Directed by: Jay Roach
Cinematography by: Jim Denault
Editing System: Avid Editing System
Electrician
Living Hell (2008)
Directed by: Richard Jefferies
Cinematography by: Eric Leach
Edited by: Russell Denove
Cameras: Panavision Cameras
Editing System: Final Cut Pro Editing System
Digital Colorist Assistant: EFilm
Thomas Kinkade's Christmas Cottage (2008)
Directed by: Michael Campus
Cinematography by: Robert Brinkmann
Edited by: Don Brochu
Company Electrician
Bordertown (2007)
Directed by: Gregory Nava
Cinematography by: Reynaldo Villalobos
Edited by: Padraic McKinley
Digital Intermediate Colorist Assist: EFILM
Malos hábitos (2007)
Directed by: Simón Bross
Cinematography by: Eduardo Martínez Solares
Digital Colorist Assist
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Assistant: Digital Intermediate Colorist
Click (2006)
Directed by: Frank Coraci
Cinematography by: Dean Semler
Edited by: Jeff Gourson
Cameras: Panavision Genesis Camera
Assistant: Digital Intermediate Colorist
We Are Marshall (2006)
Directed by: McG
Cinematography by: Shane Hurlbut
Assistant Digital Intermediate Colorist
The Da Vinci Code (2006)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Assistant: Digital Intermediate Colorist
Inside Man (2006)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Digital Intermediate Color Artist: EFilm
Apocalypto (2006)
Directed by: Mel Gibson
Cinematography by: Dean Semler
Edited by: John Wright
Assistant Digital Intermediate Colorist
Blood Diamond (2006)
Directed by: Edward Zwick
Cinematography by: Eduardo Serra
Edited by: Steven Rosenblum
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses: Hawk C-Series Lenses, Hawk V-Series Lenses
Grip
The Astronaut Farmer (2006)
Directed by: Michael Polish
Cinematography by: M. David Mullen
Edited by: James Haygood
Digital Color Assistant, Digital Intermediate Color Assistant
Man About Town (2006)
Directed by: Mike Binder
Cinematography by: Russ T. Alsobrook
Edited by: Roger Nygard
Assistant Digital Intermediate Colorist
Children of Men (2006)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Assistant: Digital Intermediate Colorist
The Interpreter (2005)
Directed by: Sydney Pollack
Cinematography by: Darius Khondji
Edited by: William Steinkamp
Digital Colorist Assistant
Cinderella Man (2005)
Directed by: Ron Howard
Cinematography by: Salvatore Totino
Digital Intermediate Colorist Assist: EFilm
The Family Stone (2005)
Directed by: Thomas Bezucha
Cinematography by: Jonathan Brown
Edited by: Jeffrey Ford
Assistant: Digital Intermediate Colorist
Stealth (2005)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Edited by: Stephen E. Rivkin
Digital Intermediate Colorist Assistant: Efilm
Happy Endings (2005)
Directed by: Don Roos
Cinematography by: Clark Mathis
Edited by: David Codron
Editing System: Final Cut Pro Editing System
Digital Colorist Assistant
In Her Shoes (2005)
Directed by: Curtis Hanson
Cinematography by: Terry Stacey
Assistant: Digital Intermediate Colorist
The Producers (2005)
Directed by: Susan Stroman
Edited by: Steven Weisberg
Digital Colorist Assistant
The Alamo (2004)
Directed by: John Lee Hancock
Cinematography by: Dean Semler
Edited by: Eric L. Beason
Digital Colorist Assistant
Sky Captain and the World of Tomorrow (2004)
Directed by: Kerry Conran
Cinematography by: Eric Adkins
Edited by: Sabrina Plisco
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
Digital Colorist Assistant
Spider-Man 2 (2004)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Cameras: ARRIFLEX 435 Camera, Beaumont Vista Vision Camera, Iwerks MSM 8870 Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision System 65 Camera
Editing System: Avid Editing System
Digital Colorist Assistant
The Passion of the Christ (2004)
Directed by: Mel Gibson
Cinematography by: Caleb Deschanel
Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Avid Editing System
Electrician
Elvis Has Left the Building (2004)
Directed by: Joel Zwick
Cinematography by: Paul Elliott
Edited by: Heather Persons
Digital Colorist Assistant
Spanglish (2004)
Directed by: James L. Brooks
Cinematography by: John Seale
Digital Colorist Assistant
The Assassination of Richard Nixon (2004)
Directed by: Niels Mueller
Cinematography by: Emmanuel Lubezki
Edited by: Jay Cassidy
Digital Colorist Assistant
Daredevil (2003)
Directed by: Mark Steven Johnson
Cinematography by: Ericson Core
Digital Colorist Assistant
Charlie's Angels: Full Throttle (2003)
Directed by: McG
Cinematography by: Russell Carpenter
Edited by: Wayne Wahrman
Digital Colorist Assistant
The Company (2003)
Directed by: Robert Altman
Cinematography by: Andrew Dunn
Edited by: Geraldine Peroni
Digital Colorist Assistant: EFilm
21 Grams (2003)
Directed by: Alejandro G. Iñárritu
Cinematography by: Rodrigo Prieto
Edited by: Stephen Mirrione
Cameras: Moviecam Superlight Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Digital Colorist Assistant
Bruce Almighty (2003)
Directed by: Tom Shadyac
Cinematography by: Dean Semler
Edited by: Scott Hill
Lenses: Panavision Primo Close Focus Spherical Lenses, Panavision Primo Primes Spherical Lenses, Panavision Primo Zooms Spherical Lenses
Editing System: Lightworks Editing System
Digital Colorist Assistant
Big Fish (2003)
Directed by: Tim Burton
Cinematography by: Philippe Rousselot
Edited by: Chris Lebenzon
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Colorist Assistant
25th Hour (2002)
Directed by: Spike Lee
Cinematography by: Rodrigo Prieto
Edited by: Barry Alexander Brown
Lenses: Zeiss Ultra Prime Lenses
Digital Colorist Assistant
xXx (2002)
Directed by: Rob Cohen
Cinematography by: Dean Semler
Digital Colorist Assistant
8 Mile (2002)
Directed by: Curtis Hanson
Cinematography by: Rodrigo Prieto
Lenses: Zeiss Ultra Prime Lenses
Digital Color Assistant: Efilm
Frida (2002)
Directed by: Julie Taymor
Cinematography by: Rodrigo Prieto
Edited by: Françoise Bonnot
Cameras: ARRIFLEX 435 Camera, Moviecam Compact Camera
Lenses: Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
