Dailies Colorist: Deluxe Los Angeles
Blue Jasmine (2013)
Directed by: Woody Allen
Cinematography by: Javier Aguirresarobe
Edited by: Alisa Lepselter
Lenses: Zeiss Master Prime Lenses
Editing System: Avid Editing System
Colorist: Dailies
Casa de mi Padre (2012)
Directed by: Matt Piedmont
Cinematography by: Ramsey Nickell
Edited by: David Trachtenberg
Cameras: Panavision Panaflex Gold II Camera
Colorist: Dailies
Katy Perry: Part of Me (2012)
Cameras: Red Epic Camera
Lenses: Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo DP 16-42 mm T2.8 Lens, Angenieux Optimo DP 30-80 mm T2.8 Lens, Zeiss Ultra Prime Distagon 16 mm T1.9 Lens, Zeiss Ultra Prime Distagon 24 mm T1.9 Lens, Zeiss Ultra Prime Distagon 32 mm T1.9 Lens, Zeiss Ultra Prime Lenses, Zeiss Ultra Prime Planar 50 mm T1.9 Lens
Color Timer: High Definition Dailies
Beastly (2011)
Directed by: Daniel Barnz
Cinematography by: Mandy Walker
Edited by: Thomas J. Nordberg
Colorist: Dailies
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Colorist
A Little Bit of Heaven (2011)
Directed by: Nicole Kassell
Cinematography by: Russell Carpenter
Edited by: Stephen A. Rotter
Colorist: Dailies
RED (2010)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lenses
Colorist: Dailies
Secretariat (2010)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: John Wright
Colorist: Dailies - Visual Effects
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
Extraordinary Measures (2010)
Directed by: Tom Vaughan
Cinematography by: Andrew Dunn
Edited by: Anne V. Coates
Colorist: Dailies
Sympathy for Delicious (2010)
Directed by: Mark Ruffalo
Cinematography by: Christopher Norr
Edited by: Pete Beaudreau
Colorist: Dailies
Extract (2009)
Directed by: Mike Judge
Cinematography by: Tim Suhrstedt
Edited by: Julia Wong
Colorist: Dailies
Happy in the Valley (2009)
Directed by: Lee Madsen
Cinematography by: Ben Kufrin
Edited by: Dean Lemes
Colorist: Dailies
Doc West (2009)
Cinematography by: Massimiliano Trevis
Edited by: Roberto Siciliano
Colorist: Dailies
Redbelt (2008)
Directed by: David Mamet
Cinematography by: Robert Elswit
Edited by: Barbara Tulliver
Colorist: Dailies
Appaloosa (2008)
Directed by: Ed Harris
Cinematography by: Dean Semler
Edited by: Kathryn Himoff
Colorist: Dailies - Additional Photography
Get Smart (2008)
Directed by: Peter Segal
Cinematography by: Dean Semler
Edited by: Richard Pearson
Lenses: Panavision Primo Anamorphic Lenses, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens
Editing System: Avid Editing System
Colorist: Dailies
Lakeview Terrace (2008)
Directed by: Neil LaBute
Cinematography by: Rogier Stoffers
Edited by: Joel Plotch
Colorist: Dailies - Visual Effects
Spider-Man 3 (2007)
Directed by: Sam Raimi
Cinematography by: Bill Pope
Edited by: Bob Murawski
Editing System: Avid Editing System
Colorist: Dailies
Lions for Lambs (2007)
Directed by: Robert Redford
Cinematography by: Philippe Rousselot
Edited by: Joe Hutshing
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Colorist: Dailies
Big Momma's House 2 (2006)
Directed by: John Whitesell
Cinematography by: Mark Irwin
Edited by: Priscilla Nedd-Friendly
Colorist: Dailies
Apocalypto (2006)
Directed by: Mel Gibson
Cinematography by: Dean Semler
Edited by: John Wright
Colorist: Dailies
Seraphim Falls (2006)
Directed by: David Von Ancken
Cinematography by: John Toll
Edited by: Conrad Buff IV
Colorist: Dailies
The Benchwarmers (2006)
Directed by: Dennis Dugan
Cinematography by: Thomas E. Ackerman
Colorist: Dailies
The Matador (2005)
Directed by: Richard Shepard
Cinematography by: David Tattersall
Edited by: Carole Kravetz Aykanian
Colorist: Dailies: Visual Effects
Fantastic Four (2005)
Directed by: Tim Story
Cinematography by: Oliver Wood
Edited by: William Hoy
Colorist: Dailies: Visual Effects
Serenity (2005)
Directed by: Joss Whedon
Cinematography by: Jack N. Green
Edited by: Lisa Lassek
Lenses: Panavision Lenses
Colorist: Dailies
The New World (2005)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Colorist: Dailies - Visual Effects
King Arthur (2004)
Directed by: Antoine Fuqua
Cinematography by: Slawomir Idziak
Colorist: Dailies
13 Going on 30 (2004)
Directed by: Gary Winick
Cinematography by: Don Burgess
Edited by: Susan Littenberg
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Colorist: Dailies
Dodgeball: A True Underdog Story (2004)
Directed by: Rawson Marshall Thurber
Cinematography by: Jerzy Zielinski
Cameras: Panavision Cameras
Colorist: Dailies - Visual Effects
Ray (2004)
Directed by: Taylor Hackford
Cinematography by: Pawel Edelman
Edited by: Paul Hirsch
Colorist: Dailies - Visual Effects
Elf (2003)
Directed by: Jon Favreau
Cinematography by: Greg Gardiner
Edited by: Dan Lebental
Cameras: Panavision Cameras
Colorist: Dailies - Visual Effects
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Editorial Assistant
The Hot Chick (2002)
Directed by: Tom Brady
Cinematography by: Tim Suhrstedt
Edited by: Peck Prior
