Stephen Nakamura

Stephen Nakamura, one of the most accomplished feature film colourists in Hollywood, brings a wealth of experience to his work. He has collaborated with esteemed directors such as David Fincher, Ridley Scott, Kathryn Bigelow, Spike Lee, and Steven Spielberg, as well as renowned cinematographers Dariusz Wolski, ASC, Claudio Miranda, ASC, Robert Richardson, ASC, and Janusz Kaminski.  Stephen Nakamura’s feature film credits span a wide range of genres and styles, including major releases such as Nyad (Netflix), Napoleon (Columbia Pictures), Doctor Strange and the Multiverse of Madness (Marvel Studios), and nearly all of Ridley Scott’s feature directing work for over 15 years, including The Martian and the Alien franchise.  Further demonstrating his versatility, Nakamura has received multiple awards for his technical and artistic contributions to significant films, T.V. series, and commercials, including Disney+’s Obi-Wan Kenobi, Hennessy’s X.O.: The Seven Worlds, and most recently, HBO’s The Last of Us, for which he was awarded the 2024 Lumiere Award from the Advanced Imaging Society (AIS) for Best Use of High Dynamic Range in an episodic series. In 2018, Stephen Nakamura was accepted into the Academy of Motion Picture Arts & Sciences.  Before joining Company 3, Nakamura was with Technicolour Digital Services, where he got his start in feature film finishing. He was also a colourist with the Post Group, working on significant commercial, music video, television, and feature film projects. He began his career at California Video Centre.  Based at Company 3 Los Angeles. Available virtually through any Company 3 Virtual Outpost.  Information above via their homepage.

Additional information:

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Color Timer:
2002  Panic Room
2004  National Treasure
2008  The Hurt Locker

Colorist:
2002  Panic Room
2004  National Treasure
2008  The Hurt Locker
2012  The Company You Keep
2013  Anchorman 2: The Legend Continues
2015  The Big Short
2015  The Martian
2016  Passengers
2017  Detroit
2017  The Dark Tower
2018  Sicario: Day of the Soldado
2020  Da 5 Bloods
2020  Underwater
2023  No One Will Save You
2024  The First Omen

Digital Color Timer:
2002  Panic Room
2004  National Treasure
2008  The Hurt Locker
2012  The Company You Keep
2013  Anchorman 2: The Legend Continues
2015  The Big Short
2015  The Martian
2016  Passengers
2017  Detroit
2017  The Dark Tower
2018  Sicario: Day of the Soldado
2020  Da 5 Bloods
2020  Underwater
2023  No One Will Save You
2024  The First Omen

Digital Colorist:
2002  Panic Room
2004  National Treasure
2008  21
2008  The Hurt Locker
2009  Surrogates
2012  The Company You Keep
2013  Anchorman 2: The Legend Continues
2015  The Big Short
2015  The Martian
2016  Passengers
2017  Detroit
2017  The Dark Tower
2018  Sicario: Day of the Soldado
2020  Da 5 Bloods
2020  Underwater
2022  Morbius
2023  No One Will Save You
2024  The First Omen

Digital Intermediate:
2002  Panic Room
2004  National Treasure
2008  21
2008  The Hurt Locker
2009  Surrogates
2012  Safe
2012  The Company You Keep
2013  Anchorman 2: The Legend Continues
2015  The Big Short
2015  The Martian
2016  Passengers
2016  X-Men: Apocalypse
2017  Detroit
2017  The Dark Tower
2018  Sicario: Day of the Soldado
2020  Da 5 Bloods
2020  Underwater
2022  Morbius
2023  No One Will Save You
2024  The First Omen

Digital Intermediate Colorist:
2002  Panic Room
2004  National Treasure
2008  21
2008  Body of Lies
2008  The Hurt Locker
2009  Surrogates
2009  The Uninvited
2011  A Little Bit of Heaven
2011  The Conspirator
2012  Safe
2012  The Company You Keep
2013  Anchorman 2: The Legend Continues
2015  The Big Short
2015  The Martian
2016  Passengers
2016  The Sea of Trees
2016  X-Men: Apocalypse
2017  Detroit
2017  It
2017  The Dark Tower
2018  Sicario: Day of the Soldado
2018  The Current War
2019  Charlie's Angels
2019  It Chapter Two
2020  Da 5 Bloods
2020  The New Mutants
2020  Underwater
2021  In the Heights
2022  Morbius
2023  No One Will Save You
2024  The First Omen

Colorist:
2023  The Last of Us

About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.