Tashi prioritized authenticity to capture the sensory overload of Billie Eilish’s live tour. He used the expanded dynamic range of Dolby Cinema and Dolby Vision to evoke the feeling of being at the show—both for new viewers and for fans who’ve been multiple times. The image had to live up to and exceed the expectations set by being there in person.

Avatar: Fire and Ash returned audiences to Pandora and introduced them to new heroes and villains. Working with James Cameron, Tashi emphasized photorealism through subtlety and restraint.

The film’s theatrical release expanded to include HDR by Barco and Cinity direct-view LED systems.

Based on Denis Johnson’s beloved novella. Train Dreams is the moving portrait of Robert Grainier, a logger and railroad worker who leads a life of unexpected depth and beauty in the rapidly-changing America of the early 20th Century. The film was nominated for four Academy Awards, including Best Cinematography. Tashi and MOSAIC were tasked with supporting the completion and distribution mastering of the film.

Bad Thoughts is a colorist and cinematographer’s dream comedy. Each sketch exists in its own cinematic world, bouncing between genres and periods. Tashi reunited with his film-school colleague, cinematographer Nicholas Wiesnet, and director Tyler Cornack to bring Tom Segura’s eclectic vision to life.

The origin story of your friendly neighborhood comic book store.

Doug, a troubled Florida man struggling with addiction and personal setbacks, discovers an injured mermaid and takes her home to nurse her back to health. As rumors about the creature spread, he becomes increasingly determined to protect her from those seeking to exploit or harm her.

Thirteen years after the original film’s release, Avatar: The Way of Water is a generational leap forward in photorealistic digital filmmaking. Russell Carpenter, ASC, and the teams at WetaFX under Eric Saindon and Joe Letteri crafted an incredible visual spectacle.

Tashi explored the rich canvas of Pandora’s underwater world in Dolby Cinema and IMAX, using the latest state-of-the-art tools to deliver a spectacular experience in 3D, HDR, HFR, and 4K.

A gripping documentary explores the shadowy world of exotic reptile smuggling, following two rival kingpins whose lucrative global operation supplied rare species to US zoos until betrayal sparked a devastating vendetta.

A Honduran immigrant is given the chance to meet her mother after nearly two decades of separation.

Sharon Lockhart’s newest film Windward is a work composed of twelve square static shots depicting children interacting with the natural beauty on Fogo Island off of Newfoundland’s northeastern coast. The film unveils the island’s striking geological formations, unique climate, and austere beauty, brought to life through portrayals of youth. On exhibition in the National Gallery of Canada in Ottawa.

A group of women take on Fox News head Roger Ailes and the toxic atmosphere he presided over at the network.

Tashi served as colorist along with supervising colorist Skip Kimball.

Tashi was the colorist for DC’s Titans Season 2. Titans is available in Dolby Vision HDR for streaming domestically on Max and internationally on Netflix.

Tashi served as the digital intermediate editor and in-house visual effects artist at Technicolor Hollywood, crafting more than 450 4K visual effects shots over the first season — handling cosmetic work, intricate 3D removals, and continuity refinements. His contributions helped establish the show as part of Netflix’s emerging 4K Ultra High-Definition content lineup.

Season 2 of Sense8 brought new challenges and an evolving workflow. Tashi worked as a digital intermediate editor, visual effects artist, and additional colorist, working under the supervision of Technicolor Hollywood’s Tony Dustin.

Tashi managed editorial and color grading collaboration throughout the show providing a camera RAW, feature-style grading pipeline that allowed the Technicolor team and the show’s cinematographer John Toll (Cloud Atlas, Braveheart, The Thin Red Line) even more creative control and flexibility.

Tashi completed over 1,000 4K visual effects shots over the course of the 11-episode season, ranging from cosmetic/aesthetic fulfillment to complex removals and screen replacements.

A witty, dialogue-driven romantic comedy that subverts genre expectations. The grade supports the film’s bright, slightly heightened Los Angeles reality — clean and contemporary without losing warmth.

Tashi collaborated with cinematographer Greg Cotten to produce a unique analog film look for Straight Up.

Tashi reunited with college friends Matt and Ross Duffer to bring Stranger Things to the finish line.

Tashi worked as a digital intermediate editor, visual effects artist, and additional colorist, working under the supervision of veteran senior colorist Skip Kimball (Avatar, Logan).

Now a mainstay of modern post-production, Stranger Things 1 in 2016 was one of the first studio productions to execute an end-to-end finishing workflow using DaVinci Resolve, conforming live from 6K camera RAW material for maximum creative flexibility.

Tashi served as an additional colorist on Marvel’s Thor: Ragnarok, providing the final color grading for the home video release of the film. Tashi worked under the supervision of veteran colorist Steven J. Scott (The Revenant, Birdman, Gravity).

Thor: Ragnarok contained just under 2,700 visual effects shots, guided by VFX supervisor, Jake Morrison (The Avengers, Speed Racer, 300), who supervised the final grade. Utilizing an ACES OpenEXR pipeline within Autodesk Lustre and Flame, color grading became an imperceptible extension of visual effects, providing the utmost in creative interactivity.

Tashi provided color grading for preview screenings and collaborative visual effects review sessions for Star Wars: The Force Awakens, working with Director JJ Abrams and BAFTA winning and Academy Nominated Visual Effects Supervisor Roger Guyett (Harry Potter and the Prisoner of Azkaban, Star Trek) at Bad Robot.

Tashi was also a Mistika finishing editor handling multiple aspects of digital intermediate editorial, visual effects reviews, and digital post-production pipeline development.

An orphaned teenager forms an unlikely friendship with a detective. Together they investigate her mother’s murder, and uncover the supernatural force that proves to be a threat to her family.

A dramedy about a well-intentioned father who inadvertently wreaks havoc on the life of his estranged daughter when she invites him to her woodland wedding. The grade leans into natural light and a restrained color palette to ground the film’s emotional honesty.

A troubled Off-World Officer, running from his past, finds himself face to face with it when he boards the mysterious spaceship Atropa. A love-letter to the grungy science fiction movies of the 70s and 80s, the seven-episode digital series Atropa features a twisting sci-fi plot and dazzling visual effects.

Visual effects supervised by Ryan Wieber.

Disney’s The Jungle Book presented ambitious technical and artistic challenges and has claimed its place as one of the most elegant and visual films of recent years.

Tashi worked as an Additional Colorist supporting the theatrical finishing of The Jungle Book working directly with director Jon Favreau (Iron Man, Chef, Cowboys & Aliens), visual effects supervisor Robert Legato (Titanic, Avatar, Hugo, The Wolf of Wall Street) and senior colorist Mike Sowa (Oblivion, Need for Speed). Tashi was also the home video mastering colorist for both the 2D and 3D versions of the film.

Action/sci-fi series created for YouTube, executive produced by Justin Lin.

An Iranian-American widower returns to Iran to take a second wife, seen through the eyes of the woman he is arranged to marry. Color grading and digital cinema packaging for the film’s festival run.