I began my professional career in color grading by making color slide duplicates on Ektachrome film in the late 1970s. My tools were a light table, a set of gel filters and a fully manual slide duplicating rig.
In the early 80s, I began learning the art and craft of color timing motion picture film, and after a couple of years, made the transition to color grading on telecine equipment.
I worked solely as a lead telecine colorist for the next ten years. Some of my clients were Al Giddings, Greg Stump, and Gus van Sant. I also worked on the TV pilot for David Lynch’s Twin Peaks while working at Alpha Cine Labs in Seattle.
I next took on an expanded role in which I added editing and facility management to my daily work. In this behind-the-scenes work, I did a different kind of coloring. I would often balance editors’ and directors’ show reels while editing them, harmonizing their video and audio levels. Sometimes these reels contained material produced over many years and incorporating diverse production techniques, equipment, and broadcast media.
Now I am color grading full-time. Some of my recent work has been for independent films such as Robert James' Mrs. Vera's Daybook, Jon Osaki's Alternative Facts, Katie Galloway and Dawn Valadez's The Pushouts, Jun Stinson's Futbolistas 4 Life, Michael Franti's Stay Human, and corporate clients such as Lucid Motors, Intuitive, Vertex, Splunk, VMWare, Intel and Adobe.
Sometimes I find myself mentally color grading the actual world. I can’t help it. Can I help you?