about me
contact
how i work
Have a project? let’s talk:
I'm a colorist and cinematographer based in Toronto.
I grade narrative shorts and documentaries in DaVinci Resolve Studio, mostly for independent directors. Small crews, practical locations, mixed lighting nobody had time to fix, footage that has to go further than it was shot to go.
I came to color through the camera, and I still shoot. It means I can read a scene the way it was made, what was lit on purpose, what got tolerated, and how far a file will bend before it breaks.
contact
about me
Base first, look second: balance, shot matching, skin, then style. I keep node trees clean and labelled, so whoever picks the project up next can follow what was done.
On The Last Hand, a poker thriller built inside a small studio space, the job was making flat white walls read as an underground club — hard sources and controlled falloff on the day, then shaping depth back into the background in the grade.
On Village Mart, shot under a convenience store's own overhead fluorescents, it was the opposite problem: hold the room's real texture, pull the skin tones off green, and don't let it look graded.
I work in person in Toronto, remote anywhere else.
Got footage and a deadline? Send it over: references, a film that looks right to you, or the tone you're going for.
Colorists who need a second pair of hands, get in touch too.
how i work
I'm a colorist and cinematographer based in Toronto.
I grade shorts, features, docs, commercials and music videos in DaVinci Resolve Studio. Whether it's a controlled studio setup or a real location with natural light, I shape the footage into a look that feels consistent and intentional.
I came to color through the camera, and I still shoot. It means I can read a scene the way it was made, what was lit on purpose, what got tolerated, and how far a file will bend before it breaks.
Have a project? let’s talk:
Base first, look second: balance, shot matching, skin, then style. I keep node trees clean and labelled, so whoever picks the project up next can follow what was done.
On The Last Hand, a poker thriller built inside a small studio space, the job was making flat white walls read as an underground club — hard sources and controlled falloff on the day, then shaping depth back into the background in the grade.
On Village Mart, shot under a convenience store's own overhead fluorescents, it was the opposite problem: hold the room's real texture, pull the skin tones off green, and don't let it look graded.
I work in person in Toronto, remote anywhere else.
Got footage and a deadline? Send it over: references, a film that looks right to you, or the tone you're going for.
Colorists who need a second pair of hands, get in touch too.