I've spent more than thirty years behind the color panel, across film, television and live events, and I've never stopped chasing the same thing: making the image feel right on the screen it's made for.

It started in Santa Monica in 1992 at The Digital Magic Company, grading on DaVinci systems in the telecine days. That's where I graded Rescuers: Stories of Courage and Disney's television musicals, Cinderella, Annie and Geppetto. In 1999 I moved to The Syndicate as senior colorist, grading South Park and national commercials, Super Bowl spots among them.

In 2003 I moved to New Zealand and joined Images & Sound in Auckland, where I spent the next twenty years leading the color team on features, drama and documentary. That's also where I found FilmLight's Baselight, and it took me around the world, grading on location and training colorists from Moscow to Vietnam.

In 2024 the screen got bigger. I became the first full-time colorist at Sphere Studios in Burbank, grading content for Sphere in Las Vegas, the largest screen ever built. It's a different discipline entirely. Color that reads perfectly on a reference monitor can fall apart at 240 feet tall, and the smallest error in a matte becomes impossible to hide. Learning to grade for Sphere has been the most demanding, most rewarding stretch of my career.

Recent work includes color for The Wizard of Oz at Sphere and music residencies for the Eagles, Kenny Chesney, Backstreet Boys, No Doubt and Zac Brown Band.

Along the way I’ve picked up a second passion: building software. Most of my grading happens in Baselight, but at the end of a show there often isn’t time to re-work a shot and render the frames again. For those last small adjustments, I co-created a real-time color tool with Claude AI. It integrates with the Disguise playback system, so I can make final tweaks live at concerts, live events, and Sphere while the client watches. It started as a fix for one problem, and it’s become one of the most enjoyable parts of what I do.

Outside the work itself, I care about the craft continuing. I mentor colorists coming up in the industry and train teams on Baselight, and I try to be as generous with what I've learned as people were with me early on.