About
I believe the goal of any colorist is technical efficiency, great communication, and pure creativity. Above all, I value innovation and happy clients. While raised in Seattle, WA, a common thread throughout my life has always been art, movies, stories, computers, and technology, and what I have found in post-production is a wonderful blend of each of these. In the past, I've worked for post-production facility Clatter&Din and Formosa Group. ​
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I'm currently based in Atlanta with the capability of in-person color sessions and remote color sessions worldwide.
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In 2018, I began working at Clatter&Din, Seattle-leading post-production facility and recording studio, established in 1994 by Peter Barnes and Vince Werner. The company culture was immersed in client services, professionalism, pure creativity, and friendliness.
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I worked with clients on critical projects under tight deadlines, leading the highest-yield commercial video projects for Clatter&Din, being their main video editor for commercial and film content.
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I was brought on staff as their Video Editor and Colorist after freelancing with them for a year. I worked in-studio with clients including Amazon and Amazon Music, Eddie Bauer, The North Face, Valve, MOD Pizza, as well as an array of independent filmmakers, while everyday collaborating with a solid team of world-class audio engineers and sound mixers.
In 2021, Clatter&Din was acquired by Formosa Group, and my coworkers and I were integrated into their Seattle division.
Clatter&Din
Colorist, Video Editor (2018-2021)
Seattle, WA
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Maintaining multi-year client relationships
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Problem-solving technical equipment under critical conditions
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Handling complex conform workflows for both video and audio
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I was furthering my skills in Davinci Resolve, preferring color grading over editing
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Effectively and creatively collaborating on a core team
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UHD and HD mastering
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Digital delivery encoding, delivering to broadcast spec sheet requirements
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Media migration and backups
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Color Management, scene-referred digital cinema workflows in ACES, Davinci Wide Gamut, and broadcast Rec. 709 color space