POST-PRODUCTION + COLOR

The shoot is only part of the job. I stay with projects through editing, review, color, sound, graphics, versions, and final delivery, either doing the work myself or working with the editors and post partners handling each part.

Because I also produce and shoot, I think about post before the cameras roll. Interview structure, coverage, continuity, sound, file organization, and final formats all affect what the editor has to work with later.

EDITING + POST WORKFLOW

I edit interviews, commercials, documentary stories, product work, and shorter campaign versions. DaVinci Resolve is my primary editing and finishing tool, and I also work in Premiere Pro and Final Cut Pro when a project or team needs a different workflow.

I can take a piece from footage and transcripts through selects, rough cuts, stakeholder reviews, captions, versioning, quality control, and final masters. When another editor is involved, I focus on a clean handoff and making sure the original idea survives the trip through post.

COLOR + FINISHING

I handle color correction, grading, and finishing for commercial, product, documentary, and interview-driven work. I build looks that stay consistent across cameras and scenes, with an emphasis on natural skin tone, controlled contrast, product and screen accuracy, and a finish that feels intentional without being overworked.

In DaVinci Resolve, that includes shot matching, look development, review changes, and final grades for Rec.709 and P3 delivery.

ON-SET COLOR + IMAGE PIPELINE

On set, I handle live color, exposure control, and image management so clients see an accurate image and post starts on solid footing. That can include live grading, LUT development, monitoring, and maintaining a clean path from camera through editorial and delivery.