See your film the way it’s meant to feel
See your film the way it’s meant to feel
Great colour grading reveals the film as it was always meant to be seen. I bring over a decade of on-set experience to the grading suite, so I understand not just how an image should look, but how it was made and why. Before I start grading, I love to immerse myself in the project, studying references, watching the films being drawn from and building a clear visual language for the work ahead.
From there, my process is methodical but never mechanical. I define the core looks, work scene by scene and then refine until every frame feels right. My technical background means I can work quickly and catch problems others might miss. I'm based in Adelaide, but I work remotely with productions across Australia and internationally.
On-set digital imaging is all about protecting your footage and making sure the entire crew can see what they're shooting. I work alongside the cinematographer to manage the live image, applying colour in real time, running playback and ensuring data is handled with absolute precision. It's technical work that requires calm under pressure and I genuinely love the problem-solving side of it.
I've spent years investing in the best tools for the job, including QTake, LiveGrade and SilverStack Lab. I know camera systems inside and out, how they behave, where they fail and how to get the best out of every format. I'm based in Adelaide, but I travel for shoots anywhere in Australia and beyond.
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FAQs
A colourist works in post-production, grading the final image once the edit is locked. A DIT (Digital Imaging Technician) works on set during the shoot, managing the live image, applying colour in real time, running precision monitoring, and handling data. I do both, which means I understand the full journey of an image from set to screen.
I'm based in Adelaide, South Australia. For colour grading, I work either in-person from my studio in Kent Town, or stream remotely across Australia and beyond. For DIT work, I travel to wherever the shoot is happening.
The earlier the better! If I'm grading a film, it's ideal to do some look development early on as this will inform lighting and production design choices on-set. For DIT work, I can save productions a lot of time and money by getting in early with practical solutions for colour processing, dailies management, and data backups. I'm always open for consultation to help plan the technical workflow.
For colour grading, I work in DaVinci Resolve. For on-set digital imaging, I use QTake, LiveGrade, and Silverstack Lab. I'm the only QTake operator in South Australia.
I'm fully independent. I'm not tied to any post house or facility, which means I can work with any production without competing interests. You're hiring me, not a studio.
I work across film, documentary, television and commercials. Everything from independent short films to studio productions. If it's a moving image, I'm interested.
It depends on the project - a music video might typically take a day, and a feature film might take 3-4 weeks or more. It all depends on the complexity of the proejct, and how deep we want to dive. Once I know the budget and the scale of the project, I'll always give you a realistic timeframe.
