To hunger for authentic love
BLISS (2021)
Photographed by Carolina Steinbrecher
Graded by Edmond Laccon
Background
A UK-born film colourist I am a graduate of UP.GRADE, the German Film and Television Academy’s revered 9-month, full-time post-graduate colourist programme where I was fortunate to have received extensive teaching and mentoring from some of the most distinguished professionals in the post-production industry.
I worked for UP.GRADE (alongside my colour mentor Dirk Meier) from 2016-2019 whilst lecturing at European film schools.
Since 2022 I work as a Colour & Look Development Technologist (Consultant) for Netflix EMEA.
When I have time (which is rare) I explore the history of cinematography using forms of mimesis – for example re-photographing location scenes from popular films. This site also contains a number of examples of my personal creative work with images, including cinema ‘timeslices’ and traditional still photography.
Freelance colourist
I work as a freelance DI colourist and workflow consultant. I enjoy developing creative partnerships with cinematographers, developing show looks tailor-made for specific projects and colour-managed workflows – mainly for long-form projects.
For me, just as cinematographers have the responsibility of authoring the image, the colourist should be responsible both for realising that image from the camera material and for maintaining its intended expression through today’s many viewing scenarios.
In 2021 I was shortlisted for FilmLight Colour Awards in the Theatrical Feature category for my work on The Massacre of Anröchte.
Art of imaging projects
RE:imaging
When travelling I sometimes revisit shooting locations from specific movies and re-photograph them in the style of the original. Through this process I gain insights into the creative decisions behind how scenes were staged, lit, shot, edited and coloured.
Attack of the clones: I re-photograph scenes from Henri Decae’s cinematography for THE BOYS FROM BRAZIL (1978) and Denis Lenoir and Yorick Le Saux’s work on CARLOS (2010).
Also apparent from this process is whether the original features of a location still remain – so that the same scene could easily be shot today.
Timeslice panels
132 minutes/frames: in recent years the internet has brought up many arresting ways to view films and a visual and temporal medium. From time to time I produce posters of specific films by extracting 1 frame from every 1 minute of material.
Still photography
In time this site will also serve as a repository of some of my own still photography work.
