Providing and supervising Digital Cinema workflows; including camera technical support, on set colour management, monitoring, look creation and manipulation, data management, transcoding, dailies generation and file preparation for post.
Enabled by my own custom built highly mobile and compact Digi Lab setup with Grade 1 Ciné monitoring, Live & post colour work capabilities, media backup and duplication, and high speed transcoding capabilities. I ensure that your rushes are captured in the best possible way, are safely backed up and archived, look their best and carry the vision of the DoP through to all stages of post providing best light graded rushes in a ready to edit format shortly after wrap is called.
I specialise in jobs requiring on set colour work and am familiar with both DaVinci Resolve and Assimilate Scratch for comprehensive look creation and Pomfort Livegrade for LUT management and live CDL colour control.
I have developed custom software to enable camera and clip metadata from Red and Alexa cameras to be compiled into clear PDF reports which can be a useful reference during post and .ale files which enable the data to be loaded in and attached to the transcoded clips into an Avid edit suite. Many find this an invaluable service and I am in the process of extending this to more camera formats and edit systems with further plans to extend this service into the cloud and give secure access and editing via mobile devices.
My work can be seen on numerous commercials both for the UK and abroad, fashion films, Music Promos and a growing number of features including Disney's "The Muppets Again" and "Into the Woods" for which I was the plate and arial shoot D.I.T. and Model Unit D.I.T. respectively. I also was a dailies D.I.T. on "RED2" and Danny Boyle's "Trance". Feature films are an area in which I would like to continue to work more especially in the role of D.A.S. handling live colour and Iris control in collaboration with the D.O.P.