Continuously working in the San Francisco Film Industry since 1975
While taking lower division undergraduate courses in my home state Illinois I noticed that the experimental films, music, and literature I was drawn to were often made in San Francisco. I hopped an Amtrak train to work my way through college at San Francisco State University's cinema department.
I call what I do motion picture color finishing, the enhancement of cinematography in the post-production process, but it has many other names from its long history. The craft of color grading motion pictures began in the photo-chemical era of the film laboratory. In the United States the practice was called timing and elsewhere grading. That's where I got my start, too, as a timer at W.A.Palmer Films, San Francisco's premier film laboratory, in 1975.
Color grading advanced into the electronic era with the development of telecines and computerized color correction. I jumped to the telecine trade in 1984, first at Diner+Allied and then over to Western Images in 1991 where I worked on television commercials, Lucasfilm's ABC television series The Young Indiana Jones Chronicles and other broadcast long-form titles. I have worked as a free lance telecine colorist since 2001 at San Francisco telecine houses including Varitel Modern VideoFilm, American Zoetrope, Retina, and Spy Post.
Since 2004, I have been working on ways to make my craft affordable, practical, and a creative advance for filmmakers especially in the San Francisco Bay Area and now internationally in Hong Kong.