A color scientist and senior imaging engineer with ten years shaping how moving-picture color is captured, computed, and delivered. I work from the first photo-electron on the sensor to the last photon off a screen, making sure every stage of the imaging chain works to preserve and shape color as data and story.
At ARRI I served on the color science team for the ALEXA 35, helping develop the REVEAL Color Science architecture (LogC4 and the accompanying scene-to-display transforms). Earlier, at Double Negative and Sony Pictures Imageworks, I built studio-wide color management workflows, migrated facilities to OpenColorIO, and supported titles such as TENET and Spider-Man: Homecoming through scene-referred color pipelines.
Day-to-day I design matrices and 3D LUTs, author tone and gamut mapping algorithms in Python and Julia, and build production-scale software for high-end cinematography and computer animation. I contribute to the ACES and OpenColorIO open source projects and translate between optics, code, and the grading suite so artists can focus on intent rather than infrastructure.
My north star is longevity: the look approved today should remain faithful as cameras, displays, codecs, and workflows evolve.
Precision today. Patina tomorrow.
Core Strengths
- End-to-end color pipelines (scene → screen)
- Scene-referred & display-referred transform design
- HDR tone mapping and wide-gamut management
- Physically based rendering for imaging pipeline prototyping
- Cross-functional leadership between engineering and creative teams