I’m not a run of the mill colorist. I approach color from a philosophical perspective before an aesthetic one. As a filmmaker and cinematographer, I come from a film background and I grade for cinematic looks.

The thing that the human mind loves about film is that it is unreal; that its abstraction leaves room for the imagination to complete the picture. Kodak, Fuji, Agfa, Ilford — they engineered for beauty before accuracy because they understood that what we respond to, in our emotional core, is beauty. Today’s digital cinema cameras are engineered for accuracy above beauty, and the effect of that is images that do not engage the imagination and the emotions with the same depth. But the power of digital cinema is that the accurate images can be graded to be anything; they can be graded for inaccuracy, for abstraction, for the unreal. They can be graded for beauty.

I grade for beauty.