Less is more, as much as possible.

I check any references that are sent over to understand the project’s creative intent but I also spend some time with the footage to get a feel for where it wants to go. I find a good medium between the two and that becomes the basis for the collaboration.

I think it’s more of a combination of the people I’ve worked with and the relationships I’ve developed than a specific project.

They are all fundamental in my process.

I’m not trying to have a style per se. My approach is to respect the intention of the creative, of what was done on set, and see how I can elevate it. 

Sometimes in order to elevate it I need to be bold, sometimes not so much.

I love its colour management, but also the support, which is so important when dealing with such a powerful system at a boutique studio.

I’d say the tools that I like to use the most are really the ones that help me correct tricky things from a technical standpoint rather than the ones that help me specifically achieve a certain look (most of the time there’s more than one way to get to where you want).

But when it comes to addressing issues (but not limited to), Texture Equalizer, Compress Gamut, Colour Matrix and Texture Highlight are the ones for me. Other systems don’t have the same level of finesse and having them definitely makes me a more confident colourist.

Totally. I think they are good in that it pushes us as artists to try different things. Perhaps not voluntarily but maybe because a director or someone likes something that’s out there and wants to try it out. So if you are open it takes you out of your box and you might even find your own version of said trend.

Not a specific new creative trend, but I’ve been trying to get more involved with Brazilian projects and even though it’s where I’m from, I became a colourist in North America first. So, it’s a different language, a different market, with different creative thresholds. I’m really enjoying the process of exploring that.

I was pretty excited when I was approached about the project. Inclusion, diversity and empowerment are really important to me because when I first started looking into being a colourist I saw no representation. Everyone looked intimidating to me.

Post-production specifically is not an inviting industry. I was told that it would be too hard, that it was going to take years, handshake goodbye. 

I didn’t go to film school, I didn’t know half the roles in the industry existed, so I’m happy to be an ambassador and have a platform like MIHI to share my path and hopefully inspire more BIPOC into post.

I’d just say to keep going. Keep trusting yourself, keep learning. Don’t avoid failure. Remember to have patience but not settle. 

Earlier on I wish I had a better understanding that no one will know what I’m thinking if I don’t tell them. And also, not be afraid to take up space.

“Some Kind of Heaven”. Absolutely stunning.

It’s one of those films where everything comes together beautifully, and that allows you to just experience the stories without judgment.

David Bolen did an amazing work with the cinematography and Damien Van Der Cruyssen brought it home with the grade.

To be honest I’m currently in the process of rediscovering my hobbies, a silver lining of these times in quarantine. With so many establishments having to close down, the inability to hang out with people, being stuck at home, all those things influence motivation and inspiration.

Watching movies will always be one the greatest escapes, but poetry is the one that never leaves me.