Proxy
Cinematographer | Colorist
Festival Run 2026
Director: Diana Porter & Mikel Wisler
About the Project
Proxy is a near future sci-fi, where a curated fantasy (love-by-proxy) collapses when a rented body wakes up, forcing a created conscience to choose between loyalty and justice.
I was responsible for the cinematography on set and the final grade in Resolve. We started with a world that feels almost unreal, then let it break down as the story unravels. I built a look bible and worked with the crew to carry that through the cinematography and final grade.
The Process
Pre-Production
Before we shot I worked closely with directors Diana Porter and Mikel Wisler. We aligned on the vision for the project and I created a look guide to keep the visuals consistent and intentional. The film’s visual language follows a simple three-act structure: Paradise → Fracture → Judgement. I put together a 50-page look book and lighting diagrams, then used that as the blueprint for how we’d frame, light, and move through the story.
Production
On set, the goal was to carry that philosophy through the actual execution. I worked closely with Melanie Nesteruk (Gaffer) to translate the diagrams into practical setups, and with Kaitlyn Mobilia (1st AC) to keep camera, focus, and rhythm consistent while we moved fast. The result was a look that starts controlled and inviting, then gradually breaks down until it becomes sharp and exposed.
Post-Production
In finishing, I graded the film to reinforce the same arc. Warmth and saturation early on, more tension and instability as it fractures, and a cleaner, colder clarity at the end. The color work wasn’t about making it flashy, it was about staying true to the visual plan and supporting the shift in the story.
