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Production Portfolio
I help creative teams turn ambitious ideas into completed productions by translating creative goals into practical plans, budgets, workflows, and final deliverables. Much of my work includes client campaigns, internal workflows, and production leadership that cannot always be shown publicly, so these examples focus on my role, process, and production impact.
Storyboard
Created an original filmmaking series from concept to finished film every month.
Storyboard was an original series I created at Don’t Look Down Productions to make the creative process itself part of the entertainment. Each month, we randomly selected two characters and a conflict, then had four weeks to develop, produce, and premiere an original short film.
The format followed the entire process through recurring episodes: The Idea, The Plan, The Shoot, The Edit, and The Film.
I wanted to create original narrative work consistently without waiting for large budgets, long development cycles, or perfect circumstances. The constraint became part of the format: every month we had to take a random premise from idea to completed film with only $100–$1,000 available for the short.
I developed the format, led story development, directed every episode and short film, coordinated cast and crew, managed production logistics, and edited the finished series.
The production process itself became content. An episode about planning might follow casting, prop hunting, makeup tests or location problems. The shoot episode documented what actually happened on set. The edit episode showed how we solved whatever problems production left us.
We completed four full monthly cycles, producing 20 core episodes and four original short films, along with additional development episodes as we explored expanding the format.
Results
* 20 core episodes
* 4 completed original short films
* Monthly production cycle from concept through premiere
* Regular studio premieres attended by approximately 30–50 people
* Built and sustained an original recurring content format for roughly six months
Storyboard was an original series I created at Don’t Look Down Productions to make the creative process itself part of the entertainment. Each month, we randomly selected two characters and a conflict, then had four weeks to develop, produce, and premiere an original short film.
The format followed the entire process through recurring episodes: The Idea, The Plan, The Shoot, The Edit, and The Film.
I wanted to create original narrative work consistently without waiting for large budgets, long development cycles, or perfect circumstances. The constraint became part of the format: every month we had to take a random premise from idea to completed film with only $100–$1,000 available for the short.
I developed the format, led story development, directed every episode and short film, coordinated cast and crew, managed production logistics, and edited the finished series.
The production process itself became content. An episode about planning might follow casting, prop hunting, makeup tests or location problems. The shoot episode documented what actually happened on set. The edit episode showed how we solved whatever problems production left us.
We completed four full monthly cycles, producing 20 core episodes and four original short films, along with additional development episodes as we explored expanding the format.
Results
* 20 core episodes
* 4 completed original short films
* Monthly production cycle from concept through premiere
* Regular studio premieres attended by approximately 30–50 people
* Built and sustained an original recurring content format for roughly six months
Imagine it!
Turned children’s stories into films—and a proof of concept into a 20-film sale
When COVID eliminated live school assemblies, I developed Imagine it!, an original concept designed to celebrate children’s creativity by turning student-written stories into produced short films.
Rather than simply filming actors reading stories, I wanted children to see their ideas transformed into something that felt like entertainment.
The economics had to work for schools while still allowing us to create individualized films. Traditional short-film production would have made the concept too expensive and slow.
So I designed the production around speed, improvisation and repeatability.
I built a U-shaped green-screen cyclorama, assembled reusable costumes, wigs and props, developed a five-person production model and created a preproduction system that broke each child’s story into the elements performers needed to improvise efficiently.
The system allowed us to produce approximately one original story per production hour.
We initially created three films as proof of concept. That work led to a school district purchasing 20 additional films at $400 each.
A typical production day used a five-person team and cost approximately $800, while producing roughly seven films representing approximately $2,800 in contracted content.
Results
* 3 proof-of-concept films
* Converted proof of concept into a 20-film district contract
* 23 total children’s films produced
* Approximately one completed story filmed per production hour
* Five-person production team
* Approximately $2,800 in contracted content generated per ~$800 production day
When COVID eliminated live school assemblies, I developed Imagine it!, an original concept designed to celebrate children’s creativity by turning student-written stories into produced short films.
Rather than simply filming actors reading stories, I wanted children to see their ideas transformed into something that felt like entertainment.
The economics had to work for schools while still allowing us to create individualized films. Traditional short-film production would have made the concept too expensive and slow.
So I designed the production around speed, improvisation and repeatability.
I built a U-shaped green-screen cyclorama, assembled reusable costumes, wigs and props, developed a five-person production model and created a preproduction system that broke each child’s story into the elements performers needed to improvise efficiently.
The system allowed us to produce approximately one original story per production hour.
We initially created three films as proof of concept. That work led to a school district purchasing 20 additional films at $400 each.
A typical production day used a five-person team and cost approximately $800, while producing roughly seven films representing approximately $2,800 in contracted content.
Results
* 3 proof-of-concept films
* Converted proof of concept into a 20-film district contract
* 23 total children’s films produced
* Approximately one completed story filmed per production hour
* Five-person production team
* Approximately $2,800 in contracted content generated per ~$800 production day
Rigamaroll
Built a 12-episode actual-play series with a dramatically leaner production model
Rigamaroll was a 12-episode TTRPG actual-play series developed at United Esports. I co-produced the project and was responsible for the technical and physical production model, transforming our Hollywood office into a working soundstage.
The original production model called for approximately 12 nonconsecutive 16-hour shoot days and a 17-person crew.
That approach was expensive, complicated and unnecessarily heavy for the format.
I redesigned the production around a smaller permanent setup and more efficient workflows.
I planned the camera, lighting, audio and equipment package; designed the set and acoustic treatment; helped cast and budget the production; converted our existing office into a soundstage; technical-directed production; and supervised post.
Approximately $12K outfitted the space and production equipment required beyond systems the company already owned.
The revised model reduced production to 7 shoot days and a five-person crew.
We also built an extensive content pipeline around the main episodes, generating approximately 150+ supporting/promotional assets.
Results
* 12 finished episodes
* Approximately $50K total production model
* Shoot days reduced 42%
* Production crew reduced 71%
* 150+ supporting media assets
* Approximately 650K views
* 3K YouTube watch hours
* 10K+ Spotify listening hours
* Approximately 6,500 subscribers
Rigamaroll was a 12-episode TTRPG actual-play series developed at United Esports. I co-produced the project and was responsible for the technical and physical production model, transforming our Hollywood office into a working soundstage.
The original production model called for approximately 12 nonconsecutive 16-hour shoot days and a 17-person crew.
That approach was expensive, complicated and unnecessarily heavy for the format.
I redesigned the production around a smaller permanent setup and more efficient workflows.
I planned the camera, lighting, audio and equipment package; designed the set and acoustic treatment; helped cast and budget the production; converted our existing office into a soundstage; technical-directed production; and supervised post.
Approximately $12K outfitted the space and production equipment required beyond systems the company already owned.
The revised model reduced production to 7 shoot days and a five-person crew.
We also built an extensive content pipeline around the main episodes, generating approximately 150+ supporting/promotional assets.
Results
* 12 finished episodes
* Approximately $50K total production model
* Shoot days reduced 42%
* Production crew reduced 71%
* 150+ supporting media assets
* Approximately 650K views
* 3K YouTube watch hours
* 10K+ Spotify listening hours
* Approximately 6,500 subscribers
Branded Campaign | Creative Partnership | Live + Interactive Production
Bridging creative ambition and production reality for a major branded gaming campaign
Across multiple Old Spice engagements at United Esports, I worked with creative leadership to translate ambitious gaming concepts into executable productions spanning live content, commercial production, creators, 3D environments and interactive experiences.
These campaigns routinely involved changing budgets, technical complexity, creator integration and the need to make gaming experiences understandable and entertaining to an audience.
On Eagle Fangs, a budget reduction threatened a live component that was central to the concept.
On another Old Spice production, an engineering problem shortly before production created significant delivery risk.
I worked alongside the CCO and creative team on concept development, gameplay, branded messaging, storyboards and visual direction.
When the Eagle Fangs budget changed, I redesigned the production approach to preserve the live element rather than simply eliminating it.
When an engineering resource proved unable to deliver what production required, I replaced the resource, renegotiated the approach and added appropriate support while protecting the schedule.
Results
* Delivered complex branded work on time and under budget
* Preserved key creative elements despite budget reductions
* Combined live production, commercial content and interactive gaming
* Supported repeat work with P&G brands
* Created production solutions that allowed creative ideas to survive real-world constraints
Across multiple Old Spice engagements at United Esports, I worked with creative leadership to translate ambitious gaming concepts into executable productions spanning live content, commercial production, creators, 3D environments and interactive experiences.
These campaigns routinely involved changing budgets, technical complexity, creator integration and the need to make gaming experiences understandable and entertaining to an audience.
On Eagle Fangs, a budget reduction threatened a live component that was central to the concept.
On another Old Spice production, an engineering problem shortly before production created significant delivery risk.
I worked alongside the CCO and creative team on concept development, gameplay, branded messaging, storyboards and visual direction.
When the Eagle Fangs budget changed, I redesigned the production approach to preserve the live element rather than simply eliminating it.
When an engineering resource proved unable to deliver what production required, I replaced the resource, renegotiated the approach and added appropriate support while protecting the schedule.
Results
* Delivered complex branded work on time and under budget
* Preserved key creative elements despite budget reductions
* Combined live production, commercial content and interactive gaming
* Supported repeat work with P&G brands
* Created production solutions that allowed creative ideas to survive real-world constraints
CBN Studio Transformations
Reduced production labor 75% while more than doubling studio output
I joined CBN after helping establish its Southern California broadcast studio, initially as Director of Photography. Within months I became Technical Director, and within roughly a year I was functioning as Production Manager and Lead Producer.
Eventually, I was responsible for production and post-production supporting approximately 75% of the channel’s produced programming.
The organization needed to produce significantly more programming without the budget or staffing required by traditional studio-production models.
I redesigned the studio workflow around robotic cameras, reusable green-screen and black-curtain environments, flexible grip and dolly solutions, standardized preproduction requirements and smaller crews.
I oversaw production across a 17-person multidisciplinary team consisting of 7 producers, 4 editors and 6 production crew, supporting as many as 13 concurrent programs and 7 live broadcasts per week.
I also deliberately built redundancy into the organization—what I called my “bus rule.”
I trained three team members to technical-direct productions and coached editors in graphics and After Effects so the operation would not depend on any one person.
I later coordinated production across California, Virginia, London and Kiev and worked on location in Turkey, Germany and Finland.
Results
* Reduced average labor from approximately 32 to 8 staff-hours per show
* 75% reduction in production labor requirements
* Freed approximately 120 production hours per week
* More than doubled programming output
* Supported up to 13 concurrent programs
* Supported up to 7 live broadcasts weekly
* Oversaw production representing approximately 75% of channel programming
* Developed team members to assume higher-level technical responsibilities
I joined CBN after helping establish its Southern California broadcast studio, initially as Director of Photography. Within months I became Technical Director, and within roughly a year I was functioning as Production Manager and Lead Producer.
Eventually, I was responsible for production and post-production supporting approximately 75% of the channel’s produced programming.
The organization needed to produce significantly more programming without the budget or staffing required by traditional studio-production models.
I redesigned the studio workflow around robotic cameras, reusable green-screen and black-curtain environments, flexible grip and dolly solutions, standardized preproduction requirements and smaller crews.
I oversaw production across a 17-person multidisciplinary team consisting of 7 producers, 4 editors and 6 production crew, supporting as many as 13 concurrent programs and 7 live broadcasts per week.
I also deliberately built redundancy into the organization—what I called my “bus rule.”
I trained three team members to technical-direct productions and coached editors in graphics and After Effects so the operation would not depend on any one person.
I later coordinated production across California, Virginia, London and Kiev and worked on location in Turkey, Germany and Finland.
Results
* Reduced average labor from approximately 32 to 8 staff-hours per show
* 75% reduction in production labor requirements
* Freed approximately 120 production hours per week
* More than doubled programming output
* Supported up to 13 concurrent programs
* Supported up to 7 live broadcasts weekly
* Oversaw production representing approximately 75% of channel programming
* Developed team members to assume higher-level technical responsibilities
Building United’s Unreal / 3D Capability
Building a new production capability that expanded what United Esports could sell
Overview
United Esports’ work increasingly called for gaming environments, animation and interactive experiences that traditional video production alone couldn’t provide.
I introduced and helped prove out Unreal Engine and real-time 3D production as practical tools within our creative-production offering.
I developed and demonstrated workflows using Unreal Engine and other 3D tools for animation, virtual environments and bespoke game experiences.
I also partnered with the CCO on gameplay design, branded messaging, storyboards and visual development for interactive campaigns.
The capability became part of work for brands and organizations including:
Old Spice, Tide, Gillette, Head & Shoulders, P&G, NFL and the IOC/Olympics, along with animation work for Lenny & Larry’s, Duluth, Frost Giant, Febreze, Ito En, Fructis, Brag House and others.
Projects ranged from full bespoke Fortnite experiences to 3D animation and virtual environments used within traditional content.
Results
* Established a production capability the company previously did not offer
* Enabled a new category of animation, game-development and interactive campaign work
* Applied the capability across numerous major-brand engagements
* Expanded the types of creative solutions United could pitch and produce
Overview
United Esports’ work increasingly called for gaming environments, animation and interactive experiences that traditional video production alone couldn’t provide.
I introduced and helped prove out Unreal Engine and real-time 3D production as practical tools within our creative-production offering.
I developed and demonstrated workflows using Unreal Engine and other 3D tools for animation, virtual environments and bespoke game experiences.
I also partnered with the CCO on gameplay design, branded messaging, storyboards and visual development for interactive campaigns.
The capability became part of work for brands and organizations including:
Old Spice, Tide, Gillette, Head & Shoulders, P&G, NFL and the IOC/Olympics, along with animation work for Lenny & Larry’s, Duluth, Frost Giant, Febreze, Ito En, Fructis, Brag House and others.
Projects ranged from full bespoke Fortnite experiences to 3D animation and virtual environments used within traditional content.
Results
* Established a production capability the company previously did not offer
* Enabled a new category of animation, game-development and interactive campaign work
* Applied the capability across numerous major-brand engagements
* Expanded the types of creative solutions United could pitch and produce
PXL Play — Branded Episodic Campaign
Challenge:
PXL Play was an episodic branded campaign for a vitamin supplement client, inspired by Power Rangers, with each character representing a different vitamin. After the main commercial shoot was complete, the client released a new product and wanted to redirect budget toward a separate commercial shoot, which would have forced us to cut the final two episodes.
What I Did:
Helped rework the creative and production approach so the new product became part of the story instead of a separate add-on. Working with the creative team, we created a new character for the product, captured only the new pieces we truly needed, and used post-production solutions to repurpose existing footage.
Outcome:
Preserved every episode, maintained quality, and made the new product feel like an organic part of the campaign. A traditional supplemental shoot would have cost at least $25K; I produced the needed material for under $2K while protecting the story and budget.
PXL Play was an episodic branded campaign for a vitamin supplement client, inspired by Power Rangers, with each character representing a different vitamin. After the main commercial shoot was complete, the client released a new product and wanted to redirect budget toward a separate commercial shoot, which would have forced us to cut the final two episodes.
What I Did:
Helped rework the creative and production approach so the new product became part of the story instead of a separate add-on. Working with the creative team, we created a new character for the product, captured only the new pieces we truly needed, and used post-production solutions to repurpose existing footage.
Outcome:
Preserved every episode, maintained quality, and made the new product feel like an organic part of the campaign. A traditional supplemental shoot would have cost at least $25K; I produced the needed material for under $2K while protecting the story and budget.
Tide Fortnite Boss Fight
Challenge:
The original concept required a dirty laundry creature to chase players through a laundromat, but the tools needed for that level of custom character AI were either unavailable, in beta, or would have required significant additional development time and cost.
What I Did:
Reframed the production around the goal of the experience instead of the literal original ask. Proposed a stationary boss fight that maintained the core creative idea while reducing technical complexity.
Outcome:
Finished early, avoided unnecessary development risk, and used the extra time to polish the gameplay and add features instead of cutting them.
The original concept required a dirty laundry creature to chase players through a laundromat, but the tools needed for that level of custom character AI were either unavailable, in beta, or would have required significant additional development time and cost.
What I Did:
Reframed the production around the goal of the experience instead of the literal original ask. Proposed a stationary boss fight that maintained the core creative idea while reducing technical complexity.
Outcome:
Finished early, avoided unnecessary development risk, and used the extra time to polish the gameplay and add features instead of cutting them.
Multi-Brand Production Campaigns
Challenge:
Across a variety of brand campaigns, each project came with different creative goals, audiences, stakeholders, timelines, budgets, formats, and delivery requirements. The challenge was maintaining consistent production quality while adapting to the needs of each brand and keeping multiple projects moving at once.
What I Did:
Partnered with creative leadership, clients, production companies, editors, VFX artists, developers, freelancers, and internal teams to translate creative concepts into executable production plans. Managed budgets, schedules, vendor needs, production logistics, equipment, stakeholder feedback, post-production workflows, QC, and final delivery across multiple concurrent campaigns.
Outcome:
Helped deliver high-quality creative work on time and within budget while maintaining brand standards across a wide range of campaign types. Built repeatable production and post-production workflows that improved collaboration, reduced friction, protected creative quality, and made final assets easier to review, deliver, archive, and reuse.
Across a variety of brand campaigns, each project came with different creative goals, audiences, stakeholders, timelines, budgets, formats, and delivery requirements. The challenge was maintaining consistent production quality while adapting to the needs of each brand and keeping multiple projects moving at once.
What I Did:
Partnered with creative leadership, clients, production companies, editors, VFX artists, developers, freelancers, and internal teams to translate creative concepts into executable production plans. Managed budgets, schedules, vendor needs, production logistics, equipment, stakeholder feedback, post-production workflows, QC, and final delivery across multiple concurrent campaigns.
Outcome:
Helped deliver high-quality creative work on time and within budget while maintaining brand standards across a wide range of campaign types. Built repeatable production and post-production workflows that improved collaboration, reduced friction, protected creative quality, and made final assets easier to review, deliver, archive, and reuse.
Production Asset Management / Frame.io Workflow
Challenge:
Creative, Production, Sales, and client teams needed faster access to project assets, revisions, notes, final deliverables, and archived materials.
What I Did:
Built company-wide asset management and Frame.io workflows with standardized organization, review, delivery, and archival systems.
Outcome:
Improved collaboration, reduced time spent locating assets, gave Sales faster access to relevant materials, and increased the long-term value of completed production work.
Creative, Production, Sales, and client teams needed faster access to project assets, revisions, notes, final deliverables, and archived materials.
What I Did:
Built company-wide asset management and Frame.io workflows with standardized organization, review, delivery, and archival systems.
Outcome:
Improved collaboration, reduced time spent locating assets, gave Sales faster access to relevant materials, and increased the long-term value of completed production work.
Awards
This is an example to showcase our award-winning productions that embody our humor, production quality and creative excellence. This video exemplifies our ability to bring life to any brand with a professional touch that has been recognized and celebrated across the industry.
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