Professional Terrain
A professional map of the work I know best: 3D thinking, live rooms, show graphics, editing, and the production systems that keep all of it moving.
01
I started with 3D animation.
That meant modeling, animation, rigging, rendering, cameras, timing, and learning how much work sits underneath a finished frame. A clean image may look simple, but there is usually a whole little machine running behind it.
02
I have always been interested in "how the work gets made."
While working on my chops in Maya, I started making scripts and little workflow helpers because I didn't enjoy doing the same avoidable task over and over. If something was slow, repetitive, or too easy to break, I wanted to know why. Then I wanted to make it less annoying.
That mindset carried over into production. Graphics need to be easy to update. Files need to be where people expect them to be. Exports need to be consistent. Live shows need systems that hold up when things get busy.
The Production Pipeline is rarely the exciting part, but people notice pretty quickly when it is missing. It's something I really enjoy getting into the nitty gritty with.
03
Live production is where a lot of that thinking got tested for real.
At AfterBuzz TV, the pace was fast and the shows kept coming. There were studios to run, control rooms to keep straight, hosts to coordinate, graphics to play back, problems to troubleshoot, people to train, and the daily work of keeping multiple shows moving.
And by multiple, I mean way, way, way too many.
But we kept it going.
04
Before the show, the room has to be ready. Cameras framed. Audio checked. Graphics loaded. Playback tested. Recording and streaming settings checked. Files where they need to be.
Once the show starts, the job changes. Now you are following the hosts, watching for cues, switching cameras, riding faders, tracking graphics, and thinking about what's next, what's next.
I like that kind of pressure. Not because chaos is fun, but because there is a craft to staying calm while the clock is running. The best version is when the audience never thinks about the technical side at all.
The strange part is that good technical direction is usually invisible. It is a little like good CGI. If it blends in so well that people don't even notice it.
Of course, live shows don't always go off without a hitch. Sometimes a host knocks over water mid-show and suddenly you’re off the switcher, grabbing paper towels, ducking into the studio, staying low enough to stay out of the shot, helping clean up what you can, then getting back to the booth before the whole thing gets sideways.
Headset on. Fingies on fadies and fingies on camies. That's a word right?
05
Screen Junkies needed studio rhythm, format awareness, and graphics playback that stayed out of the way. Smosh had people, jokes, gameplay, reactions, and quick turns. Clevver needed timing and polish around entertainment news. Geek & Sundry and Nerdist lived closer to tabletop, interviews, fan culture, and conversation. OutKick brought sports talk, streaming, live switching, show graphics, and daily-show pace into the same lane.
That mix made me better. You learn how to move through a production smoothly.
06
Motion graphics are one of my favorite parts of production because they have to look good and make sense.
I have built show opens, title animations, lower thirds, PIP layouts, guest graphics, phone graphics, sports panels, player cards, schedule graphics, brackets, logo reveals, style sheets, thumbnails, social graphics, and explainer pieces.
Some pieces get to be loud. Some need to sit back and do their job. A lower third has to read fast. A PIP layout has to fit the conversation. A sports graphic has to make the stat clear before the host moves on. A style sheet has to keep the next graphics we make from wandering off into another county.
That's the balance I like, personality with a purpose.
07
Editing is where the raw material has to turn into something people can actually watch.
I have worked on promos, campaign pieces, sizzle reels, branded edits, podcast and talk-show post, multicam tabletop episodes, short-form cutdowns, social versions, civic event programs, and award-show materials.
That includes GRAMMY promo and campaign work, Crazy Board multicam edits, podcast-style post work, audio cleanup, platform versioning, and event pieces for FER, JFK, and LACDP materials.
The job is not just cutting clips together. It is finding the good take, tightening the dead space, cleaning up the rough spots, adding graphics where they help, making the right versions, and getting the final piece out the door without losing the point of it.
08
So the cleanest version is this: I am a technical creative with a real production background.
I can work on the visual side: motion graphics, broadcast packages, explainers, logo motion, thumbnails, and finished edits.
I can work on the live side: technical direction, camera switching, graphics playback, streaming, studio support, and show readiness.
And I can work in the middle, where the file, the timeline, the gear, and the people all have to line up well enough to make the thing happen.
That is the part I bring to a room. I understand the look, the edit, the setup, and the handoff. I can make the work cleaner, clearer, and easier to finish.
TECHNICAL SKILLS
A practical snapshot of the tools, systems, and workflows I use across post-production, live production, 3D, and technical media work.