The producer behind the work.

Day one.

I’ve been an entertainer since before I knew it was a job. Five or six years old, the youngest, with three older sisters, I’d write the play, direct it, cast my mom and cousins, and charge admission so I could run up the block for Italian ices. Nobody taught me the drive or the creativity. They were always in there.

Raised on the culture.

I fell for music videos young and never came up for air. I grew up inside hip-hop, my first video came off a failed Lupe Fiasco pitch that I turned into a music video for the Philadelphia artist Dosage, followed by a 2 Chainz × Wiz Khalifa video, “Milli Bill Trilli”. Years later, a Cannes Grand Prix and a run dedicated to the Jordan Brand account had me interviewing and working alongside the people who move the culture, Drake, Jordan’s athletes and ambassadors, artists and players at the top of the game. Enough time around stars teaches you how to read a room, earn trust fast, and make the work land. That fluency between production and culture is the through-line in everything I do.

Background

I started at PSYOP in New York in 2006, five years producing CG and VFX at one of the city’s best studios, earning my first solo senior credit and a Clio Award for LG. From there: staff at Royale (Nike Hyperdunk, Hyundai), then freelance across Imaginary Forces, Arcade Edit, Ntropic, Apple (Cupertino), Los York, and a dozen more before founding my own studio.

The Jordan Brand × AKQA "The Last Shot" campaign won a Cannes Lions Grand Prix + 6 Golds. Spotify earned a Webby Award. NFL × Amazon received an Emmy nomination. LG earned a Clio Award.

Dispatch (2017 to 2024)

Founded Dispatch in 2017, a remote CG/VFX/experiential studio that shipped work for IBM, NFL, Spotify, and others over seven years. Wound down Dispatch in 2024 to return to focused creative work. Seven years running a studio taught me everything about building teams, shipping work for Fortune 500 clients, and maintaining craft at scale.

The AI years.

In 2020 I started teaching AI to creatives on LinkedIn, back when it was a curiosity, not a controversy. That grew into championing the tools publicly, then defending them when the backlash hit, then something more useful than either: helping creatives who couldn’t find work retool and get hired again. Six years later, the argument is over and the work speaks, I directed “Never Look Down,” an AI short film, and now run a fully agentic content studio: eight AI agents across script, design, animation, audio, and edit, orchestrated on Paperclip with per-agent budgets, governance, and creative-director quality gates on every handoff. Same standards I held at Dispatch, a different crew.

The thesis behind all of it: one person, zero employees, agency scale output. What took an agency, three states, and millions of dollars in 1989, one person can now run from a garage. The studio is the proof of concept, the next decade is the build.

Now

Now available as a solo operator, same standards, tighter feedback loops, faster delivery. I work remote first with full NY/LA coverage. I bring my own vendor network, production infrastructure, and 15+ years of relationships. You get the experience of a 50-person studio distilled into one person who actually picks up the phone.

Philosophy

I believe the best creative work happens when the producer actually understands the creative. Not just the timeline, the idea. I've art directed, edited, animated, written, and produced. That range means I can talk to every department in their language and catch problems before they become expensive.

No bloated teams. No unnecessary process. Brief to delivery, as fast as the work demands.