As Virtual Production Line Producer at Mesh, I set up and lead virtual production teams, manage vendors, and package virtual production projects for accurate schedules and budgets. A key accomplishment in 2022 was successfully setting up the Virtual Production department for Coppola's Megalopolis. Proven success in virtual production projects and cost savings for clients.Looking for a Virtual Production Line Producer? www.meshvp.com

I produced all of the Virtual Production elements for this film, scoping the project, building a team, executing the environment, delivering to the volume and supervising the shoot. Was a great experience, showing VP viability for even very low budget work, given the right use cases.

As Executive Producer for Virtual Production at FATHEAD Film, I was responsible for all virtual production elements of the film. I was invited to lead this project for the Entertainment Technology Center @ USC and my responsibilities included breaking down the script into virtual production elements, finding and leading the crew and vendors, running the day-to-day schedule for environments, assets, virtual humans, and prepping everything for the VP Volume at Amazon. The film has just been nominated for the NAACP Image Awards for Best Live Action Short, 2023.

"The Unreal Fellowship is a 30-day intensive blended learning experience designed to help experienced industry professionals in film, animation, and VFX learn Unreal Engine, develop a strong command of state-of-the-art virtual production tools, and foster the next generation of teams in the emerging field of real-time production."An amazing experience being taken first-hand through Unreal's storytelling power by Epic Games themselves. This is only just beginning to take hold in production, and it already offers artists a huge range of tools, all in responsive real time.

Vice President of Studio Services, HBO – Led HBO's internal post-production finishing resources within the Production Operations department, with a primary focus on supporting the Marketing division, which comprised 85% of the workload across East and West Coast offices. Directed high-level post-production management to support Marketing’s promotional and campaign needs, all in preparation for the pre-launch of HBO Max, adapting workflows to align with requirements from both linear and upcoming streaming distribution partners. Oversaw comprehensive post services utilizing Avid Technology Products, Adobe Creative Suite, and Blackmagic Design’s DaVinci Resolve, covering dailies management, production OCF encoding, editorial, color grading, sound mixing, restoration, and UHD/HDR & Atmos mastering. Enhanced media management and archive lifecycle workflows, deploying a dedicated 24/7 media management team to meet the demanding schedules and standards of HBO's Marketing division and other key clients.

Provided technical and production leadership in establishing the post-production department for Vice’s new original feature and episodic studio. Directed global content delivery workflows to multiple distribution endpoints, managing deliverables to studio partners and overseeing DCP and KDM distribution for theatrical releases, IMF packages for streaming platforms like Netflix and Amazon, and traditional deliverables and legal paperwork for sales agents and licensees.

Led the establishment of the post-production department for Vice News, focusing on optimized workflows for Vice News Tonight (VNT) on HBO, a nightly news show, and VICE on HBO, a weekly series. This involved setting up two domestic bureaus (DC, LA) and two international bureaus (London, Hong Kong), each supporting extensive live studio and field production operations both locally and remotely. All media was centralized and routed back to Brooklyn HQ, with final deliveries made entirely via Adobe Premiere and Adobe Creative Cloud, directly to HBO's playout center in Long Island.Once Vice News Tonight had stabilized and was on-air, the existing VICE on HBO weekly show was integrated into the newly established News Post department. This integration created significant efficiencies across both titles and ViceNews.com, including international distribution from Brooklyn to six global territories, with translation services to ensure localized content. The department also supported daily multi-format deliveries for social media and additional outlets, enabling a scalable, high-volume output.This role demanded a high level of technical and production leadership to align complex workflows with the technical requirements of a live cable broadcast. It involved hands-on management of post-production processes, overseeing a team of editors, producers, and technical staff to ensure seamless, real-time operations across multiple platforms and regions. This leadership position required strategic oversight in optimizing resources, implementing scalable solutions, and maintaining the highest standards of quality, responsiveness, and technical precision to support Vice News’ ambitious broadcasting goals and deliver impactful, timely news content worldwide.

Established the network delivery workflow at Vice’s new purpose-built post facility in Williamsburg for the launch of Viceland, Vice Media's cable network. Oversaw end-to-end post-production for the first quarter’s programming, including 5x8 series episodes and 30 hours of remastered archive content—totaling over 70 hours of graded, mixed, and finished content ready for broadcast.Led the initial workflow development and talent acquisition, hiring key post-production roles such as colorists, sound engineers, and online editors. Managed daily schedules to ensure on-time delivery and quality standards. Collaborated with Vice’s software development team to adapt an existing production scheduling system into a post-production scheduling and reporting tool, effectively coordinating complex schedules across multiple productions.

Post Production supervisor on this indy feature.

Post Production supervisor on this indy feature.

Post Production Supervisor for this comedy series.

Post Production Supervisor for the one-off Bill Murray Christmas Special.

Post Production supervisor on this indy feature.

I came on during the second week of editorial in December 2014, and delivered the film to TriBeCa in April 2015.

Workflow consultant for this DAM/ MAM platform, bridging the gap between the software development team and their studio and network clients.

Continuing the production team from Rob The Mob. Also am the digital workflow and post production supervisor, responsible for delivering the film on behalf of FFI.

The Ford Foundation is a major international philanthropic organisation based in New York and with 11 international offices. I was hired to undertake an extensive review of digital asset workflow processes and management practices in order to streamline media work within the foundation and bring it into world's best practice.

Undertook the full workflow and post production supervision of the film, setting up dailies and the digital shoot (Alexa), right through to the final bonded delivery of the film. The film was on a greatly accelerated schedule, from first day of shoot to completion in under 9 months, and I was still able to deliver right on time and budget.

I was asked to undertake a wide-ranging survey of the Institute and it's use of production and information technology alongside a VP of Production Technology at Warner Bros. We spent the year meeting every department and program at the Institute, evaluating the uses of technology. This resulted in a report for the executive with a number of recommendations for change.In 2013 I was asked to come back and implement a few of the headline recommendations from the report, particularly in finding a suitable Digital Asset Management Workflow system and Constituent Relationship Management system. This involved again going out to each department and program and gathering requirements in order to write a detailed RFP that vendors could respond to with presentations and budgets.By being able to manage a process that equalized requirements across many departments, the Institute was able to define it's own needs in the process and really have very direct conversations with vendors, leading to the Institute being able to cut very competitive deals with each vendor, to meet the requirements directly from the RFP.

I was sponsored by Sixteen19 to come to New York to establish their mobile services departments in their New York head office and also to open an office in London. The service was tailored specifically to deal with feature film and episodic television workflows onset.Responsibilities included management and sales for the mobile dailies, vfx & digital shoot services divisions, as well as direct client workflow and post production supervision. The department in it's first year performed work in over 12 different cities in the US and across three countries in Europe, and established itself as a premiere service to produce dailies and to protect the production of the digital negative while on location. The high demand echoed the trend for production to be moving to states and countries with tax incentives but with little to no post production services in place.

Oversight and leadership over film and episodic tv finishing departments in Melbourne and Sydney.

Post Supervisor on a complex digital shoot with the Sony F23, 900, Phantom and other digital cameras. Duties include building a mini-post facility at the Gold Coast studio, including a colour grading suite (Nucoda) to spec and 5 x avid rooms, running a same-day dailies pipeline, delivering to the LA studios on the morning of the shoot day, and ensuring that the archive is being made to insurance requirements. Also managing the editorial/ data team workflow, cost reporting and budget control, liaising with the camera dept, preparing colour management and DI tests during the shoot, all the while reporting directly to Walden and Fox heads of studio/ physical production.

Framestore Digital Lab is the European leader in Film Scanning, Digital Intermediate and Mastering services, completing 22-26 films a year, as well as at least 14 hours of high-end longform broadcast output for HBO or the BBC. Job included managing a dept of near 70, being on call to clients both in the UK and at studio & network executive level, and having to make final decisions on technology purchases, client workflow, staff, P&L, marketing and client relationships. Clients included Universal, Fox Studios, Warner Bros, Walden Media, Disney/ BVHE, SONY/ Columbia, Paramount, Miramax, Pathe International to name but a few.

Established a world-class restoration unit at The Machine Room, and produced their episodic television post output, and HD deliverable mastering from IP workflows.

Role included audio sound mastering to 32 track tape and protools sessions, picture & audio mastering for HD deliverables and picture & audio remastering and restoration for HD release. Accounts included the BBC, Rainbow Networks (NY), HBO, Warner Bros.

Combination of producing feature VFX work from the Melbourne main office, longform broadcast and commercials work.

A combination of facilities, client entertainment and junior admin roles.