Thought leadership content across multiple Google channels and media featuring industry leaders from a variety of disciplines was my primary remit while heading production for the Think with Google global/NAMER account.I grew the video program from two series on a single YouTube channel to five series on two platforms with additional bespoke social content and promotional assets. I also worked on projects for other accounts including those for live events highlighting DEI initiatives, celebrity partnerships for AI campaigns, and a program launch at Cannes. Beyond TwG, I worked with the Events and Experiences, Bard, Google Ads Marketing, and Creative Works teams at Google.Projects included talent ranging from Katie Couric and Dr. Laurie Santos (The Happiness lab Podcast) to Google leadership Lorraine Twohill (CMO) and James Manyika (SVP, Technology & Society), and creative visionaries like Susan Credle (Global CCO, FCB Global) and Pelle Sjoenell (CCO, Activision Blizzard).

Coachella, Lexus All-Star Chef Classic, Camp Flog Gnaw Live Stream Events, Coachella Curated Broadcast Special, Stagecoach Branded Content, Social Media Campaigns, Digital Content Marketing, Documentaries.In my position as Head of Production, I work with agencies and clients from various companies to produce campaigns for social media, digital in-browser marketing, and broadcast advertising.Expanding my role to encompass that of Line Producer and Producer, I also build and vet full-scale production budgets from $7,000 to $9mil, spanning culinary broadcasts, concert streaming, animated projects, digital campaigns, documentaries, branded content, artist originals, and festival coverage.In the process of producing and developing a wide variety of projects for every genre and demographic, I have amassed a considerable network of vendors, crew, casting resources, payroll companies, and post production artists. This helps keep overall production costs low, workflow efficient, and the resulting project on time and under budget, while exceeding all creative expectations.I routinely budget, assign, vet, hire, manage, and payroll crews up to 150, on projects from one day to over a year long. Being responsible for daily call sheets, biweekly cost reports, and ever-changing shoot and post schedules allows me to keep my production teams nimble and able to pivot to any last-minute talent or client needs.As the liaison between agency, client, and production I also ensure a clear line of communication between all parties, whether on the ground at a festival or on a closed set on location.Having worked across multiple platforms - YouTube live streaming, YouTube Originals film, Twitch live streaming, Quibi, all social media, and beyond - I am also well-versed in the varying best practices and audience needs for each.

As Production Manager for all Original Programming shows on MotorTrend OnDemand for TEN (non-scripted), I am responsible for managing budgets and ensuring that all procedures are followed from pre-production to production, through post and deliverables. In this new role, I have taken on more shows, and am now also overseeing payroll and other staff/crew management matters. Further, I have managed and coordinated various events through the company, including short form digital content, SVOD and YouTube videos, and photo shoots for sponsored and Original Programming brands.In fulfilling my previous duties as Production Coordinator for MOE Original Programming, I branched out from my former roles in operations and took an all-hands-on-deck approach due to our small crew size and guerrilla shooting style, taking on the role of Associate Producer while on set.With six shows shooting at once, I learned to juggle being in pre-pro for two shows while being in production for three others and managing post deliverables for yet another. Travel, scheduling for talent travel and vehicle transportation, managing personalities (host, crew, and executives), booking locations and arranging permits often with less than a week's notice, all while maintaining up-to-the-minute budget actualizations and providing budget overviews from episode to episode and across seasons for forecasting purposes became the norm.

As Producer at Execution Style Entertainment, I produced a number of projects in the capacity of primary producer: ideating and executing creative content; social media copywriting and community management; creating, managing, and actualizing budgets from pre-production through delivery of the final product for distribution; casting and negotiating contracts; supervising all stages of post production for physical and digital delivery of marketing assets and finalized projects; and organizing and managing photo shoots, music videos, and teasers/trailers. Under the title of Music Supervisor, I have also developed and delivered a soundtrack for a feature film starring Scott Eastwood, which included ideation of overall sound, negotiations for song use and deal points, and distribution paperwork for clearances for both cinematic soundtrack and soundtrack album.I began as the Social Media Manager for The Devil's Carnival, building the brand from 2k likes on Facebook to 30k likes within a few months. I then transitioned to Tour Manager, planning and executing the two North American tours of that film. Between sold out shows, VIP packages, celebrity appearances, and in-person and online merch sales, the film recouped its budget spend in less than a year after wrap. The film has grossed nearly five times its budget since its release due to the maintenance of its online fan community, selling merch, physical copies of the film, and directing consumers to digital distribution platforms as a means of keeping the revenue stream going.For the second film, I worked as Co-Producer. On-set management of receipts and legal paperwork, social media, talent contracts, and tour management were my initial duties. The tour kicked off with a sold out world premiere at the Egyptian Theatre, an event that I produced, cast, and managed on-site.

Brought on by the founders of Listen Deep Media, I was tasked to produce the flagship show for the Listen Deep channel on BiteSizeTV, "EDM Live." That involved coordinating photo shoots and publicity stills, finding talent to be interviewed by our host, writing interstitials and interview questions, and running teleprompter while working with the director to choose shots during our live broadcasts.Later, I conceptualized and executed filming of pilots for a number of other Listen Deep shows, spinoffs of "EDM Live" that were then further developed internally by BiteSize.

Working as Casting Associate for E! Network's breakout makeover show, "Revenge Body with Khloe Kardashian," I was tasked to seek out potential cast members locally and statewide with the right spirit and story for this show. Through the process of social media outreach and personal connections, I recruited nearly 35% of the most viable candidates who made it to the final stage of casting. This particular casting process included recruitment and vetting, development of casting questionnaire and qualifying questions, in-person interviews with candidates, and production and post production of interviews for presentation to executives Khloe Kardashian and Ryan Seacrest.Before the show even aired, it was greenlit for a second season based on the strength of the casting done by my team.

As an independent A&R Consultant, I used my knowledge and experience from working in music as a booker for live music venues to give budding artists advice on marketability, structure, vocal and musical production, and career strategy.

As Casting Associate for Seasons 15 and 16 for Hell's Kitchen, I worked directly with the Casting Director to find the best and most appealing talent for these two seasons. I developed and managed a nationwide casting tour, sending teams of Casting Producers to all the major cities to source and interview eager chefs. I spent my time actively casting by managing tour travel to post and deliverable schedules for executive review, as well as handling social media and traditional media outreach, creating graphic layouts for media outlets, and copywriting for advertisements for the casting tour. Later, I worked with Casting Producers to narrow the field, eventually running the applicant management process while potential contestants were being held for final consideration before filming.

Working as a Casting Associate for the Fox show, "Utopia," I was responsible for developing and executing a national casting tour, managing eight teams of casting producers as they traveled throughout their regions. I spent my time actively casting by managing tour travel to post and deliverable schedules for executive review, as well as handling social media and traditional media outreach, creating graphic layouts for media outlets, and copywriting for advertisements for the casting tour. Later, I worked with Casting Producers to narrow the field, eventually running the applicant management process while potential contestants were being held for final consideration before filming.

In my role as Executive Producer for T.O.Y. Entertainment, which I founded with two others, I was responsible for ideating and executing the production of a number of reality show concepts. Two production companies gave us development deals, and one concept was mimicked by a high-profile cable network.

As Operations Manager for the world-famous Viper Room, I was part of the team that transitioned the club from Johnny Depp's ownership to current owner Darin Feinstein. That included management and re-training of staff, budgeting and inventory of merchandise and alcohol, social media management, booking performers, and managing third-party promoters and media partners.