MORE THAN 20 YEARS
OF EXPERIENCE
I’ve spent most of my life making pictures move.
For more than 20 years, I’ve worked at the intersection of storytelling and technology—producing, directing, editing, designing, engineering, and building the systems that make television happen. I’ve worked in newsrooms and arenas, studios and production trucks, edit bays and machine rooms. Through all of it, I’ve remained fascinated by the same thing that caught my attention as a kid: the ability to capture a moment and share it with someone somewhere else.
NOTABLE
ACHIVEMENTS
Warner Brothers Discovery
Staff Video Engineer​
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NBA on FOX
Segment Producer & Tech Manager
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Member of National Academy of Television Arts and Sciences
2016-Present
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Caps Red Line
Co-Executive Producer
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Wizards Magazine: The Journey
Co-Executive Producer
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56th Annual Emmy Awards
Director
ORIGIN
STORY
My relationship with video started early—and it never let go.
When I was eight years old, my grandfather handed me his 8mm Bolex film camera. I didn’t know the rules, only that I wanted to tell stories. I wrote scripts, cast my friends, and borrowed my brother’s action figures to make stop-motion movies. When my mom bought me a Hi8 camcorder at thirteen, curiosity turned into obsession.
That obsession followed me into the field.
During college, I spent Oklahoma summers chasing severe storms across the southern Plains, watching tornadoes form through a viewfinder. Eventually, a local television station called. I joined their team as a freelance storm chaser and grew into a lead photojournalist, producing work that aired nationally on ABC, CNN, and The Weather Channel.
High stakes. Fast decisions. No margin for error.
It felt natural.
What didn’t feel natural was the technology. News workflows were slow, fragile, and behind the moment. So my friends and I built something better. We developed hardware and software that enabled live streaming of severe weather long before it was common. That experiment became F.A.S.T. Video, the first live-streaming platform used by Oklahoma City media—fundamentally changing how breaking weather was covered.
Then came sports.
I covered the moment Oklahoma City secured an NBA franchise, and less than a year later I joined the newly named Oklahoma City Thunder as Manager of Broadcast Operations. I worked on show opens and special projects and designed a production edit facility supporting both in-arena programming and FOX Sports broadcasts. Our team earned its first EMMY® Award during the Thunder’s inaugural playoff run—a defining moment that cemented my love for live sports storytelling.
That foundation carried me to
Washington, D.C., where I helped launch a new regional network covering the Capitals, Wizards, Mystics, Georgetown, and more. As Executive Producer, I assembled and led teams of producers, directors, and photographers to develop multi-platform programming and in-arena content. The digital audience grew to more than one million monthly viewers, and our work earned consecutive EMMY® Awards.
More importantly, we built something that could scale.
After a brief step into consulting, I realized what I missed most wasn’t strategy—it was making things.
That pull brought me to Los Angeles, a city that immediately felt like home. LA reignited my creative energy and connected me to a community that lived and breathed storytelling at scale.
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Los Angeles led me to the National Hot Rod Association.
As NHRA moved its content operation in-house and partnered with FOX Sports, I was brought in to help design and launch a modern live-production operation. I architected workflows, infrastructure, and teams supporting national television broadcasts and hundreds of hours of live programming every year.
One trip to the finals in Pomona was all it took to hook me.
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Los Angeles has remained a creative anchor ever since. Every time I drive onto a studio lot, I still feel like a kid on Christmas morning—fascinated by the cameras, control rooms, soundstages, trucks, cables, blinking lights, and the thousands of little things that have to work together to create something that feels effortless to the person watching at home.
Today as a Staff Video Engineer at Warner Brothers Discovery, I focus on video innovation at scale, combining hands-on production experience with engineering and systems thinking to solve complicated problems and build better ways of making television.
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But despite all the technology, the reason I do it hasn’t changed much.
I’m still the eight-year-old with my grandfather’s Bolex, fascinated by what happens when you point a camera at something and release the shutter.
I’ve just accumulated a few more cameras.
CORPORATIONS & BRANDS
