I’ve spent most of my career in rooms where the clock is loud and the work has to hold up: live broadcasts, tight approvals, shifting edits, and zero tolerance for sloppy structure. That’s where my style came from. Typography-first motion, strong composition, clean timing, and restraint when restraint is the smarter flex.

That approach has carried me through NBCUniversal, Paramount/CBS, and A+E Networks, plus agency and enterprise work across web, social, broadcast, and large-format live environments. I’m usually the person building the system while the work is shipping: toolkits, templates, naming standards, review loops, and handoffs that keep quality consistent even when five people touch the same timeline.
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Lately I’ve been focused on production leverage. Small automations. Selective AI where it genuinely removes busywork. Versioning, formatting, QC, faster iteration, fewer avoidable revision loops. The goal isn’t to chase tools. It’s to protect clarity and keep craft intact.
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There’s a personal layer to all of this. Early New York wasn’t glamorous. I had nights that were unstable, more survival than “career,” and it forced me to get useful fast. Own mistakes. Strip out what doesn’t work. Deliver anyway. That period still shapes how I lead: calm, direct, and allergic to unnecessary drama.

Outside the studio, I shoot travel and landscapes. Vermont trails. Iceland winter roads. Morocco at dusk. Photography slows my brain down and sharpens the same instincts I use in motion: light, rhythm, composition, and the discipline to leave things out.
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If you’re here for the work, start with motion. If you’re here for the why, it’s simple: keep it honest, keep it clean, keep it moving.