I’ve been producing new media content since 2005 when my sketch group ‘Team Tiger Awesome’ started making digital sketches like 12 hours before Youtube would become a thing. Somehow I ended up in charge of the production aspect of those sketches probably because I was the only one who could build anything. We ended up generating almost 110 pieces of short form video content including pieces for partners like ABC, FOXreality, Comedy Central, Cracked.Com, and Axe Bodywash among others.


While still making sketches I began working for BermanBraun (later to become Whalerock Industries) and helping launch their food and movie Youtube channels, Tasted and Cinefix respectively. Here I created ‘Why Would You Eat That?’ and its spin offs, as well as ‘Art of the Scene’, helmed Film School’d in it’s later days and helped start more community focused content like ‘What to Watch Before You Die,’ ‘Like It//Love it,’ and the Cinefix Roundtables.

From here I briefly went to work on an SFX focused Youtube channel before they lost their funding and then shortly later found myself working at Mashable.

Gloves are a ‘must have,’ when you’re working with fake blood.

Gloves are a ‘must have,’ when you’re working with fake blood.


Mashable brought me in to handle some of their more high profile collaborations. These included two larger budget series for Facebook Watch (‘Alternative Maps’ and ‘Record BreakHERS’) branded interstitials for Crackle, and a two show collaboration with National Geographic Wild utilizing their video archives.

After wrapping these up, The Keli Network (now Jellysmack) hired me to do some outside ideation and piloting before bringing me in fulltime to help them establish a Los Angeles office. While there I produced a lot of content for their beauty channel (Beauty Wow) including ‘Human Canvas’ which would go on to be purchased by Snapchat, as well as some additional infotainment pieces for their channel Genius Club.

Look at me point! This was the only project I’ve ever gotten to sit down on.

Look at me point! This was the only project I’ve ever gotten to sit down on.

Then in late 2018, I got an offer to produce a film that I had previously done modifications on and so in January 2019 during the rainiest winter in recent memory we spent ten days outside filming, battling rain and ultimately changing our ending when we got rained out. The other days on our schedule were all inside. Inside days are good days. Not as good as crisp cool dry outside days… but almost as nice and definitely way better than standing in the rain trying to figure out how to get a jeep unstuck from the mud. But then anything worth doing is going to have a story about how hard it was to do it.

I look forward to finding a home for the project when it’s done editing later this year.