Cedars-Sinai had stories to tell and minimal production capability — loose scripts, no crews, no pipeline. For three years, I was the pipeline: helped develop the scripts into shootable stories, built and directed five-person crews, scouted locations, shot with the edit already in my head, and cut everything myself. Over 100 films — patient documentaries, live surgical coverage, physician profiles, and training content that translated 3D-modeled hearts and clinical innovation into something real people could watch. All of it reviewed at the executive level and distributed across YouTube, public channels, in-facility screens, and live events.

The leading Canadian digital sports media company with minimal US presence needed eyes inside LA esports. I became their entire West Coast operation: every weekend at the LCS in Santa Monica, plus BlizzCon, COD Championships, Worlds, and Overwatch events as their official representative. I directed four to five interviews a night with players, team owners, and league executives — then cut and delivered them the same night through an editing/graphics pipeline I helped build. We broke stories on player pay and league control that moved industry-level conversations.

A sponsored live broadcast on the future of gaming: three panelists in a studio we rented and built out in Los Angeles, three more overseas, one live conversation. I directed, produced, and creative-led the production end to end — studio, crew, look, and flow. A live international broadcast with brand money on the line is the deep end of production. We delivered.

A trade-show deadline, a tight budget, and nothing shot. I found the cast by combing social media and casting boards, locked locations, wrote, directed, and delivered a full product brand launch film in five days. It won gold.

Olympic boxer Tony Jeffries called: the brand was flying in from the UK in two days, there was a gym, a new product line, and no script. I wrote the concept overnight around exactly what we had — the gym, the boxer, the brand — and we shot "True Gentlemen" in one late-night session. It became one of the most awarded pieces I've made.