Producer
As a producer, I do whatever it takes and wherever it takes me. I can be working on a detailed budget while creating storyboards for a director or motion graphics artist. Overlap is common when you’re a producer and that’s what makes it so exciting. Budgets, production schedules, hiring staff and crews, finding locations and venues, overseeing the creation of content, event media, producing a video shoot and a live broadcast at the same time for different clients. I’m always “casting the crew” which means I’m thinking a lot about who would be good in a certain role, whether that’s the crew or the cast. If you’re happy to see someone you know on a show, it’s usually thanks to the producer.
Director
David Fincher said it best: “Directing ain't about drawing a neat little picture and showing it to the cameraman. The fact is, you don't know what directing is until the sun is setting and you've got to get five shots and you're only going to get two.” In my opinion, it’s the director who gracefully manages all of the egos, creative ideas, notes, feedback and chaos of the set and does it all over again throughout the post production process. My number one goal as the director is to serve the story. Directing is the most rewarding and most terrifying job at the same time.
Show Caller
This position is often referred to as the “stage manager” or “show director.” I prefer “show caller” because on most larger programs, it takes a skilled video director and stage or deck managers to pull off a good show for our clients. Show calling is something I’ve mastered over the past ten years. I’m on headset with the show crew: lighting, audio, graphics, video playback, server op, video director, screen switcher, deck managers, producers, the band, our host, teleprompter and anyone else who’s been given a com. And my job is to tell them when to “GO.” A lot of work goes into that GO cue: meetings, calls, site visits, engineering a good show technically, building detailed and easy-to-read run of shows and managing the chaos of rehearsals. Some call me the chaos whisperer because I’m calm on headset (or at least I try to be). For 20 years, I’ve called shows for eSports, concerts, investor days, broadcasts, general sessions and keynotes.
“At the end of the day, it’s all about flawless execution.”
Multicam Director
Compared to single camera directing, multicam directing is just a different beast. I’m usually in a truck, with a really good AD and TD doing what I do when I show call but tailoring it more to “the shot.” The camera angles, the lighting, the framing, the camera moves. With multicam directing, it’s all about eyelines and energy and keeping the broadcast interesting. Where can we put this person for this segment? Or which camera can they look into? How can the on-camera talent interact with the audience or set pieces or viewers? Multicam directing is one of my favorite things to do. It’s live. You get one chance to nail it and that alone is worth all of the hard work leading up to the program.
Consulting
I’ve helped build successful podcasts from scratch. I’ve been around the world to help tell the stories of non-profit organizations. I’ve mentored young filmmakers and I once secured a venue for the White House. Consulting is similar to producing: you tap into your years of experience to help a company, organization or individual streamline their efforts. It’s borrowed wisdom and it’s all about building a legacy. I’ve had the honor of helping these wonderful non-profits over the years: Skip1.org, Serve the City Dubai, Parfums de Vie and the Christina Grimmie Foundation.