Information alone isn't a reason to watch a video. People and story are.
I've spent my career figuring out what makes video actually work. The answer is usually the same: clarity and personality. Say one thing, say it like a human being, and make it worth watching. I build operations around that belief and create the environment where people feel comfortable enough to actually mean it. Below is what has come out of that process.
Devbridge is where I learned what good actually looks like. The CEO and CMO both had genuine taste and set real editorial standards: briefs were specific, expectations were high, and there was a standing mandate to make things that were not just correct but genuinely worth watching. Working in a services business, personality matters as much as capability. Devbridge understood that, and it shaped everything we made.
The format we kept coming back to: one idea per video, clear language, trust the message over production flash. Make it human. That's the blueprint. It works for any client, in any context.
(1) This was the direct-to-camera capabilities format we repeatedly used. Clear language, tight editing, graphics that reinforce the message without decorating it. A consistent and scalable format that served us well at the top of the funnel.
(2) A deeper look at how Devbridge works: this one goes beyond introducing the practice and gets into the process. Same direct-to-camera format, more specificity about how we actually deliver for clients.
(3) An employee appreciation video built around a character we invented in a brainstorm: Devbot, a robot who does small, thoughtful things for the team. I produced the piece, worked with the talent, and operated the robot on set. The edit was a true collaboration. Devbot became a recurring prop in Devbridge's office culture long after the video wrapped, which is what happens when a story has a character worth keeping.
(4) Devbridge was named to Crain's Chicago Business Fast 50, one of the fastest-growing companies in Chicago, for the second straight year. We turned the founders into dolls, put them into an RC car, and told them to hit the gas.
(5) A promotional recap of our annual all-company Summer Camp in Lithuania. With MDs and PMs in North America, and a large engineering team in Lithuania, getting everyone in the same place wasn't a perk; it was how the company stayed one team. We leaned into a goofy, MTV-inspired aesthetic that reinforced two of the organization's core values: "Have Fun" and "Make Great Things."
(6) Apollo, Devbridge's proprietary product delivery toolkit, built in-house and marketed externally. The challenge was taking the data insights the tools provided and placing them into a real-world context. Shot in a single day, we leaned heavily on animating motion graphics pulled straight from Apollo's interface, every shot composed with the graphics in mind.
Content across the full picture.
When I joined Foundation Software, video had been on the wish list for years. The intent was there but the capability needed to be built out. My first job wasn't to make videos. It was to build the infrastructure that made making videos possible.
That meant convincing leadership to allocate a dedicated studio space, rebuilding the production workflow in Asana from scratch, and earning trust with project managers and stakeholders who needed to see it work before they'd invest in it. Two years later, our assets consistently rank among the company's top lead-generators month over month. The system is running, and it's producing results it wasn't producing before.
(1) The Video Spotlight for Foundation's YouTube page. I worked with the C-Suite to tell the company's story quickly and clearly. Some of whom had never been on camera before.
(2) Regional streaming ad targeting contractors in Pittsburgh. Bold, declarative, built for the industry. Drove measurable site traffic and performed well in a follow-up email retargeting campaign.
(3) Animated product overview distilling the full Foundation software suite into a clear, fast-moving explainer. The motion graphics were animated directly from the design team's vector files.
(4) A 20-second Google PPC ad for Payroll4Construction. One problem, one solution, one joke. Plus we get a conga line.
LaunchPad Lab found me through my work at Devbridge. The CEO wanted a homepage video that would give prospective clients an immediate sense of the team before a single sales call. Tight timeline, modest budget, high expectations.
I flew to Chicago twice, once to meet the CEO, establish the relationship, and scout their downtown office space; once to shoot. I brought on a crew and rented all the gear we needed. The cinematographer was a key collaborator, a seasoned freelancer whose technical skill helped us make our day and elevated the look of the piece significantly. Managing that relationship well was as important as anything else I did on that project. We interviewed all six principals in one afternoon in their shared WeWork space and had a finished piece delivered on schedule.
The editorial challenge is inherent to this kind of work. LaunchPad Lab builds complex digital products for enterprise clients, technical, sophisticated work that doesn't translate itself. None of the principals had much camera experience, and I had about 30 minutes with each of them. The good soundbites don't come from the formal questions. They come from the small talk, the follow-ups, the moment someone forgets the camera is there. Getting people to that place quickly is one of the things I do best. My job was to make their expertise land for a business buyer who just needs to understand why this team is the right partner.
Six interviews + B-Roll in one shoot day. I flew to Chicago, location scouted, hired a two-person crew, and wrote tailored interview questions for each subject. I found the narrative thread in the edit from hours of footage with technical experts who'd never been on camera.
Making the technical human.
Additional Work
Internal brand launch hype reel for .Monks, one of the world's largest and most recognized creative production companies. Received motion assets from their design team, animated and edited into a finished piece on a tight deadline. The Formula.Monks sub-brand has since been folded into the broader .Monks identity.
Brand launch on a tight timeline.
Motion design is one of the most effective ways to explain complex information quickly. Data, concepts, processes — things that take paragraphs to describe in text can land in seconds when they move. It can exist on its own or be integrated into live action, making any production richer, more engaging, and easier to retain.
It's a visual language I speak fluently. I work regularly with brand designers, UI designers, and product designers, animating vector files, Figma exports, and brand assets into motion. These collaborations work best when I'm getting the static designer's input on how something should move, not just executing on my own instincts.
The reel here pulls together selected pieces from my time at Devbridge, Cognizant Softvision, and .Monks. The clearest examples of motion in service of a message live throughout the work section above.
The most important thing I bring to any project isn't a workflow or a piece of gear. It's the ability to make people feel comfortable before the camera rolls, because if we're not enjoying the process, it shows.
My approach is mostly documentary. I'd rather capture someone saying something real and plain than something polished and hollow. My pre-shoot process is simple: we sit down, we talk, we figure out together what we're actually trying to say. Once someone trusts that you understand their story, you've earned the right to give them notes.
For scripted work, the antidote is fun. Most people aren't actors, and you can't direct your way out of someone being stiff. What you can do is create an environment where they feel like they can go for it, make jokes, be loud, be the most relaxed person in the room until they catch up. Either way, the goal is the same: get people out of their heads and into the moment. The systems and editorial judgment come after. First you have to be someone people want in the room.
I've built video programs from scratch at three different companies, each time starting with no infrastructure and leaving something that ran without me. Most of that work has been for technology companies, which has become a specialty. My technical background is deep in post-production. I think like an editor when I'm producing. I've also taught post-production at Cuyahoga Community College and post-supervised student films that screened at the Cleveland International Film Festival. In my next role, I want to lead and mentor, not just produce.
Based in Cleveland, OH · Open to remote and hybrid engagements.
Looking for a senior producer who can build, lead, and deliver? I'd love to hear from you.
Cleveland, OH · Remote & Hybrid