production
& Studio
ABOUT ME
From USC's School of Cinematic Arts, I am a former filmmaker and L.A. production company owner. Now over a decade old Ad Agency veteran I led all U.S. studio operations for DDB North America, fostering significant growth (20% YOY for 6 years), leveraging nearshore/offshore partnerships for top-tier production solutions. Pursuing an MBA at Boston University, I am currently an Executive Producer at Omnicom Studios dedicated to helping a newly unified global production offering by establishing a cohesive approach to delivering exceptionally crafted work for the future of content.
POINT OF VIEW
We have all witnessed significant changes in the advertising production business over the past two decades, driven by the evolving demands of brands in a dynamic digital landscape. As consumer behavior shifts, companies now need a wide range of content across multiple digital platforms. This shift requires the rapid production of diverse assets. Traditional television advertising has become irrelevant, resulting in a rise in audio-visual ads across various digital screens, primarily due to younger audiences' preference for app-based content.
Having personally participated in the growth of in-house production within major holding companies at Omnicom and WPP, I believe we have redefined traditional production roles. To stay competitive, our in-house teams must be agile and responsive to clients' needs. While some argue that the shift toward in-house models has diminished conventional production quality due to an overemphasis on budgets and efficiency, I believe that in-house teams have become crucial for meeting the high-craft content demands that brands expect.
As our production budgets tighten—either from brands moving production in-house or recognizing the effectiveness of less expensive content strategies—holding companies are uniquely positioned to leverage their global resources. They can keep costs low while maintaining quality. Lower budgets can either limit creativity or spur innovative solutions, prompting creative artists to deliver excellent work under tighter constraints. Holding companies can source top-tier talent from a diverse set of backgrounds across the globe to find the right balance between revenue and quality, ensuring high standards while adapting to market realities.
At its core, the advertising production industry is built on creativity, collaboration, and a deep understanding of client needs. Production offerings from holding companies that embrace flexibility and remain attuned to market dynamics will thrive by providing unique value through strategic partnerships. This adaptability is essential in a landscape where change is constant.
Ultimately, the advertising production landscape goes beyond merely delivering a growing range of content; it is about fostering an ecosystem that encourages collaboration and creativity. As the industry continues to evolve, embracing these changes presents both challenges and opportunities to inspire creativity and craft in production.
HISTORY
I am a true creator at heart, driven by the excitement of crafting short-form creative content. My journey began in childhood when I entertained my family by creating absurd parodies of popular ads and movies, all captured on a stylish VHS camcorder.
After honing my skills, I earned admission to NYU’s Tisch School of the Arts; though, I ultimately traded the Big Apple for Los Angeles, enrolling at the University of Southern California’s prestigious School of Cinematic Arts.
After graduation, I co-founded a production company called WinterGass with my partner, Kyle Gass, from the self-proclaimed "greatest band in the world," Tenacious D. I dove into a wide array of diverse projects, occasionally working for The Barbarian Group during the onset of digital platforms.
After spending a decade in Los Angeles, the allure of New York City brought me back. I joined Grey, the Ad Age 2014/15 Agency of the Year, where I directed and produced dynamic full-up spots, quick and roughs, and vibrant social media videos for Grey's impressive roster of brands.
In 2017, I embraced a new challenge at DDB New York, where I helped launch their in-house production offering. I grew to be fortunate enough to manage a talented team of artists and producers across DDB North America’s offices in New York, Chicago, and San Francisco.
Eventually, as Omnicom consolidated its operations, we unified all production under a newly established global offering, creating a cohesive approach to delivering exceptionally crafted work. Today, I help lead the Omnicom Studios team, focused on producing well-crafted content at scale for the masses.
As a positive and enthusiastic coach, I am always ready to jump in and contribute directly. I lead with empathy, championing craft, diversity, equity, inclusion, and radical collaboration at every step of the process.