As a special surprise event for Pokémon GO’s GO Fest 2021, we threw an in-person activation with a 60’ egg in Chicago. The days leading up to it sparked curiosity and news coverage. The event was sold out in hours with a line wrapping outside Maggie Daley park.

I acted as Agency Producer.

Staples wanted to take a chance and do something different. We took that chance and ran with it, recreating a 90s music video for Ace of Base’s “I Saw the Sign” with Staples Print Advisors.

We teamed up with the king of 90s music videos, Joseph Kahn, to create something special that could elevate the brand.

I acted as Agency Producer.

In 2013 it was time to move from bold flavor to bold action. We gave fans control over how bold our concerts got at the SXSW music festival. They could tweet to vote for opening acts, songs, stage effects, and more. 

But not just the fans at SXSW could partake: the first-ever mobile 360° concert also turned anyone with a phone into our audience.

Pokémon GO’s biggest event of the year in 2020 was fully remote because of the pandemic. This spot was to promote the event, as well as draw lapsed users back into the game. We shot the spot remotely in New Zealand, directed by the talented Rian Johnson.

I acted as Agency Producer.

The concept was to display how Audi’s e-tron embraced Mother Nature. Shot by the amazing JUCO.

I acted as Agency Producer.

To showcase and highlight updates to Pokémon GO and the battling feature, we created a trainer guide, reminiscent of the old video game catalogs. It was built completely in Google Slides.

I acted as Agency Producer.

Doritos partnered with Rae Sremmurd, Mike WiLL Made-It, and Interscope Records to bring fans the Boldest music video experience. For Rae Sremmurd's single, "Over Here", we created a music video where fans and friends put their phones together to unlock the full video and enjoy a truly interactive experience together.

Viewers access overhere.tv and link their devices together. The more that join in, the bigger and funner the experience is, with each phone screen unlocking additional content. For example, additional viewers can lead to the unlocking of secret videos featuring real-time commentary or even an 8-bit version of the clip. It's the first music video that gets better with friends.

I was responsible for digital and video production, as well as BTS and supporting content.

Instead of making a Super Bowl ad for itself, Tostitos made one for everybody throwing a Super Bowl party.

‘Super Bowl Ads for All’ is a Super-Bowl-ad-generator that transformed people’s party details (host’s name, address, and the party start time) into a fully personalized 60 second commercial. These films featured all the Super Bowl ad clichés, creating up to 300 unique commercials for people to share with family and friends.

I was lead for interactive production and emerging technology, as well as a producer on integrated content.

In their 3rd year at SXSW, Doritos issued “Bold Challenges” for fans to complete in order to earn their ticket to the #BoldStage where they could experience three days of exclusive music headlined by Lady Gaga.

All of the content was pulled in from Instagram, Vine, and Twitter and collected on a responsive site that displayed all the user-generated content next to the details about each challenge. In addition to that, the venue had a fully functional vending chip wall with over 600 bags of Doritos that passerby’s could catch.

Xfinity wanted to bridge the digital and real worlds and connect people with what they watch. We gave them and the fans #SignMyTweet: a live autographing session where a celebrity signs tweets from their fans. We select them, design them, print them, sign them, and mail them, giving the fans something to hang on their walls and sometimes a little bit more.

I led production on all fronts: printing production, site production, shoot/video production, photography production, fulfillment, etc.

Fun social animations that display the flavor profile of some of the different Doritos flavors.

We collaborated with Guy Trefler and Adehamas Batista for design, animation, and sound design.

A photo shoot for the Audi of America Instagram grid and social channels. The concept was saying goodbye to the old (gas) with the new (electric). Shot beautifully by Lisa Linke.

I acted as Agency Producer, along with some Line Producer responsibilities.

XFINITY wanted to give NASCAR fans a behind-the-scenes look at some of their favorite drivers, as well as some of the biggest fans, with “Pit Stop Interviews'“ and “Beyond The Track”

For “Pit Stop Interviews”, we did intense, in-and-out, driver interviews with quick-fire questions. Grilling them, or confusing them, best we could.

For “Beyond The Track”, we sought out notable fans in the infield track, and got the story behind them and their love of NASCAR to go along with a pretty picture.

I was the Agency Producer and one of the Line Producers on this job. The job entailed managing two separate teams over the same weekend, shooting drivers and fans.

This is a spot that I worked on for a Dodge pitch. We turned around the shoot and post in days and with a shoestring budget. Definitely one of the quickest and tightest productions I’ve worked on. The final product impressed the clients so much, they bought the concept and reshot the spot for broadcast.

I worked as Agency Producer and was one of the Line Producers.

For April Fool’s Day, we made an online video showcasing Cheetos new Spray Tan product.

All pre production, shoot, edit, VO record, sound design, mix, and color was done in less than two weeks with a small budget.

I acted as Lead Agency Producer and as a Line Producer for this project.

Inspired by Dali’s painting, Gala Contemplating the Mediterranean Sea, Which at Twenty Meters Becomes the Portrait of Abraham Lincoln, we created an interactive experience that allows you to become part of one of Dali’s most celebrated paintings.

For the Dali Musuem in St. Petersburg, FL, we created an installation that allowed visitors to take their picture and see their profiles through different stages of pixellation until they matched the original Gala Contemplating painting hung beside their projection on the museum wall.

For those unable to visit the museum, or visitors that wanted to see their portrait online, there was a corresponding site to display the gallery of photos and to upload photos of their own.
 
 

Xfinity was a sponsor of PAX PRIME, an annual gaming conference for gamers. We created Wait-Bot 5000 to wait in lines for gamers as they played other games.

I was responsible for production of facade, including software and hardware.

The 7th year of Doritos's Crash The Super Bowl contest was done in collaboration with Facebook. The contest was built as a Facebook app, taking full advantage of Facebook Open Graph stories to help spread the word about CTSB on the platform.

The production was a full partnership with FB developers, strategists, and creative directors alongside our own teams to bring a campaign that was fully integrated within the platform.

For the 8th year of Doritos Crash The Super Bowl, the contest went global. The program was taken off Facebook, but still implemented FB Connect and OG stories to amplify the exposure of the contest. YouTube was utilized for the back-end, along with ThisMoment, to create an easy and familiar process for submitters and to gather the largest amount of submissions in a year, including the viral spot, "Finger Cleaner".

"The Connective" was an issue of Wired that re-imagined how magazines were created and consumed, becoming the most downloaded digital issue of WIRED ever.

It contained articles that were updated in real-time and a connected Cisco experience that took users through a day in a connected world utilizing the internet of everything.

Doritos unveiled an initiative to make everything in this world a little bit bolder... even social. Using Vine and Instagram, any video tagged with #doritossupercut was stitched together to make one long looping Supercut of Bold Doritos eating action.

Everyone wants to be in commercials and now everyone can be in the Boldest Doritos commercial with the Bold on Bold on Bold web app.

Using PixFusion technology, the geniuses behind Jib Jab, you can superimpose your head on the Bold Hero in the ad. Put yourself in a GIF, in a meme, in the whole TV spot and share it with anyone who would be jealous of your newfound fame. 

Sonic Drive-In sees a drop in customers when the weather gets crummy. A perfectly logical problem with a perfectly logical solution: give out deals when the weather is bad. 

To accomplish this, we created the Bad Weather Channel. A site that enables users to check for Bad Weather deals and sign up for real-time deal text messages right when the weather takes a turn for the worse.

For the very first time on YouTube, Live From The Runway streamed 30 runway shows from New York Fashion Week 2011. With fashion partners across the network, almost any video from Fashion Week was available on the channel: backstage footage, interviews, highlights, and runway shows from around the globe.

The YouTube Program incorporated the Live Stream Player, an interactive Social Gadget, a Video Carousel with new videos of the day’s runway shows, and a Maybelline Gadget featuring designers’ looks from Fashion Week.

Total Stream Hits: 1,368,115
Unique Views: 115,668
Peak Concurrent Views: 6,035

The Coachella Valley Music and Arts Festival 2011 was live streamed on YouTube. Over 60 shows were webcast over the three day period of the festival along with backstage, encore, archive, and interview footage. This was the largest amount of live stream show coverage on YouTube to date.

The YouTube channel incorporated a Live Stream Player with three different channels of streaming content, a moderated social gadget for viewers to tweet about the stream, a “5 Gum Shout Out Gadget” that let viewers shout out messages to their friends watching the webcast through Facebook, and a full Schedule Gadget.

The Live Stream was a huge success:
Total Stream Hits: 62,756,225
Total Views: 7,827,402
Peak Concurrent Viewers: 94,551
Average View Time per User: 51.2 min