Structuring captured material into finished segments while maintaining pacing, continuity and editorial needs.
BROADCAST / MULTIMEDIA PRODUCTION / PBS
MAKING IT GROW
I worked as a multimedia producer across studio production, field shoots and post-production on Making It Grow, an Emmy-winning PBS / SCETV production. My role moved between camera operation, live switching, audio, drone cinematography, editing, graphics, media management and production logistics.
SELECTED PRODUCTIONS01 / PRODUCTION
Working across the entire image pipeline.
I worked as a multimedia producer on Making It Grow, contributing across the studio, field and post-production sides of an Emmy-winning PBS / SCETV production. On any given production cycle that could mean operating the primary camera on the host, preparing and miking guests, working the live switcher, traveling for location shoots, capturing drone footage, editing segments, color grading material or building graphical overlays for the finished program.
The role taught me to think beyond individual creative tools. Television production is an interconnected system of people, equipment, footage, storage, schedules and deadlines. I had to understand what happened before an image reached my camera, what needed to happen after it left the card, and how decisions made in the field affected the edit later. The creative work and the operational work were never really separate.
02 / STUDIO
Producing television while it's happening.
Studio production demanded consistency in real time. I operated the primary camera on the host, worked live video switching, helped prepare audio and microphones, and handled guests as they moved into a professional broadcast environment.
Unlike post-production, there is no timeline to hide behind while the show is being captured. Framing, focus, timing, communication and technical preparation all have to work together in the moment.
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STUDIO 01
PRIMARY CAMERA
Operating the primary camera on the host required consistent framing, exposure, focus and timing while staying responsive to the live production.
03 / FIELD
Taking the production outside the studio.
Field production expanded my responsibility beyond operating equipment. I traveled for shoots, helped identify locations, worked directly with guests and captured material in environments we did not completely control.
I also contributed drone cinematography to episodes. Those shoots strengthened the connection between planning and capture: the better I understood what the edit would eventually need, the more intentional I could be in the field.
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FIELD 01
LOCATION SCOUTING
I helped identify locations that supported the story while functioning practically for cameras, audio, guests and crew.
04 / POST-PRODUCTION
Turning production into broadcast material.
My work continued after capture. I edited material for the program, managed footage through the Adobe production workflow, handled color correction and grading, and created or integrated graphical overlays. Working on material I had also helped capture gave me a practical understanding of how production decisions travel downstream into post.
Professional video quickly becomes a data problem as much as a creative one. Camera cards, project files, working media, graphics, versions, exports and archives all have to remain organized enough for a team to find and trust. The goal was not simply to know the Adobe tools. It was to maintain a dependable pipeline around them.
Balancing footage from different cameras and environments into one coherent broadcast.
Creating and integrating visual information that supported the program without competing with the story.
Organizing footage, project media and deliverables so production remained usable across people and stages.
Communicating production expectations and helping other people contribute within a shared professional workflow.
Using editing, graphics, color and media tools as an interconnected production environment.
05 / PRODUCTION OPERATIONS
The work around the image matters too.
A professional production depends on more than the people touching cameras. I worked across travel and shoot logistics, guest handling, equipment preparation, data and storage, and the coordination required to move a production from one stage to the next. I also worked with interns and teams, which meant communicating expectations clearly enough that other people could contribute to the same production standard.
That experience changed the way I approach creative technology now. A beautiful output is only one part of a successful project. Files have to be findable. People need to know what is happening. Guests need to feel taken care of. Equipment needs to arrive ready. Deadlines are real. The invisible infrastructure around creative work is part of the craft.
PRODUCTION / PROCESS▶ENTER
06 / SELECTED PRODUCTIONS
Different episodes, different responsibilities.
The breadth of the role is easiest to understand through individual productions. Some episodes gave me room to contribute aerial photography. Others leaned more heavily on studio camera operation, editing, location work or production logistics.
Each selection can eventually identify the episode or segment, location, my specific role and a short production note. The page stays visually consistent while the evidence changes with the work.
PRODUCTION 01
PRODUCTION 01
ROLE / LOCATIONPlaceholder for a selected Making It Grow production. This state will identify what I handled and why that contribution mattered.
07 / RETROSPECTIVE
Learning how professional media actually moves.
Making It Grow gave me repeated experience inside a real production ecosystem: cameras, switchers, microphones, drones, edit systems, storage, travel, guests, crews and deadlines all converging around the same finished program. It gave me technical range, but more importantly it taught me how those specialties depend on one another.
That production discipline still sits underneath the interactive and spatial work I build now. I can move into unfamiliar technology because I already understand the larger responsibility: make the creative idea work, understand the pipeline around it, communicate with the people involved, protect the material and deliver something the next person can actually use.