I help B2B companies, founders and small teams make the creative and production decisions that usually become expensive later: what to say, what deserves to be made, how it should look, and the smartest way to produce it.
25+ years in commercial creative production, with experience across Apple, Sony, Dolby and Meta, plus current hands-on generative production through DriftSignal.TV.
The wrong message. Too many deliverables. A scope nobody challenged. A shoot that should have been smaller. AI used where it damages credibility. I work upstream of those decisions, while they are still cheap to change.
Start with the business problem, the audience and the result you need. Then decide what is worth making, what can be left out, and whether the answer is a film, campaign, website, sales asset, brand adjustment or something smaller.
I separate creative ambition from production overhead, review what is actually driving the quote, and decide which parts need money, which can be simplified, and which production method makes sense.
I help set one creative line across message, visual language, motion, sound and delivery, so every piece feels like the same company rather than a collection of unrelated assets.
I work out where AI genuinely removes cost, time or production limits, where conventional craft still gives better control, and how to combine the two without sacrificing accuracy, finish or trust.
A focused first engagement built around one unresolved decision. Bring the brief, treatment, quote, plan, assets or rough idea. We work through the message, visual direction, production method, budget and where AI does or does not belong, then reduce the problem to a recommendation the team can actually use.
Bring the brief, quote, treatment, work in progress, business problem or rough idea. It does not need to be polished.
We separate what the project needs from what has simply accumulated around it: message, deliverables, vendors, visual choices, production methods, AI ideas, costs and inherited thinking. Then we decide what is worth keeping and what is simply making the job heavier.
You should know what to make, what not to make, how it should be produced, where the money matters, who should own the next step and which questions still need answering.
The value is not another layer of presentation. It is changing the decision while there is still time to change the outcome.
We reduce it to the audience, the central idea and the handful of pieces that actually need to exist, then build the rest from those decisions.
I review what is driving the cost, which parts are visible on screen, what can be simplified and whether a hybrid production approach changes the economics.
We decide where one shoot, one hero asset or one strong creative idea can be extended intelligently across channels rather than multiplying unrelated work.
I test the proposed use against the brand, the subject, the production constraints and the customer expectation, then keep only the parts where it earns its place.
AI is a production decision, not a strategy.
It can extend a small shoot, remove expensive shots, accelerate iteration, create versions and let a small team do work that previously needed a much larger one. It can also introduce generic imagery, product inaccuracies, continuity problems and a level of artificiality the customer can feel immediately.
If AI does not improve the work, the economics, or both, it does not belong in the production.
The engagement should match the decision. Sometimes that is one concentrated session. Sometimes it is useful to keep the same senior point of view involved while the work moves from brief to finished production.
Send the unpolished version. Tell me what the company is trying to achieve, what is being proposed, and what feels uncertain, expensive or unresolved.