From building custom 3D specialties and creating After Effects toolkits, to designing documentary title packages for NFL 360 and player-specific freeze frames for the Combine and Draft. I’ve also worked on sponsor deliverables, streamlined workflows utilizing expressions, contributed to Super Bowl graphics in collaboration with our creative team and various other assignments.

Project timelines vary widely, from six weeks to just thirty minutes, depending on the needs of show producers. Working in this fast-paced, live broadcast environment has taught me how to manage multiple projects at once, stay flexible, and deliver under pressure.

Beyond design, I’ve taken initiative in organizing our project file structure on the server to support smoother team collaboration.

In my second season, I found a strong fit with the Exclusive Games team, where I’ve focused on crafting custom 3D specialties for NFL teams and international locations. This is where I feel I’ve contributed the most, as 3D design is where my passion and skillset align most strongly.

I work closely with my Art Director, Sam Kim, to develop a concept that resonates with the identity of the corresponding city. This starts with researching visual references, building moodboards, and creating styleframes and animatics until we land on a direction that gets the green light.

Once approved, I begin modeling all necessary assets and supplement any missing pieces with items from our internal 3D library. I then focus on lighting, materials, and refining the camera animation that was blocked out in the animatic stage. From there, I move into animating the scene’s elements and preparing for render — optimizing for speed, setting up AOVs, and leveraging passes like cryptomattes, puzzle mattes, reflections, and Z-depth for more control during compositing. This is especially important when integrating typography, as legibility is key for on-air graphics.

Once the look is finalized, I organize the After Effects file for easy versioning, allowing our team to quickly update player photos and stats when requested by show producers. These custom graphics typically air in Gameday Kickoff, Gameday Final, and occasionally during the game itself.

It's rare to have a client hand you a project and give you total creative freedom to build anything you want, but that freedom comes with serious intensity. It’s fast and demanding, but ultimately incredibly rewarding.

Concert visuals are unlike anything else I’ve worked on. For these shows, they don’t necessarily need to tell a story, though that can elevate the experience with the right song. They need to amplify the music and energize the crowd. Over the past four years, I’ve learned more than I thought possible. Nothing motivates me to explore new tools and techniques more than creating for an audience that genuinely connects with the experience you’ve built for them.

I was tasked with creating a custom video wall frame for each of the three stages, along with three visual variations — one for each day of the festival. These frames were designed to be endless loops that enhance the overall theme and remained on screen during the opening acts, while their own custom content played inside the frame.

I had about two days to put together a concept pitch deck outlining the look and feel for each stage and how the visuals would evolve across the three days. There was also a bonus request to design alternate high-energy versions that the VJ could trigger live for peak moments. After the concept phase, I had about a week to build and deliver the final assets. It was a fast-paced project, but having a clear creative direction and strong reference imagery led to a smooth and successful outcome.

I really appreciated the opportunity to focus more on design than animation for this project. Since the frames were meant to be ambient rather than full-blown visuals, it allowed me to focus more on mood and atmosphere in a way that I hadn’t done for the team before.