Skateboarding pulled me into production by accident. Growing up filming and editing skate tapes in the mid-90s — VX1000s, late-night tape-to-tape sessions, color correction on whatever hardware I could get my hands on — taught me the discipline of real-time craft long before it was a career. By 1999 I was volunteering at the City of Commerce Cable Television station, running live broadcast cameras, studio robotics, and lighting. Over nine years I logged 5,000+ hours there, eventually running the city's annual beauty pageant as Production Manager, Assistant Director, and Head of Production.

At 16, I saved up and went to NAB in Vegas by myself — hitchhiked from the bus terminal to my hotel, sat in on world-class broadcast training all week, bought my first fisheye lens on the show floor, and scraped together just enough to fly home. That trip set the tone for everything after it: go where the work is, learn from people who actually do it, and figure out the logistics on the way.

The cable station years rolled straight into professional editing. Credits span roles across reality, music, and scripted TV — additional editor on Occupation: Hollywood, assistant editor on A Royal Christmas, visual effects on One Direction: Going Our Way, plus work on Kim Kardashian: The Fabulous Life, America's Sweethearts: Queens of Nashville, and Music Revolution.

My most recent credit is Taylor Swift: Melodies and Hearts (2025, 50m), where I covered the full pipeline end-to-end: production, trailer cut, all of post-production, QC, and final delivery. That experience — owning every stage from camera to deliverable — is what shapes how I architect media pipelines today. IMDb ↗

Production work led naturally into audio. I graduated from The Los Angeles Recording School with a 3.92 GPA in Recording Arts Technology and spent years working as a tracking engineer, mix engineer, and mastering engineer — studio sessions, live recordings, and everything in between. That hands-on foundation is non-negotiable: you cannot design audio software credibly without sitting behind a console first.

It's also the foundation FloAud.io is built on — six production tools (AudioFlo, StemFlo, MasterFlo, MidiFlo, Audio Cleanup) plus TeachMe, a 21-module audio engineering curriculum. Plugin development, custom vocal chain design, and neural audio DSP are where the recording engineer and the software engineer meet.

Over the last 12+ years, the media background fused with cloud engineering. At GPL Technologies I architect AWS Deadline Cloud render farms, cross-account licensing networks, and production pipelines for VFX studios — Cantina Creative, Frame48, Chicken Bone FX, Transit, Alliance VFX, JAMM, Buck Design, Sight & Sound, and more.

The instincts carry over cleanly from the live control room: real-time problem solving, deep system knowledge, and the discipline to make complex technical machinery feel invisible to the people using it. Whether it's a 20K-resolution render or a live broadcast, the job is the same — keep it on the rails, and make the hard part look easy.