The Commercial Banking division of Citizens Financial Group, Inc., needed videos for web to advertise the launch of their IPO on the NYSE. They wanted them to be inspirational but on message and on brand.
The concept for these videos came from the inexorable link in my mind between the "square" business community and the beginning of the day. To this end, all video footage was tailored to represent the most lucid and vivid part of a business person's day: early mornings.
The final result were effective and influential pieces that encapsulate the images seen by the morning business warriors.
Working on one of Disney's oldest and most venerated IPs was a great honor. With that came great responsibility, not only in creating a game over seventy years after the original film's release, but also in marketing the game. Uniting the magic of the film with the experience of the game was a huge challenge, especially with multiple decision makers spread throughout each company.
I was in charge of creating projects for use primarily on web and social channels. They were meant to not only tease and showcase the product, but also to explain it. Fantasia: Music Evolved was a labor of love that fit a certain esoteric niche that was interesting and fun, but the difficulty was in selling that vision to an audience that didn't know they wanted it. It was new, it was different, but it also had a connection to a very known quantity - namely, the original film.
Ultimately, the finalized assets I created struck a balance between demonstrating the product being used, highlighting the fantastic art and music, while showing off the Disney whimsy, charm, and magic.
The genesis of this piece came from a situation that is all too common: Wheelock College had just gone through a lengthy and involved rebranding effort with a traditional agency, but discovered too late that they were inexperienced with the types of content that people are consuming today.
As such, I was employed to create advertisements fit for display on subway terminals and platforms, as well as on social and mobile. I was given everything created by the agency - look-books, style-guides, logo treatments, etc. - and asked to create something in the vein of the print media. I did, but wasn't all to pleased with it, so in the remaining amount of time before the assets were due we worked on a test piece I had been playing with in my mind.
I wasn't happy with the directness of the translation we had taken from the print to video. I had also been watching too many old Disney Movies (Philip fighting Maleficent in the 1959 Disney animated classic Sleeping Beauty is the greatest fight scene of all time) and I longed to create something inspired by the principles of animation those early films pioneered.
The end result is are pieces that is are as potent as they are eye-catching, with a hint of the inspirational veneer that institutions of higher learning love.
Dance Central 3, developed by Harmonix Music Systems, Inc., and published by Microsoft Corporation, is a successor to the wildly popular Dance Central 2. The marketing for the game was focused primarily on Usher, who was a prominent feature in the game.
I put together numerous assets that were published alongside the release of the game, as well as subsequent DLC. These pieces fell into two distinct categories. In one category, we had footage of Usher announcing DLC that fit a specific holiday theme - i.e. love songs for Valentine's Day. In the other category, we had general DLC announcement trailers, that advertised newly available DLC.
These two categories were similar in theme, although the Usher assets were scoped a bit larger (obviously). In either case, I captured footage of the game and created motion graphics, lower thirds, endslates, etc., to match the footage.
The end product is a cohesive messaging strategy that stands on its own, although the ol' Usher tent-pole didn't hurt.
In the late 2000's, NBCUniversal had a scheme to unify all of their disparate local media outlets into one umbrella website: The Feast. That way, if you're on New York's local media site checking out a particular website, you can also see related articles from Providence, Boston, etc. This would serve two purposes: first, it would increase the amount of content available to the user, increasing their perceived value of the website and increasing the likelihood of their returning. Second, it recognized the globally metropolitan aspect of the modern, Western individual. That is to say, we will travel to a distant city to experience something, if we think that experience is important.
I was hired to create content for this website, namely for the Boston section. I was in charge of both discovering, researching, and scripting new content, as well as filming and editing content written by others. This was the typical general interest fare: activities to do, restaurants to try, places to go, people to see, etc.
Despite the topic matter being commonplace, I tried to give the stories a bit of pizzazz and sense of uniqueness by focusing on what the topic means to the individual. We're a deeply social species with a long history of the oral tradition. By tapping into that, I spoke not just to consumers, but to the very genetics they are comprised of.
With Publicis Groupe, I worked with multiple stakeholders to help companies get their message out. Each project that I worked on was unique, as each company operated in disparate industries in different parts of the world. Being able to leverage my perspicacity was of great benefit to me for these projects, so I could provide each client with the best final assets possible.
The work varied from filming and editing, to motion graphics and color correcting, to story boarding and script writing, to sometimes just being in an advisory role.
I joined Harmonix after the release of Rock Band 3 and so my main responsibility was to market the subsequent releases associated with the product. DLC releases, content marketing, social assets, livestream assets, etc. all fell under my purview. Depending on the project, I worked either on my own or with other teams, including the development teams as well as the community teams. As such, I had to wear many hats on any given day - and I had to wear them well.
The bulk of the work was in creating DLC trailers, which required networking with legal and partner relations to track and modify the release schedule, capturing visual elements from the game, creating the text elements and copy, capturing still images, and providing the final assets for release.
Amplitude is a project licensed from Sony that was a unique venture for Harmonix. Its development was supported by both Harmonix and Sony, as well as by the fans themselves via Kickstarter. As such, I was responsible for not just creating assets marketing the project, but also for creating assets for the backers on Kickstarter. My role was pivotal in highlighting the value of the project to backers, as well as to potential backers and eventual consumers.
While Harmonix is best known for the Rock Band series of video games, the studio’s entire body of work is rich and diverse.
During my tenure at Harmonix I focused primarily on creating marketing initiatives and overseeing the production of the requisite marketing assets for new and emerging titles. This was a critical role, as the company faced an uncertain future. While we had massive success in one particular genre of video game, the popularity of that genre was quickly disappearing. As such, the company was focusing on producing titles that were similar-but-different-enough so we could produce new titles in new genres without abandoning our core competencies.
Notable titles that I worked on include Record Run, Rock Band Blitz, and Chroma.
My work for CBS Radio was filming in scope, capturing artists and scenes at events for use in followup marketing. I was given a large amount of freedom to choose what to film, however, and this freedom allowed me to capture some engaging footage.