DIRECTOR OF PHOTOGRAPHY
As the DP for the LPGA, I managed the production of all high-end shoots for the LPGA and its affiliated brands. This role required overseeing complex, high-end productions with large on-site crews, often comprising a dozen or more team members. I directed the filming of commercials at various LPGA Tour locations and coordinated smaller productions, which, while more streamlined, still demanded precise coordination and typically involved two to three additional support positions.
The high level of conception and video production required underscored the commitment to deliver top-tier visual content for the LPGA and its brand families.
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THE NEXT WAVE
commercial spot
As the lead for the LPGA Creative Group, I collaborated closely with the team at Spozten to produce this award-winning spot featuring Lexi Thompson. We successfully managed a high-profile shoot, navigating tight timelines while ensuring the highest quality standards were maintained throughout the production.
We meticulously coordinated with Lexi and her team, working within her limited availability to schedule the shoot just before the season-ending event in Naples, Florida. Understanding the importance of maintaining long-term relationships with high-profile individuals, I prioritized sensitivity to her needs during this high-pressure period while balancing the production requirements.
Managing high-stress timelines for LPGA players meant having multiple on-site locations ready and streamlining the process to minimize the talent’s time on set. My ability to efficiently handle these logistics while maintaining the highest production standards underscores my expertise in delivering top-quality content on time and within budget, even under demanding circumstances.
DRIVE ON: SMALL BUT MIGHTY
commercial spot
During the peak of COVID, I single-handedly led a high-impact DRIVE ON campaign production, demonstrating my adaptability and commitment to excellence under challenging conditions.
Mike Whan’s “Act Like a Founder” mantra guided us during these challenging times, as our access to freelance production crews was severely limited. Embracing this philosophy at the core of the DRIVE ON campaign, I saw a unique opportunity for a road trip.
The young girl featured in this spot had written a one-page report on her life story for a school project, which went viral after being posted online. We contacted her family, who agreed to let us tell her story.
With the world only partially vaccinated and safety as a top priority, I volunteered to take on the project as a “one-man band” and drove to Memphis, Tennessee. Her family and I were vaccinated, allowing me to enter their home to record footage. I also secured a local, vaccinated crew member to assist on set, ensuring we had the necessary support within our safety bubble.
This approach turned out to be a “Bob Ross moment.” The pandemic requirements for a minimal crew created a more relaxed “on-set” environment, allowing Claire to be herself and shine on camera.
One of my proudest memories from my 20 years at the LPGA is handling this production solo during the pandemic’s peak. It exemplifies my ability to adapt, manage limited resources, and deliver outstanding results.
SOLHEIM CUP
asset shoot
I led my production team in overcoming challenging locations and tight schedules to deliver high-quality video assets, demonstrating my expertise in creative problem-solving and efficient resource management under pressure.
The LPGA’s premier event, the biennial Solheim Cup, requires nimble and efficient video production due to the unpredictable nature of team composition. The team lineup isn’t finalized until the run-up to the event, making time a critical factor for gathering and producing assets.
In these scenarios, I lead my production team on location to record all potential team members in various settings and banking assets for the event before the official team announcement. This often coincides with high-pressure LPGA events, so minimizing the talent’s time on set is crucial to ensure they perform at their best.
One notable challenge was dealing with locations lacking the luxury of large ballrooms or conference centers for set construction. A prime example was setting up in a low-ceiling hallway in a clubhouse, complete with an immovable stone table and large windows streaming daylight into the space. Additionally, a dining area nearby added to the ambient noise.
To overcome these challenges, I covered the windows with acoustic blankets and a green screen, which deadened the sound and provided a suitable backdrop. Through careful set management and creative problem-solving, we transformed this limited space into a functional set, capturing fantastic shots of the players for that year’s Solheim Cup marketing materials.
This experience highlights my ability to handle video production with a small crew, managing limited time, manpower, and budgets while delivering high-quality results.