TECHNICAL DIRECTION
As the technical director for the LPGA and the Creative Group, I spearheaded all major productions, from orchestrating the season-ending LPGA Rolex Awards show to overseeing the research and development of a potential video production and photographic studio.
In addition to these responsibilities, I played a pivotal role in equipping our teams with the right gear for their projects and providing mentorship as needed. I rigorously tested production equipment to ensure it met our high standards and was well-suited for our workflows. Furthermore, I developed and managed a comprehensive system to efficiently oversee our gear inventory.
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LPGA ROLEX AWARDS
season-ending live show
As Art and Technical Director for the LPGA Rolex Awards for over a decade, I transformed the event from a small VIP presentation to a global streaming gala viewed by millions.
The production began with a “green carpet” (in honor of Rolex) where players, celebrities, and VIPs were interviewed at a pre-awards show party. Following the green carpet, the crowd gathered in a ballroom, which our team had transformed to resemble an Oscar night event. Hosted by Golf Channel’s Tom Abbott, the show included pre-recorded features, live interviews on stage, and award presentations. During the intermission, while dinner was served to VIPs in the ballroom, we conducted a 30-minute “half-time show” featuring live interviews and pre-recorded segments. The second half continued the awards ceremony, culminating with the Player and Rookie of the Year Awards.
In the weeks before the event, my team and I produced dozens of feature videos highlighting key moments throughout the year and talking-head pieces for presenters and recipients who couldn’t attend. We also prepared a full motion graphics suite for both the in-ballroom show and the global streaming broadcast.
The production covered four distinct spaces: the Main Show Room or ballroom for the main event; the Pre-Post Show Party, held in the courtyard of the Ritz-Carlton; the foyer, where the intermission or “Half-Time Show” was held; and a small Broadcast Set, from which on-air hosts could broadcast the show.
This complex setup included in the courtyard, two cameras on sticks, four additional press camera locations, two roving cameras, and one drone; in the ballroom, two cameras on sticks, one 24’ jib cam, and two roving cameras; in the foyer, two cameras on sticks and two roving cameras; and on the host set two cameras on sticks.
Under my guidance as the Technical Director, I ensured everyone stayed on task, coordinating seamlessly with the various freelance production crews hired for the event. This was critical in consistently delivering a high-quality production year after year, even when obstacles were thrown our way. I called the live, in-person show in the ballroom while working in concert with a streaming director who guided the broadcast, taking cues from my lead. Every detail was timed down to the second.
The LPGA Rolex Awards grew exponentially under my direction, from an audience of a few hundred to several million over a decade. The event evolved into one of the most complex productions I’ve ever participated in, showcasing my high level of video production and technical skills. I’m incredibly proud of the team we assembled and the flawless execution we achieved, which producers familiar with the challenges of such a multifaceted event will appreciate.
TV STUDIO
proof-of-concept
Through meticulous research and innovative planning, we developed a cost-effective, versatile studio solution for the LPGA. This solution enables high-quality productions with budgets ranging from minimal (near zero) to $150,000.
Our initial $150,000 enhancement plan involved designing a dynamic set with improved lighting and movable walls for multiple configurations. We collaborated with experts and ensured the plan was within budget and on schedule to create a flexible studio space for diverse production needs. We developed a versatile studio space by maximizing our video production budget and repurposing equipment.
The return on investment (ROI) from this project will be significant financially and in terms of communication and marketing benefits. We enhanced production capabilities by developing a cost-effective, flexible studio solution, enabling the LPGA to create visually compelling content.
This endeavor underscores the value of strategic planning and resourcefulness, proving that achieving remarkable results and driving innovation in media production is possible even with limited budgets.
STUDIO IN A BOX
proof-of-concept
One of the most exciting technical projects I led was research for a “TV Studio in a Box,” a portable unit for on-location, multi-camera, multi-feed video production.
This unit would include a multi-line switcher for up to 8 hardline feeds—cameras, computers, and auxiliary devices—and up to a dozen virtual feeds. It recorded all feeds discretely with independent audio and video tracks and could feed several confidence monitors in-studio and remotely.
It would be scalable and adaptable. It would deliver high-definition outputs and support various content types, including live broadcasts, webinars, and virtual events. Advanced features like software-based switchers and digital audio interfaces would enhance our production capabilities. The portable setup would enable easy transportation, setup, and teardown, making it ideal for live events and on-location shoots.
Investing in this portable TV studio would empower us to produce high-quality content efficiently, driving better sponsor engagement and significantly boosting our event’s ROI through enhanced media reach and viewership.
EPSON TOUR
RACE FOR THE CARD
season-ending live show
I transformed a conference room into a TV studio for the LPGA developmental tour’s season-ending card ceremony every year, managing tight budgets and time constraints to deliver a high-quality production. This led to a long-term sponsor renewal and growing event popularity.
I oversaw the transformation of a medium-sized conference I oversaw the transformation of a medium-sized conference room into a TV studio, guiding the crew as they built a set with video walls, brought in lights and staging, and set up a control area to run the show and manage a three-camera setup.
This event posed massive challenges. First, the budget was significantly lower than we had for the more significant, season-ending Rolex event. This meant we were limited in the freelance and video production assets we could bring in to help overcome these hurdles. Second, we had only 12 hours to build the set on the day of the show. Finally, the graphics for the winners would only be known 30 minutes before the show started.
But, as always, my team and I viewed this as a time to shine.
We utilized cost-effective show controllers, like Pro Video Player, to run the show in-house from a laptop, then streamed the event to Facebook LIVE. We also repurposed pre-made, evergreen graphics produced for use year after year to decorate the set. This allowed us to use our remaining budget to hire a local video production and event staging crew with whom I had a good relationship, bringing in two additional cameras, operators, and lighting for the set.
The initial sponsor received the result so well that, as the event grew in popularity over the years, they renewed their partnership twice more, extending from an initial three-year commitment to ten.