Skills Snapshot

I approach audio with the goal of making the mix feel polished without pulling attention away from the moment. In worship environments, I want the room to feel clear, full, and welcoming, with vocals that feel natural and easy to follow so people can sing and engage confidently. I care about keeping the overall tone balanced, loud enough to support worship, but not so loud or harsh that it becomes uncomfortable.

For broadcast, I focus heavily on translation, consistency, and keeping the service feeling live. The mix needs to hold up across phones, TVs, cars, earbuds, and studio monitors, but I do not want it to feel like a music video or a studio track. I want the online audience to feel connected to the room and part of the moment, using room mics, crowd response, natural dynamics, and tasteful reverb to keep the mix polished without making it too dry, compressed, or overproduced.

I also have experience mixing and mastering songs and albums, where I enjoy shaping a mix to feel warm, musical, and finished while keeping the emotion of the song intact. My technical audio experience includes FOH and broadcast mixing, RF coordination, Dante routing, IEM systems, Wireless Workbench, Shure and Sennheiser wireless systems, Waves, and Allen & Heath dLive and Avantis consoles.

I approach lighting with the goal of supporting the moment, creating energy, and keeping people engaged without becoming distracting. For worship, I like lighting that feels cinematic, moody, and dynamic, with contrast and depth that translates well on camera. I use color to support the emotion of the song, along with slow movement, subtle textures, wide washes, and bigger looks for chorus moments. I want the lighting to feel intentional and alive without pulling attention away from worship.

For speaking moments, sermons, and corporate settings, I take a cleaner and more natural approach. I care more about even face light, accurate skin tones, clear visibility, and a professional look that still has a subtle cinematic feel. I like creating contrast between worship and speaking looks so each part of the service has its own feel while still staying cohesive.

Most of my programming is built around full cue stacks, especially when volunteers are operating. I enjoy busking when I am behind the console, but I prefer building cues because it creates a more consistent experience and helps reduce mistakes during live services. I also use Capture for previsualization, fixture placement, stage design, and building looks before they hit the stage.

My technical lighting experience includes lighting design, programming, MA3, ETC, Onyx, Robe, Chauvet, Elation, High End Systems, ACME, pixel mapping, DMX, sACN, Art-Net, fixture addressing, patching, troubleshooting, and camera-friendly lighting workflows.

I approach video with the goal of helping people feel connected to the story, whether it is a live worship service, wedding, corporate piece, or film project. I like creating images that feel cinematic and intentional while still feeling honest to the moment. For weddings and documentary-style projects, I want the final film to feel polished without losing the emotion and flow of the day.

For live broadcast, I care about framing, movement, pacing, and emotion. I do not want every camera to feel like a different version of the same shot. I want variety, wide room shots, tight emotional moments, musicians, crowd response, and details that help the online audience feel like they are part of the room. Sometimes the best choice is not the flashiest shot, but staying on an almost locked-off frame during a slower moment because it supports the song better.

I also think there is a difference between a cinematic broadcast and a more traditional broadcast. In worship environments, I like creating a broadcast that feels cinematic, connected, and alive. For corporate work, the goal is often cleaner, flatter, and more direct, where clarity and coverage matter more than creating a dramatic look. I enjoy understanding that difference and shaping the camera, lighting, and switching approach around the actual event.

I have experience on set for short films, music videos, church films, narrative projects, promotional pieces, and small indie feature films. On those projects, I have worked in camera operation, gaffing, grip work, audio, lighting, and editing, often wearing several hats to help get the project across the finish line. I also have experience shooting weddings, corporate videos, nonprofit testimonials, fundraising videos, and church content, with a focus on story, emotion, clean visuals, and strong post-production.

On the technical side, my experience includes camera operation, live switching, camera shading/matching, LUT workflows, graphics, playback, livestream production, ProPresenter, Resolume, Resi, BoxCast, OBS, vMix, Ross and Blackmagic switchers, and cameras from RED, ARRI, Blackmagic, Canon, Sony, Panasonic, Fuji, and Z Cam. For broadcast, I like building a natural camera match for IMAG first, then using a separate broadcast LUT to create a more intentional final look online.

I enjoy building systems that feel clean, reliable, and creative, not just functional. My goal is to create a final product I’m proud of while making sure it supports the team, serves the event, and does not get in the way of creativity. I care about clear signal flow, clean cabling, serviceability, documentation, future expansion, and practical troubleshooting.

I also think volunteer-friendly does not always mean overly simple. The system should feel approachable, but I believe volunteers are often more capable than they realize when they are trained well. Since there is only one of me, I want systems that let me give up immediate control and trust others to operate confidently.

I tend to be more creative than purely technical, but I am not afraid to get hands-on. My experience includes audio, lighting, video, broadcast, LED walls, cameras, projectors, intercom, streaming systems, AV networking, cable pulls, connector termination, power planning, maintenance, and troubleshooting.

My LED wall experience includes physical builds, flown walls, ground-supported walls, mapping, NovaStar setup, processor configuration, power/data troubleshooting, module swaps, and power supply replacement. I have also terminated XLR, Ethernet, etherCON, SDI/BNC, DMX, speaker cable, power, and TRS connections. Most of my system work has been in church and nonprofit environments with limited budgets, so I have learned to build practical systems that stay reliable while still making room for creative ideas.

I’ve been working through practical AV training that supports the systems I use most often in live production, broadcast, and installation environments. These certifications help strengthen my knowledge in audio networking, RF coordination, AV networking, and control systems.

• Dante Certified Levels 1, 2, and 3

• Shure Wireless Workbench 7 Levels 1, 2, and 3