Creative Operations and Project Management
I manage the people, resources, workflows, and delivery behind creative work across digital, video, and print, and I redesign the systems that work runs on.
Certified ScrumMaster. Based in Lawrenceville, Georgia.
Organizations I've worked with
About
I started in hands-on video production at Sharecare, producing, editing, and directing shoots. From there I deliberately took on more responsibility for the people, projects, resources, and workflows behind the work. The direction has always been toward managing how creative work gets done.
As a producer at Sharecare and USA TODAY, I managed shoots, crews, production schedules, and the systems my teams used to track and find their work. In my contract work since 2022, I've owned timelines, freelancers, vendors, and delivery for organizations including Chick-fil-A, DS Smith, and the American Cancer Society.
Because I've done the creative work myself, I know what editors, designers, and writers need, where the barriers are, and how management decisions affect the speed and quality of what they make.
I define the minimum information a request needs before work begins. Resolving gaps up front prevents stalls and rework later.
Requests, priorities, owners, status, and next steps live in one system instead of in chats and email threads.
Work is ranked by urgency, business impact, dependencies, and effort, not by whoever is asking the loudest.
A new process has to make people's work easier. If it adds friction, I fix the process rather than force compliance.
Results
Skills
I'm tool-agnostic. What matters is whether the system fits the workflow.
Scope definition, requirements, planning, milestones, dependencies, risk tracking, and post-mortems, using Agile where it helps and skipping it where it doesn't.
Intake, scoping, scheduling, and resource allocation for designers, editors, writers, freelancers, and agency partners.
Mapping how work actually moves, finding where it waits or repeats, and rebuilding the process around the work.
Approval paths, asset tracking, version control, and holding work to brand, channel, and technical standards before it ships.
Contractor, freelancer, and agency contracts, scope, deliverables, and accountability to schedule.
Media releases, licensing, permissions, content audits, and retroactive authorization across large asset libraries.
Video, social, digital, and print campaigns from concept and shoot planning through distribution.
KPIs set at kickoff, campaign and asset performance reporting, and using results to decide what gets produced next.
AI-assisted intake, contract summaries, process documentation, research, and planning, with human review where judgment matters.
Work
Campaign intake and production workflow
When I started, there was very little formal project organization. Requests came in from different teams, and project details were scattered across personal chats and email threads. Work was hard to track, the creative team was interrupted constantly, and typical delivery took a week or more.
I routed every incoming request through myself so I could triage, prioritize, and assign it, which let the creatives stay focused on execution. I also managed the timeline, nationwide distribution, and quality of deliverables for campaigns with budgets over $1M, including specs, proofs, and vendors, and held every asset to Chick-fil-A's quality and creative standards.
Brand integration during the merger with International Paper
DS Smith merged with International Paper, and its brand had to be integrated across web, social, and print. The review process was the main constraint on how quickly brand-integrated work could ship across more than 200 assets and five-plus channels.
I directed the creative rollout and managed cross-platform work spanning web, social, and print. I aligned design and messaging across every asset and channel, and I replaced the review bottleneck with new approval workflows and an asset-tracking system.
Media rights, permissions, and contract operations for Video Ops
Some previously published media did not have complete release and permissions documentation, which created legal and compliance exposure for the organization. Contract intake had its own backlog of contracts that were unassigned, incorrect, or never entered at all, which put contractor payments at risk.
I assessed Video Ops production workflows and cross-team handoffs, managed contractor, freelancer, and agency contracts, and approved deliverables against release, licensing, and permissions standards. I led a freelance team of seven.
I audited previously published media and helped secure retroactive releases and permissions where documentation was incomplete. I rebuilt contract intake in Monday.com with AI handling the repetitive steps, and I handled documentation supporting BBB Accreditation.
High-volume video production and team file systems
My team at USA TODAY published short human-interest video for digital and social audiences at high volume and near-zero budget. At peak the team published one to two videos a day. Everyone on the eight-person team produced and edited, including leadership, and the internal file and organizational system had become slow and difficult to navigate.
As Video Producer III, I owned my videos from story selection through publication, working from stories identified by the USA TODAY news team. I typically had two or three videos in production at once and turned each one around in three to four days. I also took on the reorganization of the team's entire file and organizational system.
Executive video campaign
Rasa needed an executive video campaign to strengthen enterprise brand awareness, taken from planning to launch in three weeks with design, content, and leadership teams working in different parts of the world.
I produced and managed the campaign from planning through launch. I kept the global design, content, and leadership teams working to one schedule and managed the distributed production team through delivery and distribution.
Training library rebrand
I led the rebrand of a 100+ video training library after a corporate merger, managing scope, schedules, and a distributed production team to keep branding consistent and delivery on time across digital assets and internal training platforms.
Global video campaigns
I managed global video campaigns, including The Fight to End Hepatitis for the Coalition for Global Hepatitis Elimination. The campaigns came in under budget and expanded visibility across social media, conferences, and partner networks.
Guest acquisition marketing
Planned and ran guest acquisition marketing to grow bookings at the resort. The campaigns ran across email, social, paid, and video, and I managed the work from planning through production and delivery on each channel, under budget.
FAQ
Creative production management. I manage the people, resources, workflows, and delivery behind creative work across digital, video, and print, and I redesign the systems that work runs on, from intake and prioritization to approvals, asset tracking, and rights compliance.
I'm a project manager specializing in creative production. My background as a producer and editor helps me understand the work, but my focus is managing the people, resources, workflows, and delivery behind it.
Senior roles where project management, creative production, and marketing operations overlap. That includes Senior Project Manager, Creative Project Manager, Program Manager, Marketing Operations Manager, and Creative Operations Manager. I'm most interested in people-management or hybrid roles with ownership of how work moves from intake through delivery.
I led a freelance team of seven at the American Cancer Society, and I've managed freelancers, contractors, and agency partners across my contract work since 2022. Earlier, at Sharecare and USA TODAY, I directed in-house editors and crews on shoots.
I map what is actually happening rather than what the process is supposed to be, following the work from intake through completion. Then I look for where work waits, repeats, changes hands unnecessarily, or depends too heavily on one person, and I keep asking what caused each problem upstream until I reach the root cause.
I'm based in Lawrenceville, Georgia, in the Atlanta area, and I'm not relocating. I prefer remote work and I'm open to hybrid or on-site roles where being in person serves the work. I'm open to regular travel.
Contact
I'm open to senior roles in creative operations, project management, and marketing operations. Email is the fastest way to reach me.