Role - Writer and Producer

Objective - Create a marketing trailer for the launch of gen:LOCK on VRV.

Creative Strategy - gen:LOCK, a new show from popular studio, Rooster Teeth, is all about the evolution of the human mind, and how it can be used to advance military technology.

Given the themes on weaponry and evolution, we decided to make the trailer about the evolution of the weapons themselves. Starting with swords, then to guns, and ending with the futuristic mechs they use to fight in the show.

Achievements - This launch trailer helped bring in hundreds of thousands of viewers to the show on VRV, which in turn helped it get picked up by HBO Max for a second season.

Role - Writer, Director, and Producer

Objective - Create a marketing trailer for the launch of Stargate on VRV.

Creative Strategy - Stargate SG-1 was released in a time where action figures were extremely popular, so we decided to do a stop motion spot using action figures from that time.

Since Stargate is not as well known as some of its sci-fi counterparts (Star Wars, Star Trek, Battlestar Galactica) we wanted to tie it back to something that was familiar to create interest. That’s why they warp into the infamous Star Trek scene with Khan and Kirk.

Role - Writer, Director, and Producer

Objective - Create a marketing trailer for the launch of NickSplat on VRV

Creative Strategy - Using the creative platform of “Your Childhood: Now Streaming,” we wanted to create a spot that accurately reflected the time that all of these Nickelodeon shows came out. The way we ultimately chose to portray this was to use “artifacts,” such as Gameboy, Etch A Sketch, Super Soaker, and Ring Pops. We then layered in clips and rotoscoped characters to create a bridge between the two and really cement that nostalgia feeling.

Role - Executive Producer

Objective - Find a way to create branded content using creators on YouTube.

Creative Strategy - We wanted to create a show that poked fun at anime and all of its tropes, but in a way that was still a love letter to the art form and its massive fanbase.

Making it a cop drama ended up being perfect, because it allowed us to focus on tropes and topics that everyone has an opinion on, but frame them from a unique, over-the-top perspective. This gave us the ability to talk about things that would normally spark huge debates, but in a light-hearted way that everyone could have a laugh at.

Awards - Nominated for Best Comedy Series at the 2018 Streamy Awards. Nominated for Best Performance in a Comedy Role at the 2018 Streamy Awards.

Role - Executive Producer

Objective - Build the audience of an established show. Weave messaging and symbology into the season story that reflects Crunchyroll’s brand guidelines.

Creative Strategy - Since we had already proven that the concept was something that people really appreciated, we wanted to use Season 2 as an opportunity to tell a serialized story with the overlying motif “Anime is for Everybody.” This is sentiment that bleeds into all of the brand work we do on the Crunchyroll side, so we wanted to test and see if a broader audience would react positively to it.

The second season ended up being a huge success and actually wound up being the first ever Crunchyroll Original series.

Role - Producer and Writer

Objective - Execute VRV’s first ever brand campaign. Reach a broader audience than the anime-centric viewers that are already on the platform.

Creative Strategy - In order to effectively catch the attention of people who had never heard of VRV before, we partnered with the esteemed studio Gentleman Scholar to bring the “world of VRV” to life.

Our creative platform for this campaign was that VRV is your basecamp to other worlds—a world within worlds of sorts. There is so much great, unique content on the platform, and we wanted to find a way to express that in a way that truly immersed the viewer.

Enter the eyeballs. We’d have the eyeballs serve as a proxy for the viewer, because it gave us much more artistic freedom to explore each of these VRV worlds. The worlds themselves represented location placeholders for our content. A haunted house for our horror channel, Shudder; a space station for sci-fi; and of course the basecamp, which acted as your transportation mechanism to each world.

Unfortunately the campaign was cancelled during production, so it was never fully completed, but we learned a lot about our brand from the experience.

Role - Producer and Writer

Objective - Drive awareness and viewership of the hit show Food Wars on Crunchyroll

Creative Strategy - The Fine Bros. already had a very strong video format that over 30MM subscribers enjoyed, so we just needed to find a new angle that seemed fresh.

Food Wars is a show that’s all about making anime food look as delicious as possible, which usually leaves viewers hungry after watching, similar to watching Food Network shows. We also know that people like to watch other people struggle through relatable scenarios which is why the Fine Bros. have been so successful. Given those two variables, we knew that a “try not to eat” challenge would be perfect, so we made reactors watch clips from the show while hungry and then had a chef recreate the dishes to tempt them.

The first video was so successful that we created a second one, and the two of them have a combined 25MM+ views across YouTube and Facebook.

Role - Executive Producer

Objective - Similar to Anime Crimes Division, find a way to use YouTube talent to create branded content that felt authentic to the community.

Creative Strategy - Use an already ridiculous premise (Fast and Furious) and take it a whole step further with anime tropes. Inner monologues, overly complicated bad guy plans, impossible mid-race power ups; we’d use it all. We wanted it so that everyone that watched the video would sit there at the end saying, “I wish this was what Fast and Furious: Tokyo Drift actually looked like.”

Role - Event Manager

Objective - Create a stunt for the NickSplat launch on VRV that properly transported visitors back to the 90s and gave them that “Saturday morning cartoon” feeling all over again.

Creative Strategy - We wanted something that people of all ages could enjoy, not just the ones that actually grew up during the 90s, but at the same time include nods that only that generation would understand.

There was a cereal bar, a giant cereal bowl full of foam Lucky Charms, several TV lounges with cartoons and anime from the 90s, and an army of standees featuring various characters for people to take pictures with.

We also hosted a private event for press, partners, and influencers before the public launch.