Running production and AI for the brands defining culture.
As Producer and Co-Head of AI at Sawhorse, the Telly Awards Production Company of the Year 2025, I lead the systems behind the work: budgeting, scheduling, technical production, and the company-wide AI strategy. The campaigns below are the output. The job is the operation that ships them on time and on budget.
An AI personalization engine for Diet Coke, built brand-safe from the ground up.
For Diet Coke's "This Is My Taste" platform in the GB market, we produced an AI-powered personalization experience: a consumer describes their taste in a few words, picks an art style, and gets a set of AI-generated can designs to customize, reveal in 3D, share, and enter into a prize draw. As Producer, I ran it end to end: the client relationship, the schedule, and a cross-functional team across creative, engineering, and the brand's legal, security, and compliance groups.
The hard part of AI for a brand this size is not generating images. It is generating them safely. Rather than open-ended live generation, we built a curated pipeline: custom-trained image models across several distinct art styles, a library of hundreds of thousands of pre-moderated assets, and a vector-search layer so a user's prompt returned on-brand, pre-cleared results instantly. Every asset cleared both AI and human moderation against the brand's trademark, legal, and brand-safety rules. The stack included Flux for generation, OpenAI embeddings for retrieval, and AWS for moderation and hosting, deployed into the brand's own app infrastructure.
The AI strategy behind the studio.
I lead Sawhorse's AI engagement at every level: implementation, media creation, technology integration, legal and rights compliance, and process automation. I deployed generative AI tooling that accelerated project bid turnaround by 20% while the studio held a perfect on-time, on-budget delivery record across cross-regional teams from Great Britain to Turkey.
The throughline with the campaigns here: AI is not a gimmick bolted onto the work. It is wired into how the work gets scoped, bid, produced, and delivered.
Social and ARG for a Best Picture winner.
I was part of the producing team for the One Battle After Another social media and ARG campaign and media junket, supporting the theatrical release of Paul Thomas Anderson's Warner Bros film, which premiered in September 2025 and went on to win the Academy Award for Best Picture. The campaign was named a Grand Prix Finalist at the 2026 Drum Awards Marketing EMEA, part of a six-award haul for Sawhorse's film marketing that year.
This is the kind of rollout where a major studio release meets the open internet, and the schedule, the talent windows, and the rights all have to line up across partners. The clip here is from the cast junket, one of the social pieces that fed the campaign: the full cast, cut for vertical, built to move people to the box office.
Activations that live where audiences already are.
Part of producing at Sawhorse is delivering inside live platforms and game engines, where the build constraints, review cycles, and partners differ from a traditional shoot.
As Producer, I delivered an in-engine film activation for Overwolf, promoting Universal Pictures' Nobody 2: a film campaign built as an interactive experience and coordinated end to end through production and delivery.
As Producer on Warner Bros' The Bride!, Maggie Gyllenhaal's 2026 reimagining of Bride of Frankenstein, I helped bring the film into Fortnite, an in-engine activation that put the title's characters and visual world inside the game for its theatrical launch.
