My Portfolio
Below is a selection of projects that showcase my experience as a theater and live event technician, with a focus on lighting, video, and audio production. Each project highlights my hands-on skills, creative problem-solving, and commitment to delivering high-quality technical support for dynamic live performances.
LIGHTING
Lighting Design
This is one of my favorite projects because it was entirely self-directed—from selecting the music to designing and programming the lighting to tell a visual story. Every element reflects my own creative vision and technical execution. While it’s not perfect, it remains one of the few recorded pieces in my portfolio, and I’m proud of how it turned out. Since then, I’ve continued developing my skills in lighting design and programming. Spending extra hours on a GrandMA3 to design more song projects and looks for events.
Dr. Phillips Center
I had the incredible opportunity to shadow the Avatar: The Last Airbender Live Orchestra during their load-in at the Dr. Phillips Center. Before the show, I connected with the lighting and projections teams to learn how they adapt their setup for each new venue. I also shadowed the lighting crew throughout the performance, gaining insight into the systems and workflows behind a theatrical production of this scale. It was an invaluable experience that deepened my understanding of touring logistics and the technical artistry required to bring a show like Avatar to life.
Cirque Du Soleil
I was invited to shadow the lighting and projections teams for Cirque du Soleil’s Drawn to Life in Orlando. During my time there, I learned how they use advanced tracking technology to follow props and performers throughout the show. I observed their technical rehearsal, shadowed the projections team during one performance, and then lighting for another. It was an incredible opportunity to experience a full production day, including the detailed technical checks and safety protocols that take place before every show.
VIDEO
EA Sports Madden 25' Challenge Series
Throughout the Madden 25' Challenge series, I contributed to the majority of the events in various roles. At times, I worked as a camera operator, while in others, I served as a floor video engineer, helping troubleshoot and resolve signal flow issues in real time. My most significant responsibility came during setup, where I updated the video patching diagrams in the technical books and collaborated with the lead engineer to determine the proper routing for all video signals. This included configuring two graphics machines (Expression), three EVS replay stations, seven cameras, confidence monitors, and IMAG screens.
I've included a clip from one of the games where I handled both camera operation and video engineering duties.
Full Sail HOF 15
Full Sail’s annual Hall of Fame ceremony is one of the largest and most technically complex events produced by the Events Crew, honoring six new inductees each year. For this production, I served as the keynote and graphics operator for the live show, managing on-screen content in real time. I also supported the production team on the floor, assisting with lighting adjustments, scenic setup, video patching, and cable runs during rehearsals.
The linked video of inductee Katrina Mena Rick showcases some of the graphics I operated live, as well as lighting elements I helped position and focus.
Metal and Honey Concert
I served as the Technical Director for this live-streamed production, overseeing the full technical execution for the Twitch broadcast. My responsibilities included building and managing Picture-in-Picture (PiP) layouts, cutting between camera feeds, and operating graphics during the show. Additionally, I assisted with running video lines and patching signals into the control room to ensure a smooth, reliable broadcast.
AUDIO
Parabolic Mic at UCF
I built and operated a parabolic microphone for a University of Central Florida Knights football game, capturing on-field audio for the live broadcast. This hands-on experience gave me a deeper understanding of location-based audio pickup and its importance in live sports production. I also had the opportunity to explore the video systems used during the event and tour the control room, gaining insight into the full scope of a collegiate broadcast operation.
VECTORWORKS AND DESIGN
This is a rendering from one of my Vectorworks design projects. I was tasked with creating a complete lighting rig for a hotel ballroom, with setups tailored for both daytime and nighttime events. The design shown here represents the daytime look, featuring a Q&A panel setup with a lectern and balanced lighting for visibility and professionalism. The nighttime design transforms the space into a dynamic concert-style environment, featuring a full band stage with colored lighting and moving fixtures to enhance the atmosphere.
Vectorworks
Sound Design Project
This project was a three-phase exploration in sound system design, built around a previous Vectorworks lighting layout. The goal was to design and virtually configure a complete audio setup for the same event space. The process included modeling speaker placement and coverage using Soundvision, followed by network and system configuration in NetManager. This project helped me strengthen my understanding of signal flow, system tuning, and the integration of visual and audio planning.
Vectorworks LED Wall
LED WALLS IN VW
These screenshots highlight my work with LED walls and projectors in Vectorworks. The project focused on designing a custom event logo and successfully integrating it into the digital display setup behind the stage. I mapped the media content to both LED walls and projectors to ensure clean, consistent visuals across all surfaces, demonstrating my understanding of video integration within a 3D stage environment.​
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Paperwork and Organization
PROJECTS FOR SCHOOL
Live Labs are a key component of the Show Production curriculum, where students are tasked with organizing and executing three mini-concerts per month. Each performance involves a 45-minute set, with only two hours to fully set up the show from scratch. Responsibilities include flying the PA system, setting up consoles, building camera setups, patching all equipment (stage, cameras, video sources, IMAGs, etc.), as well as focusing and programming lighting.
Given the fast-paced nature of these events, classes often require volunteers to fill various roles. I’ve had the opportunity to contribute both as a student and a volunteer in many positions, gaining valuable experience in all aspects of live production.
LIVE LABS
Some of the Positions I have filled include...
Technical Director
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Managed video system patching and configured video switcher for show readiness.
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Executed live switching during productions, following cues from the Video Director.
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Ensured precise timing and delivery of video feeds, aligned with the director’s creative vision.
Conventional Lighting Technician
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Designed and executed lighting looks for each song, ensuring dynamic and cohesive visual impact.
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Collaborated with the Lighting Designer on fixture focus and alignment with the show’s vision.
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Controlled all stationary lighting elements to maintain consistency with creative cues.
Automated Lighting Technician
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Programmed and operated all moving lights, creating dynamic effects using the existing lighting rig.
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Managed integration of additional fixtures by addressing new units and patching them into available DMX universes.
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Ensured seamless functionality of all fixtures within the overall lighting design.
FOH Engineer
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Led the audio team to ensure timely rigging and installation of the PA system.
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Selected and placed microphones for optimal sound capture during the performance.
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Mixed live audio to achieve balanced sound and proper coverage for the venue.
Video Director
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Directed live and recorded productions, overseeing crew task delegation and show calling.
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Managed shot composition to ensure visually compelling and effective coverage.
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Maintained operational efficiency across the video team, ensuring seamless execution and high-quality visual output.
Video Shader/Engineer
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Assisted with video patching and signal routing for production setups.
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Calibrated all monitors and IMAG displays to ensure accurate color and clarity.
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Performed camera shading, including black and white balance adjustments, to maintain consistent image quality across all video feeds.
Visual Op (Green Hippo LED Wall)
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Handled setup and signal patching of Hippotizer media server to LED wall systems.
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Uploaded and managed show content, ensuring accurate playback and synchronization.
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Operated the system live, maintaining smooth execution during performances.
Stagehand/Production Assist
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Supported overall production flow by managing logistics and ensuring adherence to schedules.
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Provided cross-departmental assistance as needed to facilitate smooth operations.
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Maintained clean and organized cable management, ensuring proper labeling to uphold safety and efficiency standards.
AVT Podcast and Town Hall
For both the Podcast and Town Hall productions, I worked primarily in audio. For the Podcast, I was responsible for everything from communications (comms) to mixing the audio for the final recording. I also served as the Production Manager for the Podcast, handling much of the administrative and paperwork tasks involved.
For the Town Hall, my role was focused on communications (comms), ensuring smooth coordination between the team members during the event. I have attached the full video of the Podcast and the first ten minutes of the Town Hall below, both of which I edited in Adobe Premiere Pro.
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Project and Portfolio 3
Final Show
For this show I served as the Production Manager overseeing communications with the band and ensuring everything ran smoothly from start to finish. This was our first show, and while it went smoothly overall, there were a few lessons learned. One of the key takeaways for me was learning to be more assertive in my role, stepping in when necessary to address issues that my department heads hadn’t yet resolved. This experience taught me the importance of proactive leadership and the ability to manage both people and logistics under pressure.
PP2 FINAL PROJECT
In this project I served as the Production Manager which involved a great deal of paperwork and understanding the entire setup process. One of the key aspects that helped with the setup was knowing exactly how many power boxes we needed and what devices would be plugged into each one. I created a detailed list for each power box, assigning a name and number to each plug to ensure everything was organized and placed correctly.
I was also tasked with making decisions that directly impacted the show, including selecting microphones, determining the lighting setup behind the talent, and assigning roles for the communications team. Additionally, I worked closely with the talent to arrange graphics placement and schedule a video embed at a specific time during the show.
During the show, we encountered a couple of technical difficulties. The recording deck was full during the first run, which caused it to stop, and there was also an issue with the video feed. We adapted quickly, worked around the problems, and fortunately had time for a second take. This experience reminded me of the importance of thinking on my feet and adapting during live events. While preparation is key, I also learned that no matter how prepared the production team is, the talent’s level of preparation can also make a significant difference. In this case, the talent relied on me to manage cueing for graphics due to a lack of preparation, which taught me the importance of anticipating challenges beyond the technical setup.