I HELP CREATIVE TEAMS TURN COMPLEXITY INTO CLEAR PATHS FORWARD.
Across animation, games, and publishing, I’ve built systems that clarify ownership, connect teams, and make complex work easier to run.
Production Operations · Program Management · Creative Production
HOW I WORK
I’m usually drawn to the same kinds of problems: unclear ownership, information living in too many places, teams working differently, or creative goals changing faster than the systems around them.
My approach is pretty simple: understand how the work actually happens, find what’s getting in the way, and build enough structure to make things clearer - without adding process just for the sake of process.
A few problems I've helped solve.
Across animation, games, and publishing, I've worked on a pretty wide range of problems - but the pattern is usually the same: understand how the work actually happens, find what's getting in the way, and build something that makes it easier to run.
Here are a few examples.
01 / RIOT GAMES
FROM DOCUMENTATION TO PUBLISHING OPERATIONS
What started as a three-month documentation assignment turned into 18 months of working across multiple game teams - learning how they worked, figuring out what they actually needed, and building different solutions along the way.
ROLE
Project Manager, Publishing Operations II - Documentation
TIMELINE
September 2024 – March 2026
PRODUCTS
Teamfight Tactics · League of Legends · VALORANT · Riftbound
FOCUS
Publishing Operations · Program Management · Knowledge Systems · Workflow Design
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I joined Riot for what was initially a three-month documentation assignment within Publishing Operations. But the work quickly became less about creating documents and more about understanding how different teams actually worked.
Across Teamfight Tactics, League of Legends, VALORANT, and Riftbound, teams had different needs, workflows, and ways of sharing information. The challenge wasn't building one system for everyone. It was figuring out where shared foundations could help - and where teams needed something built around the way they actually operated.
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I worked directly with producers, craft leads, and operations partners to understand recurring friction, onboarding gaps, and where information or workflows were making the work harder than they needed to be.
My role grew from organizing existing knowledge into identifying patterns across teams, defining what each team actually needed, and partnering on solutions that ranged from documentation and runbooks to workflow automation.
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For Teamfight Tactics, I interviewed producers and craft leads to understand what people needed to know, where information was getting lost, and what made onboarding difficult. I turned those findings into a centralized knowledge hub with 50+ pages of team resources.
As my support expanded across Publishing, I worked with teams to identify where shared standards made sense and where individual products needed their own workflows, runbooks, or resources.
On Riftbound, I partnered with Production and Operations to identify friction in an existing workflow and helped develop Slack and Airtable automations from early prototype through rollout.
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What started as a three-month documentation assignment grew into an 18-month engagement supporting four Riot products, with my scope expanding into broader Publishing Operations needs.
For TFT, knowledge that had been spread across people and resources became a centralized 50+ page hub built around needs identified directly with producers and craft leads. Across Publishing, the work helped create clearer foundations for sharing knowledge while still allowing individual teams to operate in ways that worked for them.
On Riftbound, the work expanded beyond knowledge management entirely, with an identified workflow problem becoming a Slack and Airtable automation that progressed from prototype through rollout.
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This role changed how I think about operations.
The best solution isn’t always a bigger system or a standardized process. Sometimes the most useful thing you can do is listen closely enough to understand what problem people are actually having - and build from there.
My experience with Previs at Netflix has stretched across multiple productions and different stages of my career - from Production Coordinator learning how the department worked to Production Supervisor responsible for figuring out how it should work for the needs of each show.
Every production was different. Creative leadership changed, team structures changed, and the role Previs needed to play changed with them. Over time, my job became less about running an existing process and more about asking: What does this production actually need from Previs, and how do we build the department around that?
02 / NETFLIX ANIMATION
FROM RUNNING PREVIS TO DEFINING HOW IT WORKS
ROLE
Production Coordinator → Production Supervisor
TIMELINE
2019–2024 · 2026–Present
DEPARTMENTS
Art · Previs
FOCUS
Creative Production · Department Leadership · Production Strategy · Cross-Functional Planning
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Previs sits in a part of feature animation where creative ideas are still evolving while production already needs to make decisions about schedules, resources, reviews, dependencies, and downstream handoffs.
There wasn't one Previs model I could simply carry from show to show. Different productions had different creative needs, team structures, workflows, and relationships between Art, Editorial, Previs, and downstream teams.
The challenge became figuring out what needed to stay consistent, what needed to change, and how to give each team enough structure to move forward without building process just for the sake of having one.
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I started at Netflix supporting Art and Previs production and gradually took on broader ownership of schedules, reviews, workflows, reporting, and cross-functional planning before moving into Production Supervisor.
As a Supervisor, my focus shifted from keeping the department moving to helping figure out how it should operate for each production. I partnered with artists, creative leadership, Editorial, Art, production teams, and global partners to turn changing creative needs into practical production plans.
That meant surfacing risks and dependencies, clarifying handoffs and reviews, building different scheduling scenarios, and helping leadership understand the tradeoffs between creative scope, team capacity, schedule, overtime, and budget.
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Because each production needed something different from Previs, I continuously adapted how the department was planned and run rather than relying on one fixed pipeline.
I built scheduling and planning models for different production scenarios, clarified workflows and cross-functional handoffs, and developed resources that made Previs easier for both production and partner departments to understand.
Over time, I began capturing the foundational knowledge that remained useful across productions - what Previs needs, how work moves through the department, where key dependencies and handoffs happen, and what production teams need to consider when planning the work.
That became a Previs Handbook and supporting operational resources designed to make that knowledge easier to transfer rather than leaving it with the people who happened to already know the department.
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The work eventually became bigger than how I ran Previs on any one production.
The Previs Handbook became part of how I trained another Production Supervisor who was new to the department and later helped support the onboarding of her coordinator. It has also served as a reference for other production team members interested in understanding Previs, alongside schedule models I developed for different production scenarios.
What began as years of adapting Previs to individual productions ultimately became a reusable foundation for transferring production knowledge to other people - helping someone new understand not only what the department does, but what they need to think about when running it.
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The goal of building a good production system isn't to make every team work the same way.
It's knowing which foundations matter, understanding where the work needs to adapt, and creating enough clarity that the people coming after you don't have to start from zero.
03 / DREAMWORKS ANIMATION
BUILDING A GLOBAL IMF PRODUCTION WORKFLOW
When DreamWorks moved away from a proprietary production tracking system and into ShotGrid, IMF needed more than a new place to track tasks. We needed to translate an established global workflow into a new system without losing what already worked - while creating better connections between departments along the way.
ROLE
Production Coordinator, IMF
FOCUS
Production Operations · Workflow Design · Systems Migration · Change Management
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IMF supported multiple productions at once, all at different stages and with different schedules, needs, and production nuances.
As the studio transitioned into ShotGrid, the challenge wasn't simply recreating the old tracking system. It was figuring out what needed to stay consistent across IMF, what needed to flex by show, and how the new system could better connect our work to the departments around us.
One of those gaps was the handoff from Lighting into IMF. There wasn't yet a fully established ShotGrid process for reliably surfacing when upstream work was ready for us to begin.
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I partnered closely with the IMF Department Head and Department TD to understand the department's established workflow and translate it into a scalable ShotGrid framework.
My role sat between production needs and system design: mapping how the department actually worked, identifying what needed to carry over from the previous system, and building a structure that could work consistently across productions without forcing every show into exactly the same process.
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I built global and show-level ShotGrid dashboards that gave IMF Production visibility across multiple projects while still allowing us to manage the needs of each individual show.
Working with the Department Head, we also established a clearer Lighting to IMF handoff. Designated Lighting status updates could surface ready work directly within IMF's tracking and task ecosystem, while a lightweight human heads-up kept communication between teams intact.
For artists, we intentionally kept tasks, notes, statuses, and inbox workflows familiar so the transition didn't require relearning how to work just because the underlying system had changed.
I also created an IMF Production Manual documenting the broader operating model - roles and responsibilities, cross-department handoffs, review cadences, tracking conventions, inventory management, artist assignments, dailies workflows, and production best practices.
To support adoption, we created documentation, training, and recorded walkthroughs, then continued troubleshooting and refining the workflow as teams used it in production.
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What started as a systems migration became a more connected and repeatable operating model for IMF.
The new framework gave the department consistent global and show-level visibility, established a clearer Lighting to IMF handoff, and brought incoming work more directly into the task and status workflows artists were already using.
Just as importantly, the transition preserved familiar ways of working while creating documentation and training that made the process easier to adopt and maintain across productions.
The framework continued to be used after I left DreamWorks, evolving with the department over time.
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A new tool doesn't automatically create a better process.
This project reinforced something I've carried into my work since: start by understanding how people actually work, preserve what's already effective, and use the system change as an opportunity to fix the gaps that weren't working.
The goal isn't just to build a workflow that works on paper. It's to build one people can actually use.