Hey Suzi
Launch film for an AI service-booking assistant — script to screen: cast, crew, shoot, edit, motion graphics and delivery. Watch the finished spot.
I make things happen — a campaign, a film, a product. Twenty years of it, in marketing, project management and content creation, across Melbourne, Sydney, London, South America and Los Angeles.
An audience has to be found, the content has to be made, and increasingly the thing it lives inside has to be built. I have run all three ends — brand campaigns, film and television production, and shipping software products.
Brand strategy through finished asset: what to say, who to say it to, and the content that makes them care.
Recent work: the Hey Suzi launch film; campaign creative and paid social for RiskDesk, HedgeDesk, OptionsDesk and CashDesk; and Lycanation for Sony Pictures, where the social team I led built a 100,000+ community before release.
See the campaigns →Feature film, television and short-form — financed, scheduled, shot, cut and delivered. On budget, on date.
Two features financed, produced and released worldwide — 3M+ streams on Amazon Prime and 250,000+ Redbox units. A series bible and pilot developed with Showtime, a half-hour pilot shot in Brazil, and 100+ TVCs, music videos and brand films for Ford, BMW, Universal Music and others.
Watch the work →Native apps and web platforms taken from idea to store listing — the same producing discipline, applied to software.
Native macOS, iOS and Android products taken from concept to store listing, plus web platforms and marketplaces. Product scope, roadmap and release management — and AI-assisted production and post workflows that cut the cost of the work above.
See the products →Not a list of adjectives — the actual work, and what my hands were on in each one. The film and television work is in the screening room below.
Identity and positioning built from zero, then the campaign creative that carries it — art direction, copy and assets cut for Meta and Google Ads.
Launch film for an AI service-booking assistant — script to screen: cast, crew, shoot, edit, motion graphics and delivery. Watch the finished spot.

Positioning, art direction and ad creative for a trading-risk app — written and cut for Meta and Google Ads, plus App Store and Play listings.

Campaign line, key visual and paid-social cutdowns for a multi-agent research tool across macOS, iOS and Android.

Problem-first ad concepts aimed at a specific trader mistake — the kind of creative that earns a click without a discount code.

Brand, campaign creative and store assets for a tax and cash-flow app covering five jurisdictions.

Key art, brand and community for a US studio title: led the social team that built a six-figure audience before release, and extended the IP into a graphic-novel series.
With the feature in development at Sony Pictures, we extended the IP rather than waiting on it — an enhanced digital novel with animated concept art, ambient audio cues and interactive puzzles built into the page. I led the design and writing teams through the mock-up stage below, and the audience it built carried into the film’s campaign.






Mock-ups, 2014 — design & writing teams led by Michael Adante for Sony Pictures’ Lycanation.
Native apps taken from idea to store listing — the same producing discipline, applied to software.




Both features, the Showtime teaser, the pilot and the short films — streaming here in full.
Plus 100+ TVCs, music videos and brand films for Ford, BMW, Universal Music, Lavazza, Bunnings, British Paints, Kmart and Everlast — with 50 Cent, Bliss n Eso, Phrase, Pete Murray and Savage.
A mother spends years hunting the people responsible for her son’s disappearance. I raised the finance, acquired the rights, built the corporate structure and ran production through to international delivery.
A by-the-book detective is partnered with a renegade undercover cop to solve a gangland murder. My debut feature — financed, produced and directed independently, then sold into Brazilian primetime and global VOD.
Marketing, Ads, Films, Branded Content — it all serves one purpose.
What it has to achieve, for whom, and what success gets measured against.
Treatment, script, storyboard and the creative team that can execute it.
Breakdown, quote, board and a schedule that survives contact with reality.
Crew, cast, locations, compliance and the shoot — run to the day and the dollar.
Edit, grade, sound, VFX, masters and every format the platforms demand.
Delivery, campaign rollout, performance tracking and the numbers back to you.
Before anything is shot or designed, we agree on the job the work has to do: the audience, the single idea, the channel it lives on, and the number we’ll judge it by. I pressure-test the brief against the budget on day one — it is far cheaper to change your mind here than in post.
The idea gets written down and made specific: treatment, script, reference frames and boards, so nobody is imagining a different film. Then I assemble the team around it — director, DOP, designer, editor, composer — chosen for this job rather than whoever is free.
A full script breakdown in Movie Magic or EP, costed line by line, then a shooting schedule built around the real constraints: cast availability, locations, daylight, load-in. Contingency is planned, not discovered. This is where most productions are quietly won or lost.
Casting, locations, permits, call sheets and the shoot itself. I run the floor so the director can direct: the day stays on schedule, the client knows what they are watching, and every frame shot is backed up, logged and checked before anyone goes home.
Offline edit and client rounds, then grade, sound design, mix, motion graphics and VFX. Music and stock licensed properly so nothing gets pulled later. Finally the masters — broadcast spec, plus every aspect ratio and cutdown the platforms want.
Delivery to the broadcaster, distributor or ad platform, then the rollout: paid media on Meta and Google, organic and email, sequenced so the spend lands when the content does. Afterwards you get the numbers and an honest read on what to do more of.
Artist collaborations include 50 Cent · Bliss n Eso · Pete Murray · Savage · Phrase · Antiskeptic · Cinematica
Having spent two decades moving between worlds that usually stay separate: short-form brand content, long-form narrative, and — more recently — technology and software development.
That means clients and stakeholders get a Producer who can hold a campaign of social cutdowns, a TVC and a brand film in one schedule. A financier gets a Producer who has closed studio deals, reported to government funding bodies and returned money to equity investors. And a product team gets someone who has actually shipped.
Australian citizen with USA B1 & E1 visas, working across Australia and Los Angeles.
Campaign, commercial, music video, television, feature or product — send the brief, the script or the problem. I read every message.