FAQ

It starts with a free consultation — just a conversation about your project, your vision, and what you’re trying to achieve. I’ll ask about your event type, screens and display setup, timeline, and budget. From there I put together a recommendation that fits your actual needs, whether that’s delivering ready-to-play files, showing up on-site to operate, or a full end-to-end package using my own video and graphics playback kit. No pressure, no assumptions — just a clear picture of what you need and how I can help.

Projects are quoted individually based on scope, timeline, and what’s involved. A deposit is required to hold your date or kick off a project, with the remainder invoiced on delivery or day-of for live events. For corporate clients and venues I offer Net30 terms. I invoice through Wave and accept ACH transfer, credit card, and other standard payment methods. For ongoing or retainer arrangements we can work out a schedule that makes sense for both sides.

It depends on the scope. For smaller projects or straightforward live event support, a few weeks of lead time is usually enough. For larger productions — custom content builds, touring shows, full display system work — I’d recommend reaching out 6 to 12 weeks out minimum, and ideally 3 months for anything complex. If you’re working on something major and planning ahead, earlier is always better. That said, if you’re up against a deadline, reach out anyway — I’ll tell you honestly what’s achievable.

Absolutely — a lot of my work is alongside existing teams. Whether you need an extra operator for a big event, a motion designer to take overflow work, or someone who can step in and learn your system quickly, I’m comfortable integrating into whatever workflow you already have. I’m not here to replace anyone, just to make the day easier.

Both. I can deliver finished, ready-to-play files for your team to run, or I can show up on-site and operate myself. I travel with my own video and graphics playback kit, so I’m not dependent on what the venue has available. For productions where I’m integrating into an existing system, I’ll need advance access to understand the setup — a tech rider, system diagram, or a brief call with your technical lead goes a long way. The more I know about your rig ahead of time, the smoother the day goes.

Reach out anyway — I’ll always tell you honestly what’s possible. Rush timelines are workable depending on what’s already on my plate and the scope of what you need. Simple deliverables can often turn around in 24–48 hours. Larger builds or live event support with less than a week of lead time may carry a rush fee. The worst I can say is it’s not possible right now, but I’d rather you ask than not.

Yes — for clients with recurring needs, a retainer arrangement makes a lot of sense. It locks in availability, simplifies billing, and means you’re not starting from scratch every time you need something. If you’re a venue, team, or production company with regular events or content needs, it’s worth a conversation. Reach out and we can figure out a structure that works for both sides.

Quite a bit — and this is where my background is most relevant. I spent 13+ years as a lead graphics and display systems operator in major sports and entertainment arenas. NBA Finals, MLB World Series, All-Star Games, sold-out concerts, WWE, NCAA championships — I’ve run graphics and LED systems for all of it, often supporting 200+ events a year. I know how venues operate, what game day pressure feels like, and how to deliver when the lights are on and there’s no room for error. If you’re running a venue or producing events at scale, I’ve already done what you’re asking at the highest level. Let’s talk.

A lot. I design and build VJ visuals, timecoded show content, and LED wall graphics specifically for live performance. I work in Resolume for real-time playback and can deliver content formatted for any touring rig. I can travel with my own playback kit for smaller runs, or integrate into your existing system for larger productions. If you’re building a visual show from scratch or need someone to take over operations on the road, reach out and let’s talk through what you need.

Speed, flexibility, and a direct line to the person doing the work. With a production company you’re often paying for overhead, account management, and layers between you and the actual operator or designer. With me you’re talking directly to the person who will be on-site or building your content. That means faster turnaround, cleaner communication, and a level of accountability that’s hard to get from a larger operation. For the right scope of work, independent is smarter.

Both, depending on what the work requires. Motion graphics, content design, and file delivery are all done remotely — I can build and send broadcast-ready assets from anywhere. Live graphics operation is a different story — that requires being physically present at the venue with hands on the system. I can’t operate graphics remotely for a live event, but if you need content delivered and ready to run, that part happens from my studio and lands in your hands before doors open.