Senior Producer shaping creative campaigns from brief to final launch.

Samsung came back to Vivid for a second year and asked for something bigger. Amplify was the creative agency and production company behind the campaign. I led the digital production, working in tandem with director Chloe DEBRITO and Collider to bring the live three-waterfall show to life, alongside an immersive soundscape from Milan Ring and an interactive element from Handy Squid that put a Galaxy in every guest's hand. Guests could photograph themselves and watch the image treated and projected back across all three waterfalls.

I also managed eleven creators across the campaign's anticipation, live and post phases, produced the hero brand film (in partnership with OneHouse) for paid media and retail, and delivered motion and stills packages for the PR media drop.

Netflix wanted a launch beat for the final season that pulled it out of the feed and into a public space. Amplify had three weeks. Fifteen working days.

We found the room by going through the front door of someone else's. Amplify partnered with the Korean Consulate to activate inside the annual Korea Festival at Fed Square , a venue that doesn't usually allow activations in the upper precinct, opened up to us because we were inside the festival. From there, fast: a scaled in-world entrance, a continuous Young-Hee gameplay loop, the Chul-Su doll, theatrical choreography moving guests through, shareable photo moments doing the social work for us. OOH wove the dolls, the countdown and the jump rope into the city in the lead-up.

I produced across all of it: Consulate, Fed Square, XO on the build, the onsite gameplay team across two days.

The Doll went down once. Up in 90 minutes. The brief never knew.

The result: an in-world experience the Consulate couldn't have funded alone, the festival's biggest sponsor moment to date, and a launch beat for Netflix that lived in a real place with real people in it.

Netflix wanted to seed the final season into culture before the drop. Amplify built an anticipation phase that lived across creator content, social, PR and a single piece of show production strong enough that Netflix exported it to other markets.

I led the digital production end. Three creators in the anticipation phase Arabella, the Macfarlane Brothers, Finnosho with social capture for Netflix's own channels. Motion and stills packages fed PR for the media drop.

The headline production piece was the VFX / Hologauze stunt for the main activation, produced in partnership with VFX studio Synctum. Complex enough that once it landed, Netflix exported the build to the UK and Mumbai markets to re-activate locally. A zoned surround-sound soundscape ran from entry to exit, isolating each part of the guest journey.

Thousands of organic UGC reels followed : people filming themselves explaining "how we did it," long after the activation closed.

Marking a historic milestone, this is the first-ever Australian National Football Team Collection designed by a First Nations Artist. Kamilaroi artist Reko Rennie created the bold green and gold pattern, displayed at the NGV Melbourne before being worn by the Matildas and Socceroos. Amplify produced the campaign for Nike.

I produced the Master Key Visuals. Two national teams. Two cities. One image. Multiple photographers running parallel workstreams across performance and lifestyle kits, working inside both teams' commercial windows, and a final hero asset that had to look like the Matildas and Socceroos were standing in the same room.

Picked up and posted by @nikefootball at launch.

Samsung wanted a Vivid headline act that quietly did the work of a product demo Galaxy AI in every guest's hand, without it ever feeling like one.

I led the digital production for Amplify. Built an immersive soundscape with Ta-ku, plus an interactive moment where guests recorded their hopes for the future on a Galaxy. Ta-ku then mixed those voices into an original track released after the campaign . The audience inside the experience became the audience listening to it. Six creators across anticipation, live and wrap. Hero brand film produced with Videohead, motion and stills feeding paid, retail and PR.

Amplify put super yachts on the wharves at Manly, Rose Bay and Brisbane for Samsung and offered a free ride to anyone with a wristband . Galaxy AI in their hand, Sydney Harbour out the window.

I led the digital production. The hero brand film, produced with Videohead, carried the campaign across paid and retail, with six creators delivering across launch and sustain phases. Motion and stills capture across all sites fed PR, social and the Samsung-owned channels.

Nike's global "Winning Isn't For Everyone" platform, produced by Amplify for the Australian market across a national OOH rollout : digital, billboards, and special placements including the new anamorphic billboard in Melbourne.

The campaign ran across two production tracks. The first was the Matildas shoot, which I line produced , built fit-for-purpose to be adapted and executed for anamorphic placement. The second was a bespoke shoot with Emma McKeon , part of a wider body of work where Amplify had quietly produced anticipation assets for several Nike athletes ahead of the Olympics. Some never saw the light of day. The point was to be ready when one of them did.

Emma did. When she became Australia's most decorated Olympian in history, the work was waiting , celebrated with a light tower projection in her home town.

Gen Zalpha hadn't grown up with their own Air Max story. Working directly with the Nike Singapore team, Amplify set out to change that across five markets: Singapore, Bangkok, Manila, Kuala Lumpur and Mumbai. I produced across all five, with director Jonah George and DP Neema Sadeghi, with pre-production, production and post running simultaneously to hit market deadlines.

The campaign ran in three phases: a hero film per market featuring a culturally relevant creator living their own unreal "Day in the Dn"; 18 creators across the region each producing their own Air Max Dn moment; then The Unreal Lookbook consolidating all 18 into one film passed market to market. It all culminated in IRL Unreal Studio experiences across every city during Air Max Week 2024.

Tourism Snowy Mountains had a vision: stop being a winter destination. Become a year-round one. JimJam Ideas and DMS won the pitch, and Knack Studios was brought in to produce the campaign shoot. I produced.

A four-day shoot in the high country with director Nick Sullivan and DOP/EP Rob Norman, capturing summer experiences across the region : cold-water immersion in alpine rivers, mountain biking, sunrise yoga on top of Australia's highest peak. The shoot delivered a full campaign suite: hero 90-second films, plus 30s, 15s and 10s cutdowns built for digital, social, YouTube, OOH and radio.

The "altitude thing" line entered the local vernacular. The campaign reset how the region was sold.