The operation behind the image.
I ran unit- and gallery-photography operations for some of the biggest series in streaming — the ingest-to-delivery infrastructure that moved franchise photography from set to the campaigns the world saw.
Where production ends and marketing begins.
As Photo Director at Industry Art Works, I led the studio pod supporting franchise series and entertainment marketing for Prime Video and IMDb TV. Every frame a unit photographer shot — and every gallery, portrait, and framegrab a campaign needed — moved through systems my team ran: ingest, selects, talent approvals, retouching routes, security, and delivery to press, partners, and key-art agencies.
The work is invisible by design. When it’s done right, all anyone sees is the image.
Set to screen, without a leak.
The Lord of the Rings: The Rings of Power
One season of a global tentpole generated more than 50,000 gallery assets — behind-the-scenes, marketing gallery, photobooth, and PR photography. My team kept every one of them tracked, approved, secured, and findable, across a ticketed request system that fulfilled hundreds of deliveries for press, partners, and awards.
Approvals at franchise scale
Multi-round talent approvals across a sprawling ensemble cast — versioned, tracked, and resolved without slowing the campaign.
Security as infrastructure
Codename protocols, per-recipient traceable watermarking, and tiered access — on one of the most anticipated (and most targeted) titles in streaming.
Precision-timed reveals
Asset staging for the title-treatment reveal and first-look rollouts — global PR beats fed by the photo pipeline, to the minute.
The visible outcome: the Vanity Fair and Entertainment Weekly first looks, the character teaser posters, the key art — every public beat of the campaign was fed by this pipeline. The world saw the images. It never saw the machine.
The Wheel of Time
Where Rings of Power was a launch, The Wheel of Time was an engine — a returning global franchise whose photography operation had to run season over season without pause. My team administered the series’ dedicated asset environment — hundreds of curated collections — on a weekly episodic selects cadence that fed marketing, PR, partners, and awards year-round.
The servicing map ran wide: main-set deliveries to Getty for wire syndication, BTS packages to partner studio Sony, dedicated hero selects for international markets including India, season-two talent approvals, photographer credit operations, and awards-season portrait and FYC support — each running on the workflows my team maintained and iterated between seasons.
Leverage: Redemption
The full tentpole playbook, scaled to fit a lean IMDb TV (now Freevee) launch. With a lighter unit-photography footprint, we built the campaign’s image library from hybrid sourcing — unit stills and pulled framegrabs, cut together into versioned main sets that carried key art, PR, and the platform pages.
First-look approvals for star Noah Wyle — now headlining The Pitt — ran through the same approval infrastructure as the tentpoles, and the finished sets shipped worldwide — including a dedicated international first-look keyset — with final key art delivered to agencies on schedule.
Workflows I built and ran.
Three of the systems underneath the work — shown as shapes, not recipes.
Every image, cleared.
Watermarked approval galleries with negotiated kill rates, expiration windows, and a tracked SLA per gallery — for stars, guest cast, and ensembles.
Risk-tiered, automated.
Automated conditional routing sent routine requests straight to fulfillment and escalated anything sensitive — hundreds of tickets a season, one auditable trail.
Every exclusive, honored.
Press and social exclusives flagged, badged, and time-boxed in the DAM — so a Vanity Fair exclusive never surfaced anywhere else first.
Trust, engineered.
Franchise photography is some of the most targeted material in entertainment. The job was to move fast and keep it airtight.
Codename protocols
Titles handled under codenames end-to-end — several still can’t be named here.
Traceable watermarking
Per-recipient watermark configurations, so any leak traces to a single set of hands.
Tiered access
Role-based rights matrices governing who could view, download, or send — enforced in the platform, not by memo.
Security-tier request SOPs
Top-tier titles requested in pseudonyms only, with clearance verified before a single frame moved.
Tentpoles, franchises, and launches.
Also supported: The Boys · The Terminal List · Reacher · Jack Ryan · I Want You Back · The Pursuit of Love · Making the Cut
— and additional titles handled under codename protocols —
Photography credited as originally published: unit photographers including Ben Rothstein and Matt Grace; imagery courtesy of Prime Video, IMDb TV, and Amazon MGM Studios. I didn’t shoot these images — I ran the operations that put them in front of the world. Workflow diagrams on this page are generic recreations; no confidential material appears here.
Building a launch that can’t afford a leak?
From tentpole photo operations to lean, fast-moving productions — I build the systems that keep creative moving and protected.
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