PBS Kids
PBS Kids was rolling out American Sign Language integration across its programming and apps. I led post-production on the series, delivering broadcast-ready pieces for a national platform with accessibility as the core requirement.
I led post-production across a series of accessibility-focused pieces for PBS Kids, supporting the rollout of American Sign Language integration into children’s programming and app experiences. The project included testimonial storytelling, animated promotional spots, and instructional walkthroughs, each requiring different editorial approaches and technical workflows.
My responsibilities spanned editorial leadership, narrative shaping and pacing, dialogue cleanup and audio mixing, integrating ASL interpreter overlays, sourcing and integrating broadcast masters and ASL, designed custon sound effects, color correction and final grade, coordinating contributions across multiple teams, and managing revisions through final delivery.
Across the campaign, the goal was to highlight authentic representation within the Deaf community and communicate how PBS Kids is expanding access to programming for young signing audiences. The final work delivered an emotional narrative supported by polished craft and cohesive post-production execution.
Davis & Green
Davis & Green needed a full rebrand launched simultaneously across broadcast, digital, and social. I handled editorial and motion design for the campaign: cutting the broadcast spots, building animated service icons, and bringing their new mascot, Ollie the Octopus, to life across every channel.
Davis & Green, a home-services company, underwent a complete rebrand led by Yebo. I was responsible for editing the broadcast advertisements and designing the motion graphics used throughout the launch campaign. The creative team developed a set of elemental icons representing the company’s key service categories, and I animated these for broadcast spots, social media placements, and the client’s website—ensuring consistency across all platforms.
A major component of the rebrand was introducing “Ollie the Octopus,” the new character mascot. Early explorations involved stretching Ollie’s tentacle to interact with the ampersand in the logo, paired with underwater bobbing movement. Through iteration, we refined the animation to a more subtle rotational sway and gentle buoyancy, creating a clean, understated motion that supported the brand tone without distraction.
Initially, we wanted Ollie to stretch to the ampersand while he bobbed and floated in the water. In the end, we went with a slight rotation and subtle bobbing.
Final Broadcast Ad
Social Media Elements
Cato Fashions
Cato needed catalog-style footage to read as premium fashion advertising, on a limited production budget. I edited and animated the monthly campaign, using rotoscoping and pseudo-3D graphics to raise production value without expanding the shoot.
Cato Fashions needed ongoing promotional videos to showcase new seasonal styles—essentially a video version of their monthly fashion catalog. Working with limited footage and assets, I handled editing, color correction and grading, audio mixing, and motion design to create polished, high-impact ads for broadcast, social, and digital platforms.
A key creative approach was building depth and visual interest without the budget for complex 3D production. I rotoscoped the models and composited branding, typography, and design elements behind them in a pseudo-3D space. This gave us layered motion, parallax, and spatial separation that made otherwise simple footage feel more dynamic and premium.
The result was a consistent monthly rollout that maintained visual freshness, captured attention, and aligned the brand more closely with modern fashion advertising aesthetics—without requiring additional production resources.
Honda
Honda needed a :30 and :15 spot that could showcase key vehicle features and keep the energy up in a short runtime. I edited and animated the spots, using split-screen layouts and animated typography over driving footage to hit both.
For this Honda advertising campaign, I created both :30 and :15 commercial spots built around high-energy driving footage and bold kinetic typography. I handled editorial, motion design, and compositing, integrating animated type directly onto the live-action footage to highlight key vehicle features and reinforce messaging.
The spot’s primary visual device was a split-screen format, pairing complementary driving shots against each other to build rhythm, contrast, and storytelling. This allowed us to feature multiple perspectives and models simultaneously without requiring additional footage or reshoots. Animated type elements were tracked and composited to feel physically grounded in the scene, adding a sleek, modern polish that matched the Honda brand aesthetic.
The final spots delivered a clean, fast-moving piece that balanced practical information with premium automotive styling, designed for broadcast and digital distribution.
Virginia Lottery
Virginia Lottery needed a steady stream of campaign content across broadcast, social, and digital. Working with Yebo, I've handled motion design, dynamic typography, and animation on their ongoing campaigns, delivering broadcast spots and fully animated promos on a recurring basis.
Virginia Lottery has been a long-term client through Yebo, where I’ve contributed motion design, animation, and editorial support across multiple campaigns and platforms. My work has included broadcast spots, social media ads, and animated promotional pieces created to highlight new offerings and products in visually engaging ways.
A large portion of this work involved developing short-form animated social content featuring scratcher tickets, where I designed playful motion, tactile reveal sequences, and dynamic type to showcase prizes and create scroll-stopping visual interest. I also worked on a campaign promoting Virginia Lottery’s mobile play experience, delivering broadcast ads and supporting social assets built around clear messaging and polished motion design.
As one example within this body of work, I created a fully animated GSTV spot built around energetic typography and bold graphic animation—designed to maximize attention within the short-format environment of gas-pump screens.
Across all projects, I handled animation, motion graphics, typography, and finishing, maintaining visual consistency across formats while adapting the creative approach to each platform’s needs.
SPCA
I created an animated awareness campaign for the Richmond SPCA exposing the hidden cruelty of puppy mills and the misleading nature of online puppy-sale sites. The project included a motion-design PSA and a testimonial-style video where contrasting on-screen text and visual storytelling revealed the harsh reality behind polished marketing language.
Working with the Richmond SPCA with Yebo, I designed and animated a motion-graphics awareness spot addressing the growing problem of puppy mills and the deceptive online storefronts that enable them. The animated PSA juxtaposes the convenience of modern online shopping with the grim reality behind high-volume puppy breeding, using bold typography, restrained visuals, and impactful pacing to build emotional and ethical urgency.
To support the campaign further, I edited a testimonial-style video featuring a couple proudly describing their online puppy purchase experience. The editorial approach intentionally contrasts their optimistic dialogue with on-screen text that fact-checks each claim—revealing the disconnect between consumer perception and the abusive practices behind many online breeders. The structure creates a slow, unsettling realization designed to challenge assumptions and inspire more informed adoption decisions.
Across both pieces, I handled editorial, motion design, dynamic typography, animation, and finishing. The campaign’s goal was to raise awareness, elevate the voices advocating for humane adoption, and encourage viewers to support ethical practices through the Richmond SPCA.
Capital One
Capital One needed complex financial features explained visually within a Commercial Card campaign. I handled motion design and VFX, compositing 2D/3D graphics, animated infographics, virtual card elements, and 3D wireframes into live-action footage. Delivered two :30 and two :15 spots, produced by Alice Blue and Carleen Martin.
This campaign for Capital One’s Commercial Card platform required motion design that supported the story without overpowering the human-centered tone of the spots. I handled all motion graphics and VFX, developing a visual system of 2D and 3D elements that could be reliably integrated across multiple locations and setups.
The graphics—animated card UI, holographic infographics, and large-scale 3D wireframes—were tracked and composited into live-action plates with full camera-matching for natural interaction with talent and environment lighting. This approach allowed the production team to work efficiently on set while giving post the flexibility to refine look and timing.
Deliverables included two :30 and two :15 spots. Produced by Alice Blue and Carleen Martin. Editing by Flagship Visuals
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