SHOWCASE PRODUCTIONS
Over the past 2 years, I have created a great collection of cinematic content with ASADI, filmed all around the world.
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These productions showcase my role as a production manager, producer, editor, and graphic designer
ASADI WORLDWIDE
THE VOYAGE: Season 1
The voyage is a series of cinematic live music performances by ASADI, produced by Lone Human.
The sets are released bi-weekly, recorded all over the world.
EP 1: Live Set in a Sedona Vortex
EP 2: Live in a Frozen Forest - Presented by Bandlab
EP 3: Live with 20 Fire Dancers - Presented by Roli
EP 4: Live "Mafia" Themed in the Desert Mountains
EP 5: Live from a BMX Park
EP 6: Live from the Black Sands of Bali
EP 7: RAINBOW ISLAND EP - Live from a Bali Jungle
EP 8: ASADI & XYE | Live from the Jali Pavilion at Shangri La in Honolulu
EP 9: Persian New Year Performance​​​​
SITELINE PRODUCTIONS
During my time at Siteline Productions, I worked on a variety of live broadcasts.
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These productions showcase my role as a production manager, producer, editor, writer, and graphic designer
FIGHT NIGHT SEASONS 1-4
Program manager / creative director
producer & editor
CReative direction
In March of 2021, I was given my first show at Siteline Productions to develop and pilot for 4 episodes. The original concept was simple: 2 hosts and a guest that play a new game each week. Due to covid restrictions, each host and guest called in from their homes. The production crew was the only ones traveling to a production studio for this. Due to the low risk of the production, I was allowed the opportunity to produce and run the whole program.
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Little did I know, this show would change the course of my career and life for years to come. After over 4 seasons, 60+ episodes, and dozens of high level sponsorships; I am lucky to call Fight Night my flagship production, and a core pillar of my success within production.
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Like the previously listed productions, Fight Night also aired on Amazon Prime Gaming’s Crown Channel.
CHALLENGES
Fight Night started during the peak of covid, meaning our talent was not able to come into a studio to be a part of the live broadcast. This posed a collection of challenges, relying on talent to secure a solid internet connection, and changing their streaming setups on a regular basis to accommodate our production needs. From receiving high quality camera and audio, to isolating gameplay, to repeating this process with new games and guests each week; we had may technical hurdles to overcome.
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As the show grew in success in popularity, multiple seasons were renewed. We had increased guest appearances, game sponsorship, and sponsor integrations.
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Some notable guests:
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Alex Okafor (Kansas City Chiefs)
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James Crowder (Call of Duty Esports world champion)
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Trevor May (Pitcher for Oakland A's)
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Chandler Riggs (Carl Grimes on AMC’s Walking Dead)
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GoldGlove (Variety Streamer)
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Jericho (Host & Variety Streamer)
As these episodes continued, sponsorships expanded and opportunities grew; I made sure to be involved in every step of the process. Along with my production crew executing each integration and episode, I made sure everything was put into place as intended, allowing my two hosts ActionJaxon and ChelseaBytes to host each episode to the best of their ability.
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After over 60 episodes, this show has encountered every technical challenge imaginable. I, along with my crew, has created an adjustable format of a show that can adapt to any game, sponsorship, or guest that may be a part of the 2 hour show.
CHALLENGES
The success of the live show was recognized widely by the large collection of sponsors, game developers, and talent agencies involved with Fight Night. As one of the longest standing shows at Crown Channel, the show has been recognized by multiple agencies within Amazon, such as Amazon Game Studios, Prime Gaming, Amazon Devices, Amazon Retail, and more.
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As stated before, many high profile sponsors have had integrations with the show, some on multiple episodes.
A few highlighted sponsors include:
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Intel Corporation
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Progressive Insurance
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Hyundai Motor Company
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LG UltraGear
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JBL
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Electronic Arts
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Dell
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Amazon Alexa
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Elgato
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Samsung SSD
Simulation Mode: Age of Empires IV
PRODUCTION MANAGER
producer & editor
CReative direction
The highly anticipated release of Age of Empires IV was promoted through a variety of marketing strategies by Xbox Game Studios. One of which was through Amazon Prime Gaming’s Crown Channel, which aired live on the Twitch front page.
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During development, my team and I worked with the Crown and the Age of Empires team to create a show that embraced the 20+ year legacy of the game, while promoting the recent changes and attracting new players to the franchise.
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The premise of this live broadcast was to select a few highlighted heroes from the game and bring them to life in live combat, keeping historical accuracy throughout all portions of the show. Viewers were able to vote live on the show to decide weaponry for our combatants, eventually leading one group victory over all others in a bracket over the 2 hour show. Our goal was to source stunt actors, historians, blacksmiths, and gamers to create a show that stands out from any other content seen before.
CHALLENGES
From the very start of this production, we had quite a few problems to tackle.
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These included historical accuracy, transportation, weapons and armor sourcing, gameplay, talent casting, and most importantly: Safety.
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Starting with the first item, where can we film a show like this? We wanted to create a safe environment for our combatants to fight in. This started by securing a warehouse space in central LA. “Brick House” allowed us to fit a full combat ring, but all of our recording and production equipment for the live broadcast. This also gave space for our combatants to properly suit up and inspect weapons and armor prior to the broadcast.
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This led to the second item, who is fighting and what will they be using? We were lucky to have incredible associate producer and stunt coordinator, Bryan Forrest source and secure our weaponry and talent. His expertise in the industry led us to prop blacksmiths in Burbank and Glendale, which created profesional armory for TV and film combat. Retrofitted armor and weaponry previously used on Game of Thrones, Lord of the Rings, and more. When the four in-game heroes were selected, weaponry and armor was created for each, matching the in-game properties as closely as possible.
As armor and weaponry began fabrication, we addressed the third and largest item on our list: How can we fit this into a 2 hour livestream interactive broadcast? Thanks to our incredible team, we were able to source our host Jasmine Bhullar and co-host/ historian Danièle Cybulskie to lead the show.
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The result was an incredible live show, highlighting the exciting historical action of Age of Empires IV through live combat.
RESULTS
The success of the live show was recognized by the Xbox Game Studios team, as well as the executives at Crown Channel. This format of live combat on Twitch was one of the first of its kind, and executed at a professional standard. Key moments from the broadcast were highlighted in marketing and social material for a year following the event.
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During this show I was able to sharpen my production management skills. I embraced all of the challenges around securing the talent, armor, weapons, venue, and creative direction. My ability to organize these details into one 2 hour broadcast, while creating graphics and visual elements was noticed by the full production team and clients. This being my first in-person show started as quite an ambitious challenge, and upon completing set me up for any challenge I face moving forward.
New World: Return to Aeternum
PRODUCTION MANAGER
producer & editor
CReative direction
Following the release of Amazon Game Studio’s first MMORPG game “New World” was a show that aired on Amazon Prime Gaming’s Crown Channel. This show in particular was recapping the game 1 year after release, and celebrating the community that has stayed since launch. After the game had nearly 7 years in development and a massive release, this show had to be on par with the previously aired content.
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To embrace the players and AGS’s game, I worked with Crown Channel to make a show focused around the beauty and community of New World. The purpose of the show was to show new players how good the game has become, how the developers have listened to the players, and the new free-to-play feature for a limited time.
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The challenges and rewards of this in-person show were some of my favorite moments over the past few years, and gave me a project I am proud to highlight.
CHALLENGES
The challenges of this show were vastly different from Simulation Mode: Age of Empires IV
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With the concept of bringing the beauty of New World to life, we had to be able to access parts of the game unavailable to the players at home. With developer support, we were able to access a custom server with incredible cinematic control. We used this to capture many of the scenes used for the LED wall and playback content throughout the show.
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With active New World players as our primary audience, we needed a way to showcase content they would be interested in seeing. With incredible talent provided by AGS, and vetted through the Crown Channel team, we had passionate players that were able to lead their own segments. Our hosts Trisha Hershberger and Kat Contii provided coverage of their journeys, as our 3 guests re-lived their favorite moments from the game.
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The greatest challenge of all was deciding to pivot from the original concept of the show.
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Our original concept, up until 2 weeks away from the air date, was to use Unreal Engine 5 to fully immerse our hosts into the game. We planned on doing this with developer support, granting us access to isolated in-game assets such as grasses, trees, stone structures, textures, materials, and more. Our team was able to render a full scene created with in-game assets, matched with 4K game capture backgrounds, which can be seen in the broadcast. Unreal Engine 5 allows for camera tracking in a digital space, most well known from The Mandalorian. Issues with camera tracking accuracy and limited movement led to the decision to not use Unreal technology in this production.
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The end result was a clean show that focused on the beauty of New World for new players and veterans alike.
RESULTS
The success of the live show was recognized by the Amazon Game Studios team, as well as the executives at Crown Channel.
Working with virtual sets and understanding the limitations of working in a virtual space was a new challenge. While certain ideas did not pan out as expected, the seed was planted for future shows with limitless possibilities. I was able to recognize the successful parts of this show to apply to other sponsored productions. I learned the logistics behind showcasing a game I was not familiar with, and sourcing material that even the most experienced audience members may find exciting.