My first ESPN+ turnaround was in St. George. Everything since has been preparation. 🏔️
Broadcast and live event producer. Utah Tech graduate. Four World Championships, a WNBL home game block, and a lot of hours in rooms where the clock does not stop. Here is the case.
Show day is where I learned to work.
At Utah Tech in St. George I designed my own degree combining digital film, marketing, and strategic content creation, and I spent that time inside the athletics broadcast operation. I cut NCAA Division I football highlights for ESPN+ pregame shows on 10 minute live turnarounds, edited weekly broadcast segments for CEC across a full season, and shot run and gun coverage for football, basketball, and soccer. That was where I learned that a broadcast is a deadline with a camera pointed at it.
Since then I have produced across four World Lacrosse World Championships, a WNBL home game block with the Geelong Venom, and 25 plus national tournament weekends in the US. Most of it solo, on the ground, delivering the same night. The part I take most seriously is what happens before air. I built a custom Python pipeline to tag, archive, and retrieve a 150TB library with consistent naming, because at events producing 70 to 115 deliverables the difference between a good show and a scramble is whether the assets were ready an hour ago.
WNBL Geelong Venom Season Highlights
Game coverage, athlete moments, and the energy of a team finding its identity. Built for social and delivered in real time throughout the season, executed for long term archives and evergreen use cases.
Live event turnaround
ESPN+ pregame highlight cuts on 10 minute live turnarounds at Utah Tech. Same night delivery across four World Championships and a WNBL home game block. Live capture, cut, grade, deliver, without the show waiting on me.
Graphics and packages
Advanced in Photoshop and Illustrator, daily. After Effects for motion. I build reusable template systems rather than one off assets, so a look holds across a full season instead of drifting by week six.
Assets ready before air
Custom scripted DAM pipeline managing a 150TB library with consistent metadata and naming. Gathering, tagging, and staging the clips, features, and graphics a producer needs before they ask for them.
Recent Social Posts
A look at the reels that performed best across recent championships and campaigns, ranked by views. Each clip below was shot and edited start to finish, from live capture through final delivery.
2026 APLU Men's Qualifers - New Zealand Haka
At the APLU Men's Qualifier, I shot supplementary color angles on the FX3 alongside the main broadcast feed, handheld reaction shots, crowd coverage, and off-axis game angles the primary cameras couldn't reach. It's a small addition on paper, but it's what makes a regional qualifier feel like it belongs on a bigger stage.
WNBL x Beyond Blue Ambassador — Gemma Potter
Gemma Potter didn't have to share her story. She chose to. After suffering an ACL injury she sat down to talk openly about the recovery, the identity questions that come with being an athlete who can't play, and what it means to come out the other side. As a Beyond Blue Ambassador she used this platform to advocate for mental health awareness in sport. This piece was built to give that conversation the space it deserved.
WNBL x Geelong Venom — Pride Round
Alex Sharp's Pride Round message was direct, genuine, and built for social. A short form reel produced to reach people where they are and reflect the values the Geelong Venom stand for as a club.
Geelong Venom x West Carr and Harvey — Corporate Partnerships
Professional sport runs on partnerships and the content has to work for everyone in the room. West Carr and Harvey Geelong came on as a Geelong Venom partner and this piece was built to mark that moment. Proud to be supporting local athletes in women's professional basketball, the announcement needed to feel genuine to the community and credible to the brand. I produced this piece to capture that commitment, built around the players and delivered to reflect what a good corporate partnership in women's sport actually looks like.
Photos
Game day frames, fan activations, award nights, and the in between moments that make a season worth documenting.
Behind the Scenes
Home game production for a professional sports team isn't just about the highlights package. There's a shot list, sponsor commitments, fan activation coverage, real time deadlines, and none of it waits.
Every home game came with a set of responsibilities. Capture the live game action and produce highlight content in real time. Hit the sponsorship shot lists so partners had what they needed for future posts and campaigns. Document fan activations on the night. And through all of it, maintain a consistent visual standard that held up across every deliverable.
Beyond the regular season I also covered the end of season awards night, capturing the moments that close out a year of work for the athletes, staff, and the community that showed up for them.
The content that came out of this season went beyond game day. The WNBL x Beyond Blue campaign gave Gemma Potter the space to share her ACL recovery story and her advocacy work as a Beyond Blue Ambassador. Alex Sharp used her platform during Pride Round to deliver a message that mattered. And the new partnership between the Geelong Venom and West Carr and Harvey Geelong gave women's professional sport in the region another business backing it.
That's the full picture of what this season produced and what good sports content looks like when it's doing its job properly.
I came up through an athletics media internship. The people who took the time to explain the why behind a call are the reason I have a career, and I have not forgotten which side of that I was on. I coach an Under 11 lacrosse side in Adelaide for the same reason. Walking a student through replay, graphics, or a switcher until the call becomes instinct is work I would show up early for.
The rest of it is the work I already do. Gather the assets. Build the graphics list. Know the sport, both teams, and the student athletes well enough to have the right shot ready when the moment happens. Keep the standard consistent from the first event of the season to the last.
Team Player
Premiere Pro
Sony Cine Cameras
Color Grading
Short-form Reels
Audio Polishing
Solo Run & Gun
Meta Tagging
Python Scripting
Short-form Social
DaVinci Resolve
Long-form Content
I built a graphics template that fills itself in.
I built an After Effects animation that pulls real stat data from an API and injects it into the composition through scripting. The graphic populates itself. I used Pokémon as the dataset because it is clean, public, and shaped like a stat line. A name, a type, an image, and a row of numbers that change with every entry.
The subject was not the point. The point was binding a data source to a locked template and rendering a run of variants without touching the design. That is what a broadcast graphics package does. A player card, a stat bug, a head to head. The data changes every week and the design cannot. I have not sat the Xpression seat in a live show, but I know what a data bound graphics engine is doing underneath because I built a small version of one.
Utah is where I want to be.
I studied at Utah Tech, I know Salt Lake City, and I want to build a long term career in this state. I am currently on a working holiday in Adelaide and returning to SLC for the 2026 to 27 season, available for the start of the fall calendar and flexible on hours including nights, weekends, and holidays.
A Power 4 athletics broadcast operation running ESPN+ shows, board shows, and everything outside the game calendar is exactly the environment I want to grow inside. Rod Zundel gave me my first broadcast reps at Utah Tech. I would like to keep going.
jackson@jacksonbybee.com