Jackson Bybee — Content Producer, Crimson Brand Partners
Content producer. Utah Tech graduate. Five World Championships, a WNBL home game block, and five years of handing off content nobody had to fix. Here is the case.
I work between the camera and the caption.
The gap between shooting something and posting something is where most content dies. At Utah Tech I would cut a ten minute ESPN+ turnaround for a pregame show, then pull a vertical from the same footage an hour later for a completely different platform and a completely different audience. Different pacing, different crop, different point. Same thirty seconds of source. At the Venom that became the whole rhythm of a home game night, live highlights going out in real time, sponsorship shot lists getting hit in between, and a cutdown ready for whoever was posting before they had to ask me for it.
Premiere Pro is where I live, CapCut for fast vertical work, Photoshop for the graphics in between. But the tools are not the part that matters. What matters is handing off a file that is already the right length, the right ratio, and the right story for the platform it is going to, so nobody downstream has to open it again. I have been the person finishing someone else's export at eleven at night. I would rather be the reason that call never gets made.
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 five 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 World Lacrosse Women's Championship Recap
I edited this as a creative recap, collaborating with shooters from a dozen national teams and pulling their camera angles together with my own FX3 coverage to build one cohesive, graded piece rather than a straight highlight reel. I then organized and tagged the full archive so nothing got lost across a tournament this size.
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.
Football, basketball, and soccer at Utah Tech. Lacrosse across five World Championships. Professional women's basketball for a full WNBL home game block. Twenty five plus junior tournament weekends in the US. I have shown up to a sport I did not shoot last week and made it look like I had been there all season, because that was the only option.
Moving between programs is not an adjustment for me. It is the shape my whole career already has.
Team Player
Premiere Pro
CapCut
Sony Cine Cameras
Color Grading
Vertical Video
Cutdowns
Solo Run & Gun
Meta Tagging
Photo Editing
Short-form Social
DaVinci Resolve
Long-form Content
Brand standards and recruiting content
Utah, Big 12, and NCAA guidelines all have to hold at once. I held Venom and World Lacrosse standards to the same scrutiny last season and did not need them explained twice. Recruiting content and campaign work are the same job as game night with a longer runway.
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 department, every sport on the calendar, content that has to work for social and marketing and the archive at the same time, 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.