Supporting and leading teams is what Ido best, especially in environments that are fluid and ambiguous. I excel at the art of "cross-functional translation" - helping different disciplines and teams find common ground and a shared goal. As the first female-identifying director on Sound Design, I built equity into every system I designed. The best outcomes are derived from diverse perspectives.

• Drove strategic planning for Sound Design, including OKR development, budget forecasting and management, mission/vision/values creation, DEl-driven hiring processes, and Meta-wide audio advocacy campaigns

• Designed and executed a portfolio and resource management system, including bespoke tool creation, to align the Meta-wide scope of audio work into a centralized information system.

• Enabled team-wide resource management, product-specific investment reporting, and YOY analysis of impact opportunities to drive funding, growth, and prioritization decisions

• Collaborated across Meta with other Design Operation Directors on discipline-specific development and initiatives; helped create first set of discipline-specific career expectations

• Restructured a company-wide DAM (Digital Asset Management) SaaS program, including renegotiating contract, balancing budget across 15 different teams, and establishing OKRs for program development

• Supported reports through career development, performance reviews, mentorship, and matching strengths to opportunities text goes here

Having started my career in small studios, I learned two important lessons early on: no skill or experience is irrelevant, and the more you learn, the better you get at your core job. After reading some of my work, a producer within the Immersive Media organization asked if I would take on an in-house screenwriter role, helping visual artists hired to create content for Oculus TV, write, edit, and polish scripts for their stories.

• Revised, copy-edited, and shipped 3 10-20m VR pieces, “Rebels” (2020), “Hello” (2021), “Pepitos: The Beak Saga” (2024).

  • “Rebels” was an official selection for Tribeca 2021

  • “Pepitos: The Beak Saga” was an official selection for Venice Film Festival, 2023

• Co-wrote, edited, and shipped “Reimagined Vol II: Mahal”

  • was an official selection for Tribeca 2024

  • was a Peabody nominee (as part of the Reimagined Series) in 2024

I derive energy and joy from making things work. This is why I accepted the role of Facebook Sound Design's first audio producer. I executed collaborative audio projects, designed operational processes, hired and mentored operational team members, and learned the most valuable lesson of my career: the best leaders are the best listeners.

• Designed and managed end-to-end interactive audio production for Facebook, including an Emmy-award winning VR experience, "Wolves ni the Walls"

• Managed end-to-end interactive audio production, including: asset development pipelines, coordination of technical implementation, and cross-discipline communication management. Facilitated audio design for production and development hardware and software platforms.

• Created and developed multiple teams within Central Sound Design, including AR, VR/MR, Operations, and QA

• A producer or project manager is the glue for any project; In the role, I managed relationships as much as deliverables, including holding team members accountable for commitments, resolving interpersonal issues, and encouraging strong collaboration, cross-functionally.

I like to understand the work from beginning to end. nI this role, I seized the opportunity to learn to write ad copy. Knowing the technical aspects of audio made me a more effective creative, and writing ad copy made it easier to identify the needs of production. Through this expansion of my experience, I learned how zooming in helps you understand what it should look like zoomed out.

• Managed assets and coordinated production on audio advertising spots

• Coordinated audio campaigns: copy-edited scripts, clarified and secured necessary assets, established timelines, and managed expectations for production and client services teams

• Reviewed ads for technical and creative guidelines; provided creative solutions for issues

• Partnered with teams to create protocols and processes for ad products and content guidelines

• Analyzed existing protocols/systems, identified issues, and provided creative solutions to streamline and structure a scalable workflows

• Leverage technical expertise to facilitate production of live events

  • Facilitate and manage set-up of live events equipment; organize pre-show schedule; provide custom solutions to technical issues, create event production timeline

  • Coordinate on-site talent and technical personnel for single-day and multi-day events

  • Point of contact and communication liaison for talent, technical personnel, and vendors

• Supervise technical teams, obtain production materials, and maintain production equipment

  • Hire, train, and schedule audio engineers and stage personnel for live events, including music, film screenings, panels, and interactive events

• Managed production for studio, and supervised quality assurance for all assets

  • Coordinated workflow and data management for teams, create file structure for delivery and archival purposes using both local and cloud-based storage, as well as client-specific web applications

• Provide budget estimates and project management for incoming clients, including media content for film, television, radio, web, and video games

• Generate editorial content for studio e-mail campaigns, website, and social media; create weekly progress reports for projects

• Point of contact and communication liaison for studio, responsible for tracking assets, weekly status reports, and managing asset archive for clients

• Manage multimedia and corporate post-production audio projects - Projects include audio for television, radio, web, interactive media, IVR systems, text-to-speech, and mobile applications for clients such as Jawbone, Disney, Nuance Communications, and Facebook