The Work & The Why
A story about growing up in live production, learning the craft across two countries, and finding purpose in telling real stories under pressure.
Live production is where everything happens at once. There's no pause button, no second take, no "we'll fix it in post." Just you, the team, the moment, and the story you're trying to tell. That pressure is what makes it real. That's what keeps me here.
Age 14 & The Harrison College PA System
I started in live sound at 14 years old. Harrison College had a PA system that needed someone to operate it for assemblies, talent shows, and school events. I volunteered because it seemed interesting—something technical, something live, something that mattered in the moment.
That was my first taste of it: the responsibility of making sure people could hear. The microphone checks. The feedback battles. The satisfaction when it worked and everyone just experienced the show without thinking about the technology behind it.
Gregory Gordon of Pro Spirit took me under his wing. He taught me proper live sound—how to mix, how to listen, how to problem-solve when the equipment wasn't cooperating. He showed me that being a technician meant being calm under pressure, being invisible but essential, and caring deeply about the quality of what you delivered even when nobody said thank you.
Full Sail University & The Advanced Achievement Award
In 2018, I graduated from Full Sail University with a Bachelor of Science in Show Production and the Advanced Achievement Award in the Show Production Degree Program. Those years taught me more than technical skills—they taught me how productions actually work.
The biggest lessons weren't about specific equipment. They were about production management: how to plan, how to coordinate crews, how to align sound, lighting, and video teams so they weren't working against each other. I learned that the best technical work happens when everyone understands the bigger picture.
I learned that preparation matters. That communication prevents disasters. That the person running cable deserves the same respect as the person calling the shots because none of it works without all of it working.
Broadcast Sound, Camera Operation & Finding My Footing
I came back to Barbados ready to work. Started in broadcast sound—logical, given my background—but gradually moved into camera operation. Sports productions, corporate events, government conferences. I wanted to understand every angle of live production, literally.
The camera work taught me patience. Framing. Timing. How to anticipate action instead of just reacting to it. I worked on cricket, road tennis, football—whatever needed coverage. Each sport had its rhythm, its visual language. Learning to see those patterns made me better behind the lens.
Snapshot TV, EVS, & Tiny and Grant
The real turning point came through Snapshot TV during an international cricket tournament in Barbados. They needed a replay operator. I raised my hand. That's how I met Tiny and Grant, who trained me on EVS systems and showed me that replay wasn't just about showing the same clip twice—it was about storytelling.
Replay lets you show the moment that just happened from every angle that matters. The catch. The decision. The emotion. It gives the audience time to process what they just witnessed. That's powerful.
I grew from there, working replay locally and across the Caribbean. Cricket mostly, but road tennis, football, swimming—any sport that needed timing-sensitive coverage. Every tournament taught me something new about pressure, precision, and the importance of being ready when the director calls for that clip.
From Replay to Directing
Directing came naturally from replay. When you're operating replay, you're already thinking like a director—you know which angles tell the story, which moments matter, how to pace the coverage. On smaller BCA cricket productions, I started stepping into the director's chair.
Directing is where everything comes together. The cameras, the replay, the audio, the graphics. You're conducting an orchestra that's playing in real-time, and if you miss a beat, everyone hears it. That responsibility is terrifying and exhilarating.
I love it because it's storytelling in its purest form. You're not just capturing what's happening; you're shaping how the audience experiences it. The close-up after the wicket. The wide shot that shows the field. The replay that proves the umpire right or wrong. Every decision matters.
Stepping Back to Move Forward
Between 2024 and 2025, I stepped back from the industry to focus on other initiatives. I thought I might be done with live production, at least professionally. I was wrong.
That time away taught me something important: I can't fully leave this industry behind. Not because I have to do it, but because I genuinely love it. The fast pace. The pressure. The teamwork. The practical, down-to-earth nature of productions where everyone has a job and everyone depends on each other. The emotional, real stories that live production helps tell.
I came back with a clearer sense of what I want: meaningful work with strong teams. Projects that matter. Productions that tell Caribbean stories or bring Caribbean events to wider audiences. And I came back with a stronger commitment to helping this industry grow up.
What I Care About
Meaningful Work
I care about projects that matter—telling real stories, supporting important events, working with teams who take the craft seriously.
Strong Teams
Production is collaborative. I value crews that communicate well, respect each other's roles, and understand that we're all working toward the same goal.
Storytelling
Whether it's a cricket match, a corporate conference, or a cultural ceremony, there's a story. Finding and telling that story well is what drives me.
Caribbean Growth
I want to see Caribbean broadcast and live production reach international standards. We're already talented; we need structure, investment, and respect.
Where This Industry Needs to Go
I care deeply about the future of entertainment technicians and AV technicians in Barbados and the wider Caribbean. We need to be taken seriously. We need to be respected properly. We need to be paid fairly and on time.
The industry here has talent—more than enough. What it needs is standardization. Professionalism. Contracts that protect technicians. Rates that reflect the skill involved. Training that passes knowledge down.
I want to be part of building that future. Not just by doing good work myself, but by contributing to an industry where the next 14-year-old who picks up a microphone cable can see a real career path ahead of them.
Why I Keep Coming Back
I love the fast pace. The pressure. The fact that when you're in it, nothing else exists except the show. I love the teamwork—the way a good crew moves like a single organism, everyone knowing their part.
I love how practical and down-to-earth productions are. There's no room for pretension when you're troubleshooting a dead mic five minutes before air. Just problem-solving, communication, and getting it done.
Most of all, I love the stories. Live production captures real moments—real emotion, real stakes, real human experiences. When you watch a replay of a player celebrating a century, or a minister announcing policy that will affect thousands of lives, or a cultural performance that preserves heritage—you're watching something true. Being part of capturing that truth is an honor.
Let's Build Something Meaningful
If you're working on projects that matter—sports that tell Caribbean stories, events that bring people together, broadcasts that raise the standard—I'd like to hear from you.