I HELP YOU TURN IDEAS INTO CONTENT PEOPLE WATCH.

From broadcast TV and promos, through branded digital and social, to YouTube, podcasts and creator-led businesses, I produce, edit and shape content from idea to audience.

20+ years working with broadcasters, brands, agencies and creators including FOX, MTV, Discovery, Yahoo, NatWest, Betfair, Flutter and British Paralympics.

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The real challenge

WHAT I DO

I'm an executive producer, editor and content producer.

Sometimes that means developing a format from scratch and putting the team together to make it.

Sometimes it means taking a podcast, interview or archive and finding the moments that deserve a wider audience.

Sometimes it means running the whole content system around a YouTube channel, from ideas and production through to editing, thumbnails, clips, publishing and performance.

I've always been most useful in the space between the idea and the audience.

ProducerEditorContent Partner

WHERE IT STARTED

I started in the late 1990s working with Chelsea Football Club's video archive while studying media technology.

One of the first things I built was a Microsoft Access database to log matches, goals, close-ups and moments we might need again for promos and sizzle reels.

From there I moved into archive documentaries at Movietone News and Flat Earth Films, learning how to take interviews, historical footage, narration, music and graphics and turn them into stories.

That early experience has stayed with me.

BROADCAST

I moved from documentaries into television promotion, creating and editing work for HomeChoice, Discovery, FOX and MTV.

It was where I really learned the craft of making ideas work quickly: finding the hook, writing to pictures, editing for pace and getting an audience interested in something in seconds rather than minutes.

HomeChoice was one of Britain's earliest streaming television services, and in 2007 I won a Promax Europe Award for my promo work there.

HONG KONG + BRANDS

I then moved to Hong Kong as a Senior Producer at Star TV, leading a creative team of around 20 people producing entertainment promos across Southeast Asia.

When Star became more closely integrated with FOX, my role started moving into branded content and ad sales, producing films across Asia for FOX and National Geographic.

That was probably the first big shift in my career.

I'd started out making content for broadcasters.

Now I was increasingly making content for brands and their audiences.

WHEN SOCIAL ARRIVED

When I returned to the UK, that shift accelerated.

I worked across Cartoon Network, a £500,000 digital-screen project for Barclays, a Yahoo series with Spring Films, and then helped ZenithOptimedia launch Newcast, its new content-production offering.

That was the period when brands were starting to think seriously about social video, digital publishing and influencers.

We were filming creators for brands before "creator marketing" had really become an industry.

Through Stoke & Dagger, that developed into long-term relationships with agencies and brands including NatWest, TalkTalk, Secret Escapes, OMD, British Paralympics, Team GB, Betfair and Flutter. Also we built a team of designers, editors, videographers and Producers.

FROM CONTENT TO AUDIENCE

The latest phase of my career has moved increasingly towards YouTube, podcasts, social and creator-led businesses.

With Betfair, I spent five years working closely with the football and racing content teams across podcasts, YouTube, social clips, graphics, branding and fast-turnaround sport.

BUILDING AUDIENCES

DARYL CARTER RACING

With Daryl Carter Racing, I oversee the YouTube channel, podcasts and social output, using content not simply to generate views but to grow an audience and a paid membership business.

I work across the whole process, from ideas and formats through production, editing, packaging, clips and publishing, then use what the audience responds to to help decide what we make next.

It's a good example of where my work has evolved: content isn't just the finished film anymore. It's part of a wider audience and business strategy.

DENIED BY THE CROSSBAR

I worked with Denied by the Crossbar around the World Cup to help rethink how the podcast was being packaged and distributed on YouTube.

By looking at titles, formats, topical opportunities and evergreen content, we helped roughly double views during the tournament period.

The important lesson wasn't simply to make more clips. It was to identify which conversations could continue finding an audience after the immediate news cycle had moved on.

ISTHMIAN LEAGUE PODCAST

I'm also involved in the early stages of developing a podcast around the Isthmian League.

The opportunity here is to build the content properly from the beginning, thinking about more than the podcast episode itself.

That means looking at recurring formats, clips, YouTube packaging, social content and the stories around non-league football that can give people a reason to discover and follow the show.

For me, this is where production and audience strategy increasingly overlap. You're not just making a programme. You're building a repeatable content product around a community.

STICKER FLIP

Sticker Flip started as a deliberately simple experiment with my kids: seven Panini World Cup stickers placed face down on a desk and flipped over one at a time.

No elaborate production. No voiceover. Just a repeatable 30-second idea built around suspense.

In its first 30 days we published 30 Shorts and generated more than 80,000 views from a standing start, with an average view percentage of around 75%.

Some videos passed 8,000 views, and the strongest themes quickly became obvious. Questions, duplicates and the frustration of pulling the same stickers again consistently performed better.

That was the point of the experiment for me.

Because I was building the channel myself, I could see the feedback loop in real time. Change the title. Change the opening. Try a different framing. Publish again. See what happens.

It's a tiny channel compared with the brands I've worked with, but in some ways that makes it more useful. There's nowhere for the results to hide.

You learn very quickly whether the idea works.

WHAT CONNECTS IT ALL

The platforms have changed enormously since I started. The underlying job hasn't changed quite as much.

Find the idea.

Work out what matters.

Make it well.

Know what to leave out.

Package it for the audience.

And learn from what happens next.

I can executive produce a large campaign, build the team and manage the client. I can also open Premiere, find the moment, cut the film and understand why the first ten seconds aren't working. That combination is probably the best explanation of what I do.