Annual production
Rage for Justice Awards
One night, three productions in one — a live concert, a televised awards ceremony and a political gala. Produced every year.
The Rage for Justice Awards honours the lawyers, advocates and cultural figures who actually move the needle on corporate and government accountability. It is also a small broadcast operation, a full concert and a political fundraiser compressed into one evening. I produce the whole show.
Jackson Browne and Tom Morello have anchored multiple years, closing the night with full-band performances between award presentations. Jane Fonda has presented. Bernie Sanders has presented.
The sequencing alone is the job — who speaks when, who performs between which awards, how long a room can hold attention between set-ups. That is the difference between a night that lands and a night that drags, and no amount of production value rescues a running order that is wrong.
Eighteen months at a time
The calendar overlaps itself. While we are cutting post-show content from this year, next year's honoree conversations have already started. Venue, lighting design, broadcast contracts, satellite truck coordination and streaming distribution lock eight to ten months out. The event site goes live around ninety days prior and absorbs ticketing, honoree bios, press assets and the stream embed.
Night of
A compact broadcast flow: multi-camera switcher, lower-thirds and motion graphics cut in advance in Cinema 4D and After Effects, and a clean feed out to both the in-venue LED walls and the stream. BlackMagic hardware at the core.
Real-time title cards run through my own graphics pipeline rather than a canned template, because the running order shifts right up to showtime and templates do not survive contact with reality.
Audio is mixed for two audiences at once. The room hears a concert mix; the broadcast feed hears a broadcast mix. That sounds obvious until you have been the one standing in the hallway between them deciding whether a guitar solo bleeds into an acceptance speech.
Distribution is half the product
The edit starts the next morning. Individual speeches and performances are cut into standalone clips within seventy-two hours, captioned, and pushed to honorees, press contacts and social. The full show gets a long-form edit.
A room holds several hundred people. The edit reaches everyone else — which is why the post schedule is planned before the show, not after it.