I get the
ambitious
version made.
Most productions shrink between the pitch and the screen. Mine don’t. I take the vision, build the creative with the people who’ll execute it, and put the machinery around them that gets it made — inside the real constraints of budget, crew and clock, ahead of the problems nobody else has seen yet.
Served with Andy Roddick, live in Madison Square Park
Multiple video teams, one activation, nobody coordinating them
I was brought in because multiple video crews were shooting the same space on the same day with no plan for how they would share it. I built the map and the clock — where each team worked and when — across the influencer team, the experiential team, IBM Comms, and GPJ.
A separate IBM crew recording executive interviews — unrelated to the podcast — went beside the photo area. Served sat where Andy could get in and out with security without walking into a crowd, and where we could assemble an audience and block the stage off properly. The Hulett Brothers ran trick shots diagonally opposite. Ambient audio in specific zones came down so nothing bled into the live taping.
The taping window came off two things nobody thinks to ask: where the sun would be at that hour, and when the park fills with people cutting through on their way to work — because a live podcast needs a live audience, and in a public park you only get one if you time it. That meant an early-morning start. Which meant clearing early park access with the City. Which meant a 5:30am crew call.
Then a live show, an unscripted audience Q&A, and a fan meet-and-greet with security. None of it gets a second take.
Nunely Productions
Work contracted through my own company.
Post-production infrastructure built from nothing
A stealth startup with no post pipeline. I built the entire thing — remote workstations, storage, file structure, team project architecture — and then ran the production and operations team that used it, supporting both Marketing and Product.
I was on the core leadership team and held equity in the company.
Post infrastructure · Remote build · Team leadershipSelling a show back to the audience that already loves it
On-air promo for Paw Patrol and Blaze and the Monster Machines. Nothing gets shot. The picture comes entirely out of the final episodes — everything else gets built on top of it: graphics designed for the spot, music, VO. Then cut to network format and brand spec, on the network’s turnaround.
The audience is four years old and the spot is thirty seconds. It has to read instantly, and it has to survive being watched again and again without wearing out.
Promo · Preschool · Graphics, music & VO · Broadcast specOne weekly show, six networks, six sets of specs
I produced and edited the weekly National Women’s Soccer League digital feed for Lifetime — a show with a delivery date every single week and no version of the week where it slips.
Alongside it I format edited across the whole group: A&E, Lifetime, Vice, FYI, History and History Channel Español. Every network carries its own break structure, timings and delivery spec. The job is knowing all six well enough that nothing comes back.
Weekly delivery · Multi-network · Broadcast specStaff work at IBM
The premiere show on a platform nobody had run yet
The client was mid-migration to GlobalMeet, and the webinar I was producing was the first show to go out on it. Nothing existed yet — no process for the platform, no designs, no update cycle, no answer for how their team would actually use it. I built all of that while producing the show.
The broadcast schedule never moved. What I wrote down during the cutover became the production timelines and best-practice documentation the client adopted — they run the program independently now.
Speaking both languages — creative and engineering
Creative decides what it wants. Production and engineering decide what is actually buildable. Most projects lose time and money in the gap between those two rooms, because almost nobody speaks both languages.
That gap is where I work. I use the technical side and the vendor relationships to find where a creative idea is going to collide with the budget or the build — and I solve it before creative has to give anything up. When the fix is structural rather than one-off, I build it: automation and workflow solutions that production and engineering keep using after the job is over.
Systems I built
Full-time staff role, outside Nunely Productions.
The production system an entire CTV organization ran on
I led creative production and operations for CTV across every vertical, and most of that job was building the machinery that did not exist yet. With Creative, Engineering, and Product I built scalable production-management systems and protocols — on top of the NIM and Bynder stack already in place — so high-quality delivery could run year-round instead of project to project.
Then I audited the whole path end to end, from supply onboarding through campaign go-live, and rewrote the workflows and guidelines that were costing the team time. For a fully remote organization I designed the information-sharing systems that let people work without waiting on each other.
I owned the budgets for every vendor, freelancer, software platform and system inside CTV, working with Procurement and Legal on contracting, rights and clearances. I ran the cross-functional demand task force with campaign management, Product, and Engineering, and worked with analysts to get the executive team data they could actually act on.
Systems · Workflow · Vendor & budget ownership · Cross-functionalOn set
Production stills from Rachael's work across staff, freelance and Nunely engagements.
Rachael Nunes
I started as a production assistant at what is now NBC Sports, went west to edit for Style Network, Oprah Winfrey Network and Comcast, and spent the next two decades moving between network television, cable, sports and enterprise marketing — as an editor, a supervising editor, a producer, and eventually the person responsible for whether the whole thing ships.
Most of what I do now sits at the seam between creative and operations. I produce the work, and I build the systems that let the work happen again next quarter without heroics: storage and project architecture, asset management, rights and governance, vendor pipelines, the documentation that outlives the engagement.
I run productions with budgets into the seven figures and I still sit in the edit. Both of those matter. The producers I trust most are the ones who know what they're asking for when they ask for it.
Outside the production company I'm a senior producer at IBM Blue Studios, and the founder of mamentum, a community platform for single mothers that I designed and built end to end.
Selected credits
Roles held directly, outside Nunely Productions engagements.