I help technology companies build security programs that actually work — not just pass audits. Cloud security, application and API security, AI governance, DevSecOps transformation. I've done this at AWS, inside the American Film Institute, and from scratch as a practice builder and consultant. Along the way I've acquired a nasty cybersecurity certification habit — more than 40 of them and counting.
I recently published my first app — Claude Context Meter, a Mac menu bar tool that tracks Claude Code token usage across context, billing, and weekly windows.
And in my earlier creative work, I also wrote a children's novel about hackers, magic, and time travel, directed a short film, and released a concept album called Music for Space Travel. That last one probably explains as much about me as the certifications do.
The security career and the creative work weren't sequential. They ran in parallel for about fifteen years. This is what that actually looked like. But the story starts in the middle before it finds its way to the beginning.
At AWS I led the Enterprise Support Security Improvement Program — scaling the team that assessed cloud security posture for large customers and delivering remediation guidance. I managed TAM teams supporting Fortune 25 customers generating more than $400M and drove a publicly traded customer's DevSecOps transformation and Cloud Center of Excellence adoption.
A byproduct of looking closely at infrastructure: I identified over $1M per month in cloud cost optimization. FinOps wasn't the job. It came with the territory.
From AWS I moved to Noname Security, working directly with the largest enterprise customers — driving post-sales API Security Program adoption, clearing technical blockers, and coaching DevSecOps teams through API security incidents. I helped organizations figure out what they actually had, what was exposed, and what to do about it.
When AFI wrapped in 2019, I picked the consulting practice back up — security, cloud, and media work. That included designing and deploying cloud media asset management solutions for major film brands, architecting secure network infrastructure, and transforming cybersecurity practices for media management organizations.
That led to Vector USA, where I was started in January 2020 as the lead Cybersecurity and Cloud Solutions Architect. But the pandemic had different plans for us. So I managed a wireless project on giant robots, and as a result I discovered a new line of business. I initiated and scaled a private LTE solution from scratch, generating $300M in sales pipeline in six weeks. That effort landed a Nokia sales award. I also designed cloud and campus network security and managed wireless solutions for OT and SCADA environments — critical infrastructure work that most security practitioners never get near.
The pandemic accelerated everything. AWS came next.
Most of my career I've been on the vendor or consultant side — designing security programs for other people's organizations. AFI was the exception. For three years I ran the technology program for one of the most recognized institutions in the film world. Not advising, not auditing. Accountable.
I rebuilt the IT department from the ground up: overhauled policies, roadmap and budget, cut response times from weeks to minutes, implemented patch management and disaster recovery, and managed full-time staff. I led the Technology Steering Committee, the Cyber program, and the Incident Response Team — and reported to the C-suite on all of it.
On the infrastructure side: modernized the network with a 100gb core and 80gb distribution layer, increased WAN speed 13x with redundant carrier failover, maintained four-nines uptime across a campus environment. Migrated legacy on-prem SQL and ASP workloads to Azure, moved collaboration to Office 365 and Azure AD with centralized identity management and SSO. Secured the digital asset management platform, implemented DRaaS, and ran a digital transformation program that slashed web hosting costs 80%. Compliance: PCI, GDPR, FERPA — not as a checkbox exercise, but through genuine risk management and audit readiness.
And if you didn't know, AFI is a 50-year-old non-profit media organization, film festival, and the top film school in the world... unless you went to USC Film like I did, in which case you might consider it number two... but that's an argument for another day.
But this all started in 2000 as solo consulting work — security, infrastructure, media, legal & medical clients. That practice grew into a partnership and became IT Freeway, a tech and security consulting business that I ran for ten years before selling in 2016.
During those years I architected content security solutions that passed rigorous MPAA and Disney/Marvel security audits, designed PCI and HIPAA-compliant networks for hospitals, medical offices, and veterinary clinics, responded to ransomware and malware incidents, and provided outsourced CISO services to clients across a range of industries.
What I haven't mentioned yet: for most of those sixteen years, I was also making things. Not after hours. Simultaneously.
Circa the IT Freeway years.
While I was running security engagements and managing infrastructure, I was also writing, directing, and making music.
In 1998 I wrote, directed, and produced a short film called Waiting Game. It won an award. I was very serious about it at the time, which is probably why it worked.
In the mid-2000s I released a concept album under the band name The Abstract Sound. It was called Music for Space Travel. This will become relevant again later in this page.
In 2014, Scholastic published my children's novel Smasher. Real publisher. Real bookstores. Real kids who apparently read it.
The security work and the creative work weren't sequential. They ran at the same time for about fifteen years. Same instinct — building things, finding what doesn't fit, making it better. Just expressed differently depending on what needed building.
I'm building a set of AI-powered tools to explore the James Webb Space Telescope archive. Anomaly detection. Deep field object census. Cosmic time maps. A feature that finds the star whose light left on the day you were born.
Is it a side project? Yes. Does it connect to a concept album I released twenty years ago called Music for Space Travel? Also yes. I'm choosing to see that as consistency rather than a problem.
Education: B.A., Film/TV Production & Humanities — University of Southern California.
Which, in retrospect, explains a lot.