Live Action

The case for an AI-native filmmaker is stronger, not weaker, when she has also produced the traditional way, on a set, with a crew, a schedule, and the unforgiving physics of a real shoot day. This section gathers that live-action producing into one place, because the most valuable position in the industry right now is not purely synthetic or purely practical but hybrid, the person who can move between a generation pipeline and a call sheet without losing command of either. The work below spans student thesis films produced at Loyola Marymount University, narrative shorts made under the Media Misfits banner, and independent projects, and it exists to prove a simple point. The same producer who can run a multi-platform AI pipeline can also run a live-action production, and that combination is the rare and durable one.

01LMU Productions

Across the graduate program at Loyola Marymount University I produced four live-action student films, two of them MFA thesis productions, the kind of high-stakes shoots that a director's degree depends on. Producing at this level meant owning the schedule, the budget, the crew, the locations, and the hundred small crises that decide whether a thesis film makes its delivery, and doing it in service of another filmmaker's vision rather than my own.

02Media Misfits

Media Misfits is the live-action production banner I co-founded, and its films sharpen a different muscle, fast, scrappy, deadline-driven narrative work, much of it made inside the brutal constraints of the 48 Hour Film Project, where a complete short is written, shot, and cut in a single weekend. That format is the closest thing live-action filmmaking has to a stress test, and producing through it repeatedly is the clearest evidence of someone who can deliver under pressure.

Media Misfits maintains its own home at media-misfits.com.

03Black Lee

Black Lee is an independent body of live-action work, a run of narrative shorts and a music video produced outside both the academic and the Media Misfits contexts. It rounds out the picture of a producer who has worked across formats and across years, from a comedic short series to music-driven visual storytelling, all of it practical, all of it on camera.

Taken together with the AI-native work elsewhere in this portfolio, the live-action record completes the argument. One filmmaker, two production languages, fluent in both. The pipeline and the picture on one side, the set and the schedule on the other, and a single producer who can stand comfortably in either room. That is the hybrid profile the industry is hunting for, and this is the evidence that it already exists.