Five years creating content, shaping channel strategy, and growing audiences for some of the biggest names in media and entertainment.
Full write-ups on the campaigns behind those metrics.
Briefing, scoping, strategy, reporting. Understanding what clients actually want, then translating that for the team.
Video production, graphics, packaging, campaign assets. Building the actual content from start to finish.
Deadlines, schedules, approvals, launch timelines. Keeping every moving piece on track so the campaign actually ships.
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Deep dives on the campaigns behind the headline numbers: The brief, what I did, and the results.
A show posting one episode a week with nothing else. We built the clip, shorts, and content strategy around it.
Four weeks of YouTube content leading into the Season 3 premiere. A trailer slate, behind-the-scenes, recaps, and Season 2 cut-downs, built to engage returing fans and pull in new audiences.
A year of long-form strategy and platform expertise that turned an underperforming channel into a $199K revenue driver.
Baby, This Is Keke Palmer had a great show, but little content supporting it. One full episode went up each week, with few clips or Shorts and barely any presence on TikTok or Instagram. The show needed a stronger content strategy to reach more viewers and keep them engaged.
Content Manager on a five-person team with three editors. I ideated and concepted the videos, directed post-production, and helped shape the channel strategy and publishing plan.
Before: May 26 – Nov 30, 2025. After: Jan 1 – Jul 31, 2026, once the full content engine was running. Seven complete months on each side. Note: August 2026 is excluded, as the month was still in progress.
The existing thumbnails needed work. The text was too small and awkwardly layered over the subjects. We simplified everything: bigger, cleaner type that holds up at thumbnail size and works better with the subject. The goal was for the thumbnail to tell you what the video was about before you even read the title.
Their social presence felt disjointed. We took the show and gave it a more intentional presence across feeds, ideating videos around social trends, pop culture news, and performance data instead of just cutting clips and posting them. Each piece of content has more of a purpose, giving it a better shot at actually resonating with viewers. We also rebuilt the visual identity, updating Reels and TikTok thumbnails so all posts read as one brand.
Short-form content also needed a platform-specific approach. Instagram and YouTube Shorts favored a more polished edit, but TikTok viewers cared less about a refined edit. On TikTok volume is king, so we leaned into that. Since TikTok needed less post-production, we could push out far more content.
A weekly podcast only gives you one chance a week to get discovered. Our strategy was built around making each episode work across more formats and platforms, giving viewers more ways to discover the show. Every clip, Short, and compilation opens another door into that same episode, each carrying its own thumbnail, its own title, its own shot at the algorithm. We gave people more ways to find it.
Yellowjackets has a devoted but impatient audience. Season 3 arrived after a long wait, which meant the campaign had two jobs: remind returning viewers what they loved and raise overall awareness for new audiences.
Content & account manager. I owned content strategy, creative direction, post-production, our publishing schedule, and day-to-day client contact.
Each pillar targeted a different part of the audience: returning viewers, core fans, and people who'd never watched.
Standalone moments cut from existing footage to rebuild the habit and re-enter the algorithm early.
Catch-up content for lapsed viewers. Lowering the cost of coming back after two years away.
Cast and crew material for the core and loyal fans. Gives an extra reason to engage.
The centrepiece, released as both a long-form cut and a vertical Short for maximum reach
Thumbnails were designed in-house against the show's palette. Highly expressive faces, minimal type, and a consistent look so the channel read as one campaign.
The main trailer drove most of the campaign's impressions, but it needed support. The rest of the slate was built for retention and played an important role in keeping that momentum going. Recaps and Season 2 cut-downs gave viewers easy ways to catch up and revisit the story, keeping them engaged leading up to the premiere.
Season 3 opened to 2.03 million global viewers across platforms in its first weekend, a 58% increase on the Season 2 premiere. Retention content did its job. The full campaign ultimately generated 6.97M views and more than 180,000 hours of watch time.
The client wanted overall channel growth, but the KPI that mattered most was revenue, specifically crossing $20,000+ a month. When we took over, the channel was earning about half that.
Content & Account Manager on a three-person team under a one-year contract. I owned content strategy, platform expertise, and day-to-day client communication.
Managed period: July 2025 – July 2026, versus the period prior with no management.
The client's north-star metric was hitting $20,000+ in monthly YouTube revenue, a number the channel was earning about half of when we took over. By June, we surpassed that milestone for the first time, reaching $21,500 in a single month.
Launched a brand-new TikTok account for the channel, growing it from 0 to 14,000 followers.
Set record numbers on their Instagram/Facebook, with multiple reels surpassing 1.2M views up to 1.7M.
Hi, I'm Lucas, a Content Manager with five years of experience creating digital marketing content for large consumer brands. My work spans video production for digital and commercial ads to integrated marketing across social platforms. I've helped leading brands hit their goals, driving strong growth in followers, views, engagement, and revenue.
My path started in graphic design, and that eye for visual storytelling still shapes how I approach every project today. I'm driven by curiosity and a passion for creative problem-solving. Whether I'm developing content strategy or digging into performance data, I love building and seeing an idea through, from the first concept to the final launch.
Content Manager for Entertainment brands full-time, and taking on a small number of freelance projects.
Full-time roles, freelance work, or a second opinion on a campaign, all welcome.
Open to work