JAMISON GRAVES

I worked with OS Studios across multiple large-scale productions in 2025, supporting their teams through fast-moving setups and on-site broadcast coordination. I managed staffing logistics, handled last-minute fills and call times, and kept crews supported by organizing breaks and meals to maintain efficiency and reduce overtime. The collaborations ran smoothly, and I remain a trusted option for OS Studios whenever they need reliable production support on future projects.

Throughout 2025 I worked closely with Melee Fight League, supporting their mission to create opportunities for veterans, law enforcement, and at-risk youth through combat sports. Across multiple events I handled everything from building lightweight broadcast setups and troubleshooting gear to directing multi-camera coverage during long stretches of nonstop fights. I operated PTZ cameras, managed audio, stabilized lighting when needed, and filled in wherever the production required support. My focus was always on keeping the shows running cleanly so the fighters, the community, and the league’s mission stayed at the forefront.

In 2023 I returned to Hi-Rez Studios in a leadership role to guide production for the SMITE 2 launch cycle. I managed a team of about fifteen producers, editors, replay operators, and engineers, and I also served as lead engineer thanks to my experience helping build the studio in 2019. The work stretched across tournaments, live patch-note shows, drafts, and marketing content, all requiring tight coordination and efficient workflows. I streamlined operations, improved team structure, and raised overall broadcast quality. The SMITE 2 Founders Series concluded with one of the studio’s most polished events, and soon after, the entire media wing was cut to reduce costs, bringing the project to an abrupt end despite its success.

In 2022 I joined OTK Media to help turn several warehouse spaces into flexible broadcast studios as the organization’s content slate expanded. I designed and built the main control room to support both live productions and multitrack recording for podcasts and other edited shows, and worked with other engineers to fully kit out game show and specialty setups. The spaces were built to adapt quickly, letting top Twitch streamers produce everything from podcasts to PC builds to large sponsored shows with Progressive, Mountain Dew, and Twitch. The result was a run of high-quality productions that performed well and set a strong technical foundation for future projects.

In 2019, after the Skillshot name was sold and the staff returned under the Hi-Rez banner, I worked as a Publishing Producer focused solely on Hi-Rez IPs. I oversaw live and filmed esports content, managing two videographers/editors and handling ad integration to keep production efficient and revenue aligned. The work covered game shows, marketing pieces, and short esports documentaries, all aimed at keeping the community engaged. I also learned animation and partnered with an illustrator to create a cartoon series for SMITE, developing characters and scripts to promote new releases and expand the game’s storytelling footprint.

In 2018 the broadcast wing of Hi-Rez Studios spun off into Skillshot Media, a game-agnostic production company that opened the door to working on titles like Overwatch, Halo, Brawl Stars, and Brawlhalla. I began as a Broadcast Producer but soon moved into a video producer role when it became clear the new company needed a stronger content arm. While creating marketing pieces, hype videos, VOD packages, and short documentaries, I also pulled double duty as a broadcast engineer, helping build out the custom studio that became the backbone of Skillshot’s live operations. The work raised overall production quality and supported both commercial partners and nonprofit initiatives as the studio established its presence in the esports space.

I joined Hi-Rez Studios in 2016 as a Broadcast Production Assistant, jumping between whatever roles the week demanded, from camera work and replay to editing and general crew support. After a few months I was promoted to Broadcast Producer and took over the SMITE Pro League, running shows as Producer, Technical Director, and Audio Engineer. That momentum carried me into major events, including the Season 4 SMITE World Championship and the SMITE Summer Finals in Valencia, where I handled show planning, live execution, and cross-team coordination for large, high-pressure broadcasts. The progression from hands-on crew work to leading full productions shaped the foundation for everything I did afterward.

I spent a summer with Alaska Shore Excursions as a videographer, shooting fast-paced content across helicopter tours, dogsledding trips, ziplining courses, and other Alaskan adventures. The job had me flying around the state capturing candid moments and larger scenic stories, turning everyday excursions into memorable videos for travelers. It was a once-in-a-lifetime experience that taught me a lot about shooting in extreme lighting conditions, including the hard way that snow blindness is real and proper exposure in bright alpine environments takes real finesse.