Building the team behind the spots.

01The arc

Pete did not arrive to run this. He was hired to make things, and the job grew as the company did.

• Hired to make

  Credit Karma was still a growth stage startup and Pete came in as a maker: a motion designer producing and animating whatever marketing needed that week. He was quickly thrown into the creative end of it, writing and producing TV commercials.

• The growth engine

  Those direct response TV spots did their job at a scale nobody puts in a brief. They helped grow the member base from 35 million to over 150 million. Television built the business.

• Building the agency

  Growth bought a new ambition: up-level the brand. The team transformed into a full internal agency, and Pete moved from making the work to leading it as Head of Production, against a target that had grown considerably: turn Credit Karma into a household name.

• Private to public

  After a few years of brand building, Intuit bought the company for $8 billion. Pete carried the team through the acquisition and everything that comes with a private company becoming part of a public one, without the work stopping.

• Expanding the org

  On the other side, production kept its remit and grew two more: a motion design team, and a content studio shooting digital and social marketing content entirely in-house.

• The ops layer

  Under all three sits a production operations team Pete built to carry the business end: budgets, contracts, workflows. With that handled, the producers, editors and motion designers spend their hours making, and output went up because of it.

Ten years of that is what the current organization is built on.

02The org

Pete re-architected the production organization into four functional groups. The result: creative output up 30% year-over-year on a flat budget, alongside 60+ national TV campaigns and high-volume digital, OTT, and social work across every product line.

• Content Studio

  A team, a place, and a process for making great social and digital content entirely in-house. Built for speed without giving up craft.

• Motion Design

  Brand-fluent animators and designers who carry campaigns from style frames through broadcast finish.

• External Production

  Big-swing TV and brand work with top-tier production companies, post houses, and VFX partners. Cast, shot, and finished worldwide.

• Production Operations

  The connective tissue: budgets, forecasting, RFPs, SOWs, licensing, and the workflows that keep everything moving.

Behind the structure sits the people work: up to 10 direct reports across the org. Hiring, coaching, and developing producers, editors, and motion designers.

03The range

The big end of the slate shoots around the world with the best creative production companies and directors in advertising, and finishes with post, VFX, music and mix partners of the same caliber. Celebrity, union and non-union talent. Wild sets built for a single joke. More than one animatronic creature.

The volume end never stops: multiple re-brands brought to life, motion systems that keep them coherent, thousands of animated emails and display ads, paid and organic social, and hundreds of digital pre-roll spots.

04The studio

Great in-house work needs a purpose-built space. Pete built and launched a new internal production studio in Charlotte, NC for scalable digital and social content. Now he’s expanding it into a virtual production volume stage, bringing LED-wall, real-time production capability in-house.

05AI & emerging production

Pete championed AI video tools at Credit Karma, not as a novelty but as production infrastructure: aligning stakeholders on governance, risk management, and production standards, building MCP-driven workflows, and using AI-assisted tool creation to give the team capabilities that didn’t exist a year ago. The goal is simple. Expand what an in-house team can make, and how fast it can make it.

• Developing ideas

  AI in the room while a concept is still forming, so an idea can be pushed further before anything is committed to a bid.

• Shots that were out of reach

  Generating imagery that would have been impractical or cost prohibitive to shoot, so the idea picks the shot rather than the budget.

• Faster post, lower cost

  Compressing post-production schedules and taking cost out of them at the same time.

• Articles into video

  An automated pipeline built on MCP servers that turns SEO articles into GEO videos on its own. The volume work runs itself and the creatives stay on the higher concept work.

None of it is theoretical. Pete ships his own AI-powered products on nights and weekends. See what he’s built.