At RYOT, Jake spearheads development of immersive content designed to expand and explore the human experience across the full range of emerging platforms. Jake began work at WME-IMG in the Motion Picture Literature Department, where he learned how to transition indie-darling writers and directors into commercial Hollywood. After years refining his knowledge of narrative storytelling, Jake transitioned to Hasbro Studios. While at Hasbro, Jake’s career became focused on activating Hasbro’s massive portfolio of IP, ranging from TRANSFORMERS to G.I. JOE, across TV, film, toys, digital and licensing. Spotting the rise of commercially available virtual reality in 2014, he brought his knowledge of brands and storytelling to Two Bit Circus. While at Two Bit Circus, he helped formalize their VR Department, managed development for original content and lent his creative vision to commercial work for clients ranging from Google to Fox.

What video/ television/VR piece inspired you recently? 

Netflix’s new movie BRIGHT. It’s not a perfect movie, but in an age where most content is a reboot, sequel or derivative it’s incredible to see something that’s not only wholly original, but also something that’s far outside the norm. Smashing together END OF WATCH and LORD OF THE RINGS to get BRIGHT is incredible. That maverick mentality is what we need in the immersive space, these new mediums need and deserve an entirely new wave of stories that are outside anything we’ve seen before. 

What is most exciting for you at the moment within your industry?

Haptics, haptics, haptics. Sound and vision in VR have finally gotten to a point where you’re able to lose yourself in the moment, but adding the haptic element is going to take everything to the next level. Whether it’s HaptX new gloves or running around in The Void, we are on the precipice of immersion beyond anything experienced previously.

What is one thing the Telly Awards community should know about you? 

My favorite book is Gone with the Wind – there’s nothing I find more compelling than a love story that transcends time and place.

What is a piece of work you are most proud to have worked on? 

I’m executive producing an incredible cinematic 360 piece that’s heading to Sundance 2018 called DINNER PARTY. From the creatives to the production team, everyone has poured their heart and soul into this piece. Working in an industry that’s just finding its footing, projects like DINNER PARTY are an important and constant reminder to make what you love — otherwise you might as well go work a 9 to 5.