Producer. Documentarian. Director. Photographer. Writer.
I started building things when I was ten, with a homemade webcast called iKatie. That instinct pulled me into photography, then film production, then branded marketing and social strategy, and all of it now lives inside how I produce. What I bring to a set is what I've always brought: the plan that gets a production made, and the eye for what's actually worth putting on screen.
Production and marketing meet exactly where advertising lives: a story built with enough craft to hold attention, and enough strategy to move someone once it has it. That's the discipline I move between without missing a beat. I've built full productions from concept through final edit, run sets for other directors, written and directed my own projects, and produced content built to perform for a real audience under a real deadline. That's how I've always worked, and it's why what I make tends to hold up long after the shoot wraps.
Cocktail Hour
Producer, Brand Photographer
The Count of Capri is a personal project with my bar lead Sierra, started as us documenting the cocktails we were making at our bar. I produced and co-directed video, while building out a visual identity for the series with brand photography and tutorial content that walked through how to make each drink that she and I created from scratch. No client, no brief; just two mixologists and a camera, turning our process into something worth watching.
The Knoble
Client Portfolio
At The Knoble, a global anti-trafficking nonprofit, I produced, directed, and project-managed a documentary and training video series cradle to grave on a $15K combined budget. I also worked inside the org's marketing and volunteer engagement operations, which meant I wasn't producing in a vacuum. I understood the internal stakeholders and what the work needed to do once delivered.
On set, I directed and shot new member and volunteer training videos, produced staff and volunteer headshots, and built onboarding tutorial content still in use org-wide.
My graduate thesis documentary, Knobility, grew out of this work, built around The Knoble's fight against trafficking in the fintech and financial-crime space.
Knobility
Knobility is a non-fiction documentary examining human trafficking through a financial lens, exploring how money, systems, and institutional blind spots allow exploitation to exist in plain sight. Originating as my graduate thesis, the project is currently in development as its scope continues to expand.
Shop Dress Up
Client Portfolio
As DressUp's video producer, I owned every social-first video the brand put out end to end with no handoffs and no outside crew.
I built a content pillar system designed for video first: a repeatable production structure so every seasonal launch had a shot list and format ready instead of starting from scratch. I ran trend forecasting and performance analytics alongside production to keep refining what worked in real time, averaging 400K+ reach per Reel.
The result was consistent video output at a pace most brands need a full production team to hit, with performance climbing campaign over campaign.
See www.katieholtzclaw/videography for video examples I created while working with Dress Up.
Visual Photography/BTS Work
Photography taught me to see a frame before anyone else in the room does: what's actually in it, and what it needs to work. That eye is the foundation everything else grew from. Directing became a natural extension of knowing what a shot needed before I called it. Producing became that same instinct turned toward a budget and a schedule instead of a lens, protecting the time and resources it takes to get the image right. Writing and documenting work the same way, just aimed at a scene instead of a frame. Producing grew directly out of photography, which is why I still think in frames first, even when I'm building a budget or running a call sheet.
Still Here
Writer/Creator
Original drama series, in development
Still Here is a romantic ensemble drama about a close-knit group of friends forced into emotional proximity after a wedding collapses at the altar. What should have been a beginning becomes an aftermath, exposing unspoken loyalties, buried desires, and the quiet grief of lives that haven't arrived the way they were promised.
Set over a confined wedding weekend, the series explores how people adapt when certainty gives way to ambiguity, how love shifts under pressure, and how meaning accumulates slowly through what's left unsaid. There are no villains and no clean resolutions, only people learning how to stay present with what remains.
Building an ensemble this size (six interlocking POVs inside one weekend) demanded the same structural thinking a production schedule does: knowing which storylines could run in parallel versus which needed to unfold in sequence, and where the pressure would actually land.
The Bear — Christopher Storer — Selected development imagery example exploring tone, ensemble dynamics, and world. #1
The Materialist — Celine Song — Selected development imagery exploring tone, ensemble dynamics, and world. #2
Series materials available upon request.
Girls Trip, Minneapolis
Shot, directed, and edited by me.
Vertical music video shot entirely on a 2010 point-and-shoot Sony CyberShot, cut to “Brand New Channel$” by Slayyyter.
CONTACT
holtzclawproductions@gmail.com
678-622-9765
Full portfolio, additional photography, and production work are at katieholtzclaw.com.