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National Television Commercial Productions
Walmart - Gingy
Livestrong
Shell
American Red Cross
Baylor University
Merry Maids
Chick-fil-A
Backyard Burgers
Walmart - Madagascar
Chuck’s illustrious career in the creative sector, spanning over three decades, was set into motion with his graduation from the University of Texas, where he earned a degree in Radio-Television-Film. His journey has been marked by collaborations with some of the most prestigious names in the industry, including major networks like ABC, CBS, NBC, and FOX. These collaborations have provided Chuck with invaluable experience and the opportunity to contribute to a wide array of projects that have left a lasting impact on audiences worldwide.
Among the notable figures Chuck has worked with is Steven Soderbergh, an acclaimed director renowned for his versatility and innovation in filmmaking. Soderbergh’s illustrious career includes critical and commercial successes such as “Traffic,” “Erin Brockovich,” and “Ocean’s Eleven,” showcasing his ability to navigate various genres with finesse. His work has earned him multiple accolades, including an Academy Award for Best Director.
Chuck has also had the privilege of collaborating with Paul Boyington, a two-time Emmy Award-winning director. Boyington’s expertise in directing has been recognized for its exceptional quality and creativity, with his work spanning a variety of genres and formats, from commercials to documentaries.
Throughout his career, Chuck’s talent and dedication have been acknowledged with five Telly Awards, a testament to his exceptional skill as a television commercial producer. These awards recognize the highest standards of excellence in television and video across all screens. Chuck’s portfolio includes work for a diverse range of commercial clients, including global corporations and non-profit organizations. Among them are Shell, one of the world’s leading energy companies; Walmart, the multinational retail corporation; AMD and HP, giants in the technology sector; LiveSTRONG, the foundation dedicated to improving the lives of people affected by cancer; American Red Cross, a humanitarian organization; Baylor University, a prestigious institution of higher education; Chick-fil-A, a popular fast-food chain known for its chicken sandwiches; and Merry Maids, a home cleaning service.
Chuck’s extensive experience and collaborations with industry leaders highlight his significant contributions to the creative sector, demonstrating his ability to adapt to diverse projects and consistently deliver high-quality work. His journey is a testament to the power of passion, perseverance, and the pursuit of excellence in the dynamic fields of radio, television, and film.
Television Networks
ABC - KTRK Channel 13, Houston
CBS - KEYE Channel 42, Austin
NBC - KXAN Channel 36, Austin
FOX - KTBC Channel 7, Austin
I worked in television production for the top networks: ABC, CBS, NBC & FOX. A cool job that changed every day. I started at entry level, wrapping cables and running the paper teleprompter, then rose to stage manager for the 6 AM, 7 AM, and 11 AM news, leading the crew on cameras, lighting, and teleprompter. It was a wild ride, meeting presidents, governors, mayors, famous actors, and sports legends regularly. You’ll see 4 images above but only 3 descriptions below—while I was there, the CBS and FOX affiliates swapped, changing signage, anchors, and staff, but the downtown Austin TV station stayed the same.
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ABC - KTRK Channel 13, Houston
KTRK-TV, virtual channel 13, is an ABC owned-and-operated station serving Houston, Texas, one of the nation’s largest media markets. Launched on November 20, 1954, it’s been a cornerstone of local broadcasting, originally owned by the Houston Chronicle before being acquired by Capital Cities Communications in 1967, then Disney/ABC in 1996. From its studios on Bissonnet Street, KTRK delivers top-tier news coverage.
My grandfather got me the job—an internship, really. He’d been on channel 13 since the late 50s with his live broadcast of the First United Methodist Church from downtown Houston, making him the most famous Methodist minister in the world and leading the largest Methodist membership ever thanks to TV. He called the general manager at KTRK to set me up, and I’m thankful every day for that.
I worked on Good Morning Houston with Dan Nelson and Jan Glenn—a dream gig as a radio, television, and film major at UT during a summer internship. I was so lucky; I soon found out that TV show had never had an intern before. Francis Ulysses Charles Knight (I'll let you figure it out), the morning production guy, taught me editing and the ins and outs of the station—who was who, what mattered.
I met legends like Jimmy Carter, Olivia Newton-John, Lynn Swann, Joe Garagiola, Mickey Gilley, and tons more— I could fill a page with names and stories. In fact. I never asked for an autograph. We were probably not allowed to, but we sometimes got signed picture autographs. They always came from the cool PR person that thought about the crew. And I do mean the entire crew would get an autograph picture from let's say Mickey Gilley. Even to this day I don't ever ask for an autograph because I have the story, the memory. That lasts forever...
It was nice to meet Jimmy Carter in 1988 when I worked at Channel 13. He was so nice to me. I told him that he had signed my Eagle Scout award from Boy Scouts. In particular, I told him it had the words 'Honorary Eagle Scout' underneath his signature. He said, 'Oh Chuck, when you become President of The United States, you become Honorary everything.' We laughed…
NBC - KXAN Channel 36, Austin
KXAN-TV, virtual channel 36, is the NBC affiliate serving Austin, Texas, a station renowned for its dynamic news coverage and professional broadcast operations. My time there began with working alongside Robert Hadlock, the anchor during my tenure—a seasoned journalist who brought stability to the fast-moving environment. Prior to this role, I had been at Channel 13 in Houston, assisting in the office with Don Nelson and Jan Glenn, collaborating with producers and joining remote shoots, but never stepping into the studio itself. KXAN was a different beast entirely—my first immersion into the heartbeat of live television production.
The studio was a whirlwind of activity, a place where every moment demanded precision and energy. Staff darted in and out with updated scripts, and I vividly recall the sports anchor rushing into the room just 30 seconds before his segment aired—live TV at its most exhilarating. I lived nearby, which was a blessing; I could reach the station quickly from my old second-floor apartment. Austin summers were brutal, and without air conditioning, I’d start perspiring immediately after a shower. Stepping into KXAN was a stark contrast—the studio was kept so cold I quickly learned to bring a jacket and a hat to manage the headphones without ruining my appearance.
The news team at KXAN operated with exceptional professionalism, and I am deeply grateful for the opportunity to have been hired there. It marked a significant shift from my previous experiences, offering an education in the nuances of network television news that I couldn’t have gained elsewhere. From managing the unpredictability of live broadcasts to understanding the roles and responsibilities within a studio, I absorbed invaluable lessons that shaped my career in media.
FOX - KTBC Channel 7, Austin
KTBC-TV, virtual channel 7, is the FOX owned-and-operated station in Austin, Texas, with a rich history and a prominent presence in local broadcasting. After my roles at ABC in Houston and NBC’s KXAN in Austin, I was thrilled to join the team at KTBC when it was still affiliated with CBS, located in the vibrant heart of downtown Austin. Initially, I worked under the well-known anchors Stephanie Williams and Neal Spelce—experienced TV anchors who carried an air of authority, having navigated years in the industry. They weren’t the most approachable figures, seasoned as they were, but their presence set a high standard for the station’s operations.
Shortly after I started, the station underwent a significant transition, shifting from CBS to FOX. This change brought a wave of new anchors who were notably gracious and considerate to the crew, fostering a more collaborative atmosphere. Over time, the station experienced a revolving door of changes—new set designs, shifting anchor lineups, and a constant turnover of production staff and producers. Despite the flux, I found the experience invigorating; there was always something fresh happening, keeping the work dynamic and engaging.
One of the standout aspects of my tenure at KTBC was the remarkable array of notable individuals I encountered. The station attracted a steady stream of prominent figures, but one moment remains etched in memory: meeting George W. Bush, the second president Bush. He arrived with his security detail, and as I stood across the studio wearing my Astros hat, he zeroed in on me. At the time, he held a 2% ownership stake in the Texas Rangers, and in an instant, he crossed the studio floor—bypassing the line of station higher-ups waiting to greet him. They had clearly missed him at the entrance, standing ready in formation, but he made a beeline for me instead.
He grabbed my hand and squeezed so hard it hurt. As he was doing that, he pulled me in real close to where we were inches from each other. He knew what he was doing. In fact, we were shoulder to shoulder; with him still crushing my hand as hard as he could, he leaned in to me and said, "Don't you have a Rangers cap?" Then he smacked me with the ball of his shoulder right onto the ball of my shoulder. It was a direct hit onto a nerve ending or something. He was like a ninja the way he hit that nerve ending. In fact, Bruce Lee had the "1-inch punch" that could take a man down. This was like that, but the "2 inch shoulder smack."
The whole thing was a set up. The way he came up on me like that, crushing my hand and smacked me so hard with his shoulder with pin-point accuracy. Somebody taught him how to do that somewhere down the line. I instantly thought to myself, "What a bully." As he continued to grip my hand in horrific pain, and now my shoulder, he continued, "He he he," in my ear before he turned and walked away.
A few minutes later, after he’d moved through the formal greeting line, the new general manager approached me, curious. "What did he say to you?" he asked. I recounted the exchange, and he responded sternly, "I don’t want to see you ever wear that hat in here again."
I thought about it. The next day, I walked in wearing my Astros hat. I figured there was no real issue; Johnny Baldwin, the studio manager for the 5 PM, 6 PM, and 10 PM news, wore a different NFL jersey and matching cap for every team in the league. Every night people. A different professional hat and jersey from every team in the leagu! Do you know how much that costs? If the GM enforced a rule on me, he’d have to apply it to Johnny too, and I couldn’t see Johnny taking that news well. This new GM would have a whole new can of worms that he would have to put back in the can if Johnny Baldwin wasn't able to come to work one day after 12 years and not wear his NFL get up.
So I've got my Astos hat on, I stepped into the elevator on the second floor, and who was there riding up? The general manager himself. Fortunately, others were present, and he didn’t say a word to me. He exited on the fifth floor while I continued to the sixth, feeling a mix of relief and quiet triumph—I’d worn the Astros hat and gotten away with it. My time at KTBC was filled with such moments—unexpected, memorable, and a testament to the lively, ever-evolving world of television production.
My Telly Awards
The Telly Awards honor excellence in video and television across all screens. Founded in 1979 to honor local, regional and cable television commercials.
Hank Jr. and his band were laid-back and fun to be around, and the atmosphere on set was electric. Once the filming wrapped, the entire crew had to load up pallets of Budweiser onto trucks. There were plenty of empty cases, but more than a few full ones went unclaimed, too—enough for me to haul a solid stash back to my brother’s house. Needless to say, he and his two roommates were delighted and managed to polish off those 28 cases in record time.
It was an unforgettable spring break—one that not only jump-started my pursuit of a career in L.A., but also gave me a brush with a true music and advertising legend. Working alongside Hank Jr. on the “Fax You a Beer” Budweiser ad was an early taste of show business that convinced me I was on the right path for my future.