The overlap is the point. I run broadcast TV that has to hold up on air, teach the next
generation of media producers, and build AI tools when the existing workflow breaks.
One operating style — not three careers that happen to share a LinkedIn profile.
Would Jake fit a hybrid role that combines education, production leadership, and AI-enabled workflow design?
How strong is the broadcast side, from field production through edit and final delivery?
How does he translate professional media standards into a classroom that actually produces work?
Clients & Collaborators
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Three Ways In
Experience, tools, responsibilities, and the through-line from journalism and production to teaching, direction, and AI experimentation.
Context on how the site ended up at the intersection of education, storytelling, and systems.
Client samples and project examples from Stouthouse Media — commercials, corporate video, broadcast, and institutional work.
Articles on teaching, media production, AI for educators, and the kind of practical problem-solving that does not fit neatly into one category.
Practical AI
Jake doesn’t pitch AI as theater. He uses it to remove friction, speed up production, and help real people do better work under real constraints.
Every lesson plan at the high school level requires hours of compliance work — district-mandated templates, box-checking, differentiation documentation. None of that is teaching. It’s paperwork that happens to be about teaching. The tool Jake built handles the template and compliance automatically, and redirects the thinking time toward actual instruction — surfacing differentiation approaches and creative ideas the teacher might not have landed on otherwise. Used daily. More at jakehallman.com/ai-lesson-planning-workflow/
The real work in a seating chart isn’t the logistics — it’s the strategy. Which students can’t sit together. Which groups will work. Which combinations will blow up before second period. Most tools don’t account for any of that. Jake’s seating and grouping optimizer lets teachers assign per-student rules. The tool generates configurations that follow all of them automatically. In use by Jake and a handful of colleagues at his school. Wide release later in 2026.
Radio interference destroyed the audio in a critical one-take scene during production. No reshoot was an option. Jake built an AI voice clone of the talent — trained on hours of existing recordings — and used it to patch the damaged sections of the track, with human editorial control over every replacement. The scene was saved. The tool that usually applies here is “cut it or reshoot it.” Neither was available.
Used only to repair production damage in a no-reshoot scenario, with full human editorial control. Not casual voice cloning.How Jake leads the work
That’s the frame I operate from. I’m less interested in the elegant solution than the right one — not every project needs to be a Ming vase, and knowing the difference saves a lot of time.
With the Georgia Southern coach’s show, that meant taking a 30-minute format, making it more ambitious in scope, cutting it to under 21 minutes, and getting it to broadcast within 24 hours of the final whistle. We had a small team, a tight relationship with the athletic department, and a production workflow we built specifically for those constraints.
I’ve learned the same thing applies to people as to tools: delegation is only hard when you don’t know what outcome you need. Once you do, handing the work off — to a crew member, a student, or an AI — gets easier. My job is to know what done looks like and clear the path to get there.
Quick recruiter snapshot
Featured Work
A prime-time documentary series available in more than 50 million homes, following host Chip Carter across the country to trace how food actually moves from farm to table. Produced in conjunction with CBC3 Media, Stouthouse has been behind the camera for every season: 65 episodes, 22 minutes each, distributed on RFD-TV, RFD+, Cowboy Channel+, and a companion SiriusXM program.
Jake shoots and edits the series with a small crew. The job is straightforward to describe: make lean shoots feel like big productions, stay flexible when plans change in the field, and deliver broadcast-quality work on a timeline that keeps a national programming slot filled. Five seasons in. A sixth is currently in editing.
Availability
Consulting, speaking, teaching-adjacent work, creative direction, media leadership, and hybrid positions that need someone comfortable with both people and systems.