I am a Creative Director focused on developing strategies, systems and teams to move projects from ideas to execution. My experiences blend hands-on creative work with leadership and problem-solving under pressure. I take abstract ideas and turn them into actionable plans, approach challenges with curiosity and adaptability, and am not afraid to learn new tools or disciplines to solve complex problems and deliver results.
I lead collaborative teams through all stages of a creative project–whether that’s ideation, development, implementation or execution. I’m passionate about creative work that is imaginative and practical, and I thrive at working at the intersection of vision and execution.
Joshua DIX
Alongside creative design, I am also in charge of our long-term planning processes to keep all departments on track with upcoming projects and preaching series.
I lead a 5 person production team (systems) and a 3person producer team (content) for our weekly services.
CREATIVE DIRECTOR
2024
-
Present
This role put me in direct leadership of our production volunteers for our weekly lighting, video, stage and audio production in 2 venues, with 5 services each Sunday.
Service
Producer
2018
-
2024
I built a team of freelance videographers, animators, scriptwriters and editors to execute on a full schedule of videos.
VIDEO
PRODUCTION
COORDINATOR
2016
-
2018
Experience
Creative Tools
Acrobat
PREMIER
Illustrator
Audition
Madmapper
PRO Tools
GrandMA Lighting
Indesign
Set Design
In my role as Service Producer, I had the responsibility to design, fabricate, and light our stage set designs. These designs were made in house and typically were installed for 6 - 8 weeks. With the goal of reducing design turn-around, and allowing a 'price-per-week' to drop,
I was able to move our set design process from smaller sets, to larger multi-year installations.
Rough designs would be made in Illustrator or Powerpoint to give operations teams the information needed to begin fabrication.
Designs were small enough to iterate during fabrication to best suit the look and feel of the services.
This Hexagon set started as 3,2,3,2,3 but needed to be expanded to 4,3,4,3,4 once it was placed in the room to fill the space properly.
2021
SUMMER
2021
CHRISTMAS
For lightweight and easy to work with materials, many sets were built using pink insulation foam, painted 18% grey for lighting & cameras.
With the start of an 18 month series in 2022, I took the opportunity to change the cycle of set design. The goal was to spend more resources upfront for a larger set, but have that set "pay itself off" with how long it stayed installed. I designed a set that integrated LED tape, and allowed a larger palette for lighting.
The sets were lit with a variety of intelligent fixtures, controlled by MA Lighting consoles.
While these designs allowed variety every few months, they had material and labor costs that forced their designs to stay simple.
2022
SPRING
Back of scenic support ideation. I needed to solve making a fully ground supported wall that was 55' wide by 15' tall that was cost effective but strong.
Front of scenic, with LED 'pop-out' locations. These ran on HolidayCoro AlphaPix controllers, and I integrated the LED tape to be DMX controllable by our MA Dot2 Lighting Console.
Unique cuts needed for our operations team to cut and route. To save on weight and cost we used 1" thick pink insulation foam, rather than our more structural 2" foam.
Top down view of pipe and base stricture for ground support. The curve was needed to fit the space, and allow for as much on stage space as possible, while still providing access to the back of the scenic for lighting, cables, haze, and repairs.
Multi-day Construction Process
This was used for 18 months and allowed for a huge range of lighting options for our services. It broke the mold of always having a black backdrop behind our on-stage talent, which was perfect for our Gobo fixtures and the LED tape integration allowed for the use of negative space lighting.
2024
EASTER
After a long season of having the wall on stage, I wanted to move back to a black backdrop design, but build on the idea of customizability we had with the wall. I also needed a design that took up less floor space, meaning this set needed to be flush against our back wall.
I integrated what I had learned from using LED tape, and went a step further with pixel mapping software. When I ended up designed was a low resolution (104 x 28) LED wall with 2912 LED pixel nodes that spanned nearly the entire stage backdrop. These LEDs ran off of HolidayCoro AlphaPix boxes, and were controlled via sACN using the MadMapper software. MadMapper was in turn triggered and operated from our new GrandMA 3 lighting console.
This design gave a 52' wide by 14' tall LED wall with 6" pixel spacing. Using MadMapper, pre-made motion video graphics and our own series artwork could be played through the wall, programmed in time with our traditional and intelligent fixtures.
In 2025, I added 30 Par Can blinders, and sheer fabric in front of the pixel matrix in order to add more variety in lighting programming.
Process Solutions
02. Sound Pressure Level – Tracking & Benchmarks
Outcome
Leaders are now equipped with more understanding of our operation levels and are armed with the data to prove that we have set limitations, and we do not exceed those.
This has helped conversations shift away from feelings (I feel like its too loud) to concrete numbers (we are operating well under the OSHA regulation for sound levels). This has allowed our leaders to share vision and their ideals, but to back it up with data. This system allows us to track each of our 5 services, and breaks down operating levels by Front of House engineer as well, in case one operator trends outside of our set parameters.
Problem
Conversations and complaints about our operating sound levels being too loud in our worship services caused tense interpersonal strife, and leaders without data could only argue from their own personal convictions.
Solution
I built a granular tracking system that measured weekly sound levels across 6 key data points, set concrete parameters for our sound operators based on OSHA sound guidelines, and built user friendly data visualization for quick data lookup and summary.
01. SERMON SERIES PLANNING PROCESS
Outcome
Our creative teams were able to have initial conversations with the Senior pastor well in advance, to catch his vision for what parts of the Bible he wanted to preach about. This led to a burst of creativity, now with nearly a half of a year to execute. Our branding and artwork for each series was locked in 4 months prior to the series start, meaning we could send brand packages to all ministries and creative teams to work in parallel with colors, icons, fonts, and imagery; even if they were working on different materials.
Deadlines no longer crunched on each other, and the ability to collaborate across teams well in advance was bolstered, as well as adding new opportunities for cross team collaboration with ministry leaders who typically had been left out of the series planning process. Forcing every series into this pipeline also helped slowly build a rhythm of planning, ideation and execution that became secondhand, rather than a mad scramble to prep assets the week of a new series.
Problem
Cyclical planning needs for upcoming sermon series’ often fell to the side due to the “tyranny of the urgent”. Months and Weeks leading to public releases would be squandered and teams would have to work separately just to make deadlines. Key dependencies would be finished days prior to launch, meaning all other teams would cut content, or do their own thing, making brand adherence nearly impossible.
Solution
I designed, implemented, and led a new deadline calendar that tracked across all teams. This included every step, from Vision and Ideation, to Execution and Production. This 5-month deadline process was put in place for every sermon series, regardless of length or importance. This put every creative and ministry lead on the same 5 month deadline schedule.
INTERACTIVE Design
For our 2025 Missions Celebration, I used the theme "Through Us" to develop two interactive displays, bridging the gap between the celebration, and congregation involvement.
The Bible Display showed 11 translations that are used at Wheaton Bible Church weekly, or that Wheaton Bible Church Missionaries had involvement in translating or distributing.
The prayer map allowed congregants to commit to praying for our missionaries and partners throughout the world by placing a pushpin in the map to signify their commitment.