I'm Warren Velázquez — a program manager with 13+ years taking complex, high-stakes productions from signed deal to on-time public launch. I hold an M.A. in Digital Media Management from Hyper Island (Sweden) / Teesside University (U.K.) and a B.S. in Advertising Communications, so I speak both the design "why" and the business goal in the same sentence — and I can translate either one for engineers, executives, or external partners without losing the plot.
From deal signing to first broadcast is not a slogan for me; it's the shape of nearly every program I've run. Scope gets locked, a fixed date gets set, product, engineering, content and ops all have to row together — and something has to go live in front of an audience with no room to slip. I've even run a TV / streaming surface itself — managing updates for tv.google (Google TV) — the closest thing in my catalog to operating a Prime Video surface.
A live sports event is the ultimate fixed-date, zero-slip, cross-functional launch. The whistle blows whether or not the pipeline is ready. Rights are signed, a broadcast window is set, and product, engineering, content acquisition, and operations all have to converge on one immovable moment — in front of a customer who will notice every second of latency, every missing feature, every dropped stream. That is a program management problem before it is a sports problem, and it is exactly the class of problem I've spent my career solving.
Let me be honest about the transfer, because senior work deserves a straight answer: I have not run live sports broadcasts. What I have run — repeatedly — is the operational shape of this job: contract-to-launch ownership, cross-functional teams on tight deadlines, fixed public go-live dates, and the partner and publishing pipelines that feed them.
The closest analog in my catalog to operating a Prime Video surface is tv.google (Google TV). Embedded with Huge inside Google's marketing org, I managed updates for tv.google — a real TV / streaming surface — alongside android.com (through the Android 12 launch) and wearos.google.com, owning the design and dev roadmap and holding a fixed launch calendar across all three, with localization and site deployment on the line and Google's product marketing managers and strategists to keep aligned. On the Future of Google Search Ads program I led a design phase that spanned new ad formats including video, and at Dow Jones my oversight of 10+ event & conference sites includes motion design and some video production — so the digital-video chain, from a streaming surface to the motion and video formats that fill it, is familiar ground.
The rest of the résumé rhymes with the job. At Dow Jones, I manage and oversee design updates across 10+ event & conference websites — for example JournalHouse and the WSJ Leadership Institute — and their brand assets, work that includes motion design and some video production, across WSJ.com, Barron's.com and MarketWatch.com — supporting roughly eight events and five launches over five months, each a fixed-date go-live on one unified publishing system. At Arizona Public Service, I took an end-to-end transactional .com + mobile app from a three-month research phase through an eight-month design phase, stewarding a design system into production in collaboration with Infosys and 28+ engineers. With The Row, I owned the external vendor relationship with Monaverse through platform testing to a single coordinated launch — and managed external vendors across the motion and 3D-rendering production and the video production for its promotional materials.
Swap "marketing date" for "kickoff" and "publishing pipeline" for "broadcast pipeline" and the discipline is identical: own the whole thing, keep everyone aligned, and get it to air on the date that was set. The confidence here comes from transferability, not from pretending — and from being customer-obsessed enough to know that on launch day, the only thing that matters is what the viewer experiences.
Every Basic Qualification from the job description, mapped to a concrete, true proof point from real programs I've shipped. Then the Preferred Qualifications, same treatment.
One true example each — the vocabulary used the way I actually work, not as buzzwords.
Prime Video's mandate is to define the next generation of how customers watch. That is exactly why I built PROPEL — a co-creation network for the emerging AI-film and motion industry, where creators collaborate under NDA/NCA protection from the first message and an immutable ContribLog records who made what. I built it because I watched a new class of entertainment take shape and saw the trust-and-attribution layer no one had built yet.
For a live-events and content operator, that's the tell: I don't just move today's assets through a publishing workflow — I read where the medium is heading and get in front of it. That's the instinct behind wanting to help invent the next generation of viewing, not just ship the current one.
"A great PM — diligent on the financial, creative and timing details, a genuine go-getter, and strong on UX and design input throughout."
"Exemplary as a PM on a complex, large-scale project — diligent planning, real adaptability, and expectation management across internal and external stakeholders. His role was critical to our success."
"A year-long, complex, multi-part program — Warren handled PM and client management brilliantly. A team player and problem solver with strong client relationships."
If you're hiring for deal-to-broadcast execution, I'd welcome the conversation about Senior Program Manager, Prime Video Sports Operations.