Assorted Game Industry Work

the work on this page spans my time as a lead lighter, lead artist, environment supervisor, and concept artist.

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Call of Duty: WWII

the reel below represents some of my work as a lighting, color, and cinematography lead on call of duty: wwii. a deep dive into my process for the project can be found here.

Madden and countless other EA sports titles

while at electronic arts, I was tasked with pushing the look of the madden football franchise. below are a couple look / dev explorations for lighting and weather. for each I completed the lighting, materials, fx, post, etc. 

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Homefront & Frontlines

for a while I worked as the lead artist at thq in nyc. we used a modified version of unreal that allowed for some open world elements that were unique for the time. I was focused on defining the look of environments through rough models, lighting, concept, materials, terrain, color, and managing a small team of artists as the levels went through the pipeline from my initial designs to final polish and optimization. 

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below is an example of the types of rough models I would create alongside descriptive notes for the environment artists. i created the prefab system for an open world portion of the game that needed heavy reuse of assets.

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another major part of my role was set dressing and visual storytelling. i would make sure to infuse each scene with visual delights for the player to uncover and explore. in the scene below, water collection tanks and a playground were juxtaposed against a sniper position in the central tree.

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Call of Duty: Advanced Warfare

the reel and work below represents some of my lighting, color, fx and cinematography contributions to call of duty: advanced warfare.

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A Typical Problem to Solve...

How do I seamlessly transition between a training facility that is simulating a night mission to an exterior of noon time sun?

Metaphor

Nesting dolls. To keep the solution simple I thought of the scene as a series of nested skyboxes and geometry. I created a series of bsp brushes that could be scripted on / off at key moments during the level light baking process and runtime to create a seamless transition.

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Interesting Tidbits

as a lighting and color lead, I had the privilege to work with stephen nakamura at company 3 to color grade portions of call of duty: advanced warfare. we had a direct connection from activision to company 3's studio in la where we spent many hours working collaboratively on the project. 

...and...here's a pic of some of my work for advanced warfare in times square!

 
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if you missed the link at the top of this page, and would like to take a deeper dive into my process on call of duty: Wwii, head on over to the project page!