As an Art director for Skydance Interactive I have been fortunate enough to contribute to the development of several AAA VR experiences across multiple projects and platforms. My primary role involves everything from building and managing teams of artists to the development and execution of the project road map and discipline workflows.

Artist specific credits included in images.

At Cold Iron studios I worked as a Principal artist creating a AAA console game based in the Aliens universe using the UE4 engine. I primarily worked with the team on look dev, lighting, post process workflows, as well as final optimization across all platforms.

As the studio lighting director for Telltale games I was responsible for supervising lead lighting artists across 4 projects as well as managing the environment art teams who contribute to the lighting process for their individual scenes. During pre production I worked along side the art directors and department leads to establish an overall aesthetic style. During the late stages of development I got my hands dirty focusing on final polish and technical integrity. During engine upgrade cycles, I contributed as the studios primary technical director for the research and development of lighting tools and workflows. 

Telltale was given the opportunity to an interactive adventure based on the Guardians of the Galaxy franchise along with our partners at Marvel. As the studio lighting supervisor I worked along side the art directors, lighting artists, environment artists and engineers in order to develop the look and feel of the game as well as the tools necessary to achieve our final goals across several platforms.

For the newest Season of The Walking Dead we updated our engine to fourth generation BPR standards. Lighting, Materials, and Post effects were my primary focus as we modernize the stylized look and feel of TWD franchise.

Tales From the Borderlands was an especially fun project that I had the opportunity to Art Direct for from Pre-production to the release of Episode One. My responsibilities included Main Character Design, Environment Art, Concept, UI Design, Concept Art Management and Outsource Integration. Tales from the Borderlands was nominated for Best Art Direction from IGN.
 

For Telltales Walking Dead I was the primary Art Director for the 400 Days Project and one of two Art Directors working on the project throughout the main season.  I am proud to say that TWD has been nominated for many awards including being selected as "Game of the year" from many publications.

As the Lighting Supervisor for Telltale games I was responsible for supervising Lead Lighting Artists across 4 projects as well as managing the Environment Art teams who contribute to the lighting process for their individual scenes. During pre production I work along side the Art Directors and department leads to establish an overall aesthetic style. During the late stages of development I got my hands dirty focusing on final polish and technical integrity. During engine upgrade cycles, I contributed as the studios primary Technical Director for the research and development of lighting tools and workflows. 

As the Lighting Supervisor for Telltale games I was responsible for supervising Lead Lighting Artists across 4 projects as well as managing the Environment Art teams who contribute to the lighting process for their individual scenes. During pre production I work along side the Art Directors and department leads to establish an overall aesthetic style. During the late stages of development I got my hands dirty focusing on final polish and technical integrity. During engine upgrade cycles, I contributed as the studios primary Technical Director for the research and development of lighting tools and workflows. 

At Crystal Dynamics I contributed to the development of a next-generation lighting pipeline and work flow for the Tomb Raider franchise. I was responsible for working directly with Programmers and Artists to create proprietary tools and systems for the lighting and materials workflow. I worked closely with the Lead Artist and Art Director to coordinate the flow of art assets between disciplines while maintaining visual quality and technical integrity. 

During The Wolf Among Us project my contributions included Character and Environment lighting, Post FX application, and Look Development. I worked closely with the Engineers and Technical Art Director to create a new method for producing camera-specific lighting  across thousands of shots using a procedural lighting rig composer.

On “The Avengers” project for THQ, I was responsible for the operations of the Lighting and Visual Effects Teams. I set the schedules, workflows and priorities for the lighting and VFX teams as well as contributed to the overall game development process through my involvement in the Supervisors and Director meetings. As an artist, I was personally responsible for providing the final lighting setup and visual polish for all of our production game levels. I also worked closely with the Technical Director to guide the production of new tools and technologies that were used across the THQ studio network on multiple projects. 

The role of Principal Lighting Artist for War Hammer required me to provide visual polish to the studio’s first attempt at a next generation AAA title. I worked closely with both the Engineering and Art teams to create lighting and materials based tools and workflows for our proprietary engine. As the end user of our new lighting systems, I was also responsible for rendering the final environments and making sure that all of the assets involved were of an appropriate standard.

As the Art Director for our studio’s Wii SKU of a game based on the Mega Mind animated film from Dream Works, I was accountable for the progress and direction of the Art team. I had to create, implement and enforce all art workflows, schedules, and technology development priorities from day one through to final beta. Through the creation of this game I gained experience working directly with our licensor, Dream Works; our outsource partner, Winking in Shanghai; and THQ Corporate Office in Los Angeles.   

Jurassic Park! I came in late on this projects but worked hard to develop some of the new tech necessary to get this game, and its dinosaurs out the door. Getting this game to run on all platforms including mobile was a challenge, but in the end I'm happy with what we achoeved in the time given.

During the Post Production phase of FRWL I helped to polish Environments with Lighting and Material tweaks in order to get the game shaped up and ready to go. I was very happy to work on a James Bond project so early in my career.

Throughout the Return of the King project, I worked very closely with Art Directors and the Lead Lighting Artist to accurately reproduce the look and feel of The Lord of the Rings films. Using many advanced film techniques that were new to the games industry at the time, our team was able to achieve outstanding visual quality, within the restrictions of the PS2 platform. 

For the pre-production phase of The Godfather, I worked closely with the Art Director and marketing team to create software-rendered promotional cinematic cut scenes. During the main production phase of the project, my time was split evenly between production work, R&D, and the training new artists.