Credited Playstation 3 Titles
From 2003 to 2006 I worked at Naughty Dog exclusively on Mark Cerny's 'ICE Team' and his programming staff developing the Playstation3 engine, tools, technology, and launch titles. The team was secret for the first few years, and we were tasked with creating the Playstation3 engine for all of Sony's first party launch titles. Much of the work cannot be shown, but the following games are the shipped titles we worked on, and I'll explain some of the details I was involved with for each. There were 16 studios worldwide that I worked with, several games were cut, and several were completed after I had left Naughty Dog so credit was not given on some due to leaving before they shipped.
Uncharted: Drake's Fortune
Naughty Dog Inc.
Our involvement with Uncharted was extensive. It included nearly every aspect of development from animation, shaders, rendering, lighting, performance, and effects. I primarly focused on rigging, animation, character modeling, shading, and lighting.
Resistance: Fall of Man
Insomniac Games
Insomniac was probably the closest non-Naughty Dog team we worked with. I worked with their character rigging and animation departments to develop with our programmers methods within the engine that would work with their specific needs. They had many types of characters that were humanoid, but needed tailored components for the alien creature designs.
Ratchet and Clank: Tools of Destruction
Insomniac Games
Most of what I worked on with the Resistance team trickled down to the R&C team, so direct involvment on this title was minimal.
Lair
Factor 5 Studios
I worked with the environment team to develop Progressive Mesh technologies to address the unique aspects of viewing the terrain very close, and far away while maintaining good performance. Also, a lot of shader and texture work to ensure buildings and environmental materials retained their high quality look both near and far.
Warhawk
Incognito Entertainment
This was another example of Progressive Mesh usage. I worked with the environment team to implement Progressive Mesh technologies to address the unique aspects of viewing the terrain very close, and far away while maintaining good performance.
Motorstorm
Evolution Studios
To be completely honest, I don't ever remember working with these guys, but my name showed up in the credits, so figured I would add them. I know, kinda lame.
MLB '07: The Show
Sony San Diego
Primarily character animation and lighting work. I worked closely with Jason Parks, and other members of the technical art staff in San Diego to ensure our character system worked well with their mocap, and secondary animation needs. Lighting and shaders were also critical to making a realistic court, and animated clothing normal maps.
NBA '07
Sony San Diego
Primarily character animation and lighting work. I worked closely with Jason Parks, and other members of the technical art staff in San Diego to ensure our character system worked well with their mocap, and secondary animation needs. Lighting and shaders were also critical to making a realistic court, and animated clothing normal maps.
Shipped, but not officially credited:
Gran Turismo 5
Polyphony Digital
We did a lot of rendering and lighting technology, but my main contribution was working with Progressive Mesh technology on the cars to allow for more vehicles on the track at once. We were able to add cars, and improve performance while retaining the high quality look the Gran Turismo series is famous for. Since I left Naughty Dog long before this game shipped, I am unsure how much of the Progressive Mesh technology made it into the final product.
L.A. Noir
Team Bondi
Worked with Bondi very early on in their development on some lighting tech, and some motion/performance capture. Ultimately they ended up going their own way, so our work with them was extremely limited, and tapered off to nothing relatively early during their pre-production stage.
MAG
Zipper Interactive
I worked mainly with Steven Theodore on character animation integration during the pre-production phase of their development. Our work tapered off with them as the project went onto the production phase.
The Eye of Judgement
Sony Japan
Our tasks were primarily character and effects work. I traveled to Japan with Mark Cerny to work with them early in the pre-production stages on getting characters functioning in the engine. The programming staff worked with them extensively on the augmented reality portion of the game using the first generation camera.