pc game

EVE Online: Incarna & future releases (trailer 1 , trailer 2 )
Working as part of a small team introducing characters to the EVE Online persistent universe. Our small team developed the custom character creator with a unique grab and pull sculpting feature.
responsibilities: rigging for face and body in Maya and soon Motionbuilder.
 
playstation3

inFAMOUS
The Character TD on inFAMOUS. Duties included technical art support for shaders, animation, lighting, and character pipeline. Lead a talented junior TD. Created all HDR light probes used in game. Created 200+ camera anims for all hands off cameras in cutscenes and mission starts. Many other tasks.
official credits: technical director
Uncharted:Drake's Fortune
Hired at Naughty Dog in June 2003 as the technical artist on Mark Cerny's ICE Team. We developed Playstation 3 tools/tech for Sony's launch titles. Our involvement with Uncharted was extensive. It included nearly every aspect from animation, shaders, rendering, lighting, performance, and effects.
official credits: special thanks to the ICE Team.
Resistance:Fall of Man
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.
official credits: none. left before the credit cut-off date, but claiming credit.
Ratchet and Clank:Tools of Destruction
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.
official credits: special thanks to the ICE Team.
Lair
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.
official credits: special thanks to the ICE Team.
Warhawk
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.
official credits: special thanks to the ICE Team.
Motorstorm
Hired at Naughty Dog in June 2003 as the technical artist on Mark Cerny's ICE Team. We developed Playstation 3 tools, tech, and development advice for most of Sony's launch and first generation titles. The team assisted in the presentations for E3/GDC presentations since the first public PS3 showings.
official credits: special thanks to the ICE Team.
MLB 2007
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.
official credits: special thanks to the ICE Team.
NBA 2007
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.
official credits: special thanks to the ICE Team.
 
playstation2

Jak X:Combat Racing
During the production of this game, I was part of the internal ICE Team at Naughty Dog developing Playstation 3 tools and technologies, so my involvement with the daily to day production of the game was limited. My primary responsibility was as the ICE Team artist, which was still a secret, but I was able to assist with art production and pipeline decisions.
official credits: special thanks
Jak 3
During the production of this game, I was part of the internal ICE Team at Naughty Dog developing Playstation 3 tools and technologies, so my involvement with the daily to day production of the game was limited. My primary responsibility was as the ICE Team artist, which was still a secret, but I was able to assist with art production and pipeline decisions.
official credits: special thanks
Jak 2
I was hired near the end of the production of this game, to be part of the "skunkworks team" at Naughty Dog, called the ICE Team. So I didnt directly work on the game, and did my best to stay out of the way during the last couple months of its development.
official credits: special thanks
My Street
Designed and setup all of the characters rigs and skinning, including the create-a-character module and an automated facial animation system. Acted as Animation Team Lead overseeing a small animation staff, and worked closely with the programming staff to streamline the character system.
official credits: animation team lead
Coolboarders 2001
Took over after the main animator left, and reworked all of the motion capture and created animations for anything that didnt exist. Created all of the sky textures and did most of the in-game lighting.. Modeled random objects and did most of the scripted camera animations. I also worked with 2 others to get the company up to speed using Maya.
official credits: animations, sky textures, camera animations
 
playstation1

Coolboarders 2001
Created multiple levels, including all textures. Also responsible for sky textures and most of the in game lighting.
official credits: background artist
Coolboarders 4
Created multiple levels including textures for the game, which shipped 7 months after being hired. Three of us were hired directly from school to work on this game, and it sold well over a million copies. One of my levels was selected to be on a demo disc for a Pizza Hut promo, and magazine pack-in.
official credits: background artist
Coolboarders 4 Japanese cover
The Japanese cover was cooler than the US version, the game is the same.