Born December 20th, 1976, growing up on the west coast of Canada, I spent my childhood watching movies and playing video games.  Excelling at the arts and technical courses through grade school, I enrolled at Digipen Applied Computer Graphics School in Vancouver. As we learned the breath of computer graphics, I gravitated to animation. In 1997 I graduated and headed out into the world of commercial art.

April 1st 1997 I joined a small upstart game studio in Edmonton Alberta, BioWare.  My early years with the company I produced an array of in game animations for Baldur’s Gate 1 &2, MDK2 and Neverwinter Nights. I slowly honed my cinematography skills as I created several cinematics for these early projects. At the same time my technical skills ramped up as I learned how to script cinematics to run in the games.

Star Wars: Knights of the Old republic was the first project we tried to push BioWare’s Cinematic story telling as we tried to match Lucas’s style.  It also in this period I gained valuable leadership experience leading small teams of animators to create dozens of cinematics. Jade Empire followed suite where I got to apply my love for martial art films to create an Asian themed experience.  Each game having much better shot work and scene flow then the last.

Mass Effect allowed me to learn Unreal 3 specifically scripting in Kismet to implement cinematics in Matinee.  I became the resident expert at the pipeline to get cinematics out of the 3D application they were created in and into the game engine running real time.  Working with engineering teams to create features to speed up the turnaround time to make cinematics run .  I also worked to ensure tools were user friendly for artists creating many of Mass Effects ship scenes in engine proving out the tools for all cinematics.

Dragon Age Origins allowed me to recreate the tools in BioWare’s own engine. On top of leading a team of 14 to create an hour of cinematics for the game, including large battle scenes and creature heavy scenes featuring dragons, I also was the product owner for the Dragon Age Cutscene Editor, a tool that was released to the public for fans to create their own scenes.

I returned to Mass Effect franchise for Mass Effect 2 at BioWare’s new Montreal studio implementing most of the games scenes including the opening scene featuring Commander Shepards Death and the final hour of cinematic heavy ending. I ran a production roll for most of the DLC which included some VFX supervisor work for the VFX heavy Overlord DLC.

I left BioWare in 2010 to join Visceral for the sequel to Dante’s Inferno. Working on the in game camera system to improve framing during game play, the project never made it far enough into production for cinematic production to take shape. I then spent time as animation director on third person shooter based on action figures. Working on the multiplayer aspects of the game, the animation team defined a characters class through the look of animation. Co-writing the story, the project was once again scraped in favor of another IP. This third project I worked on the combat camera setup to work with a unique take on an assassin’s creed style combat.  This project soon too was cancelled in favor of another Visceral Project.

I found myself on Army of Two: The Devils Cartel. Committed to producing a project with Visceral I pushed the quality of cinematics in Frostebite 2.0. Using face captures for the characters I drove the production quality forwards for the Army of Two Series. Tight deadlines I was required to work with over 70 talented people at EA’s Montreal, Vancouver, Los Angeles and Shanghai studios to get the hour of cinematics done in record time. I am proud to say the scenes game the game a production value to ship with, but it’s story and good but limited game play held the game back from being a success.

I moved on to the film side of animation in 2013 joining Pre visualization studio The Third Floor Inc. Getting a taste for film on Brian Singers,  X-men Days of Future Past, I was tasked with setting up their Montreal studio. My time with Third Floor saw me also setup their Australia studio for Angelina Jolie’s Unbroken, and supervising a few musical scenes for Disney’s Into the Woods. In 2014 I headed to LA to work on an experimental VR project for Maleficent Director,  Robert Stromberg. The project would be the beginnings of what would become The VR Company.

Late 2014 I joined Digital Dimenion where I directed for several projects such as the present day cinematics for Assassin's Creed Syndicate and the flash back vision sequences for Monolith's upcoming Middle Earth: Shadows of War. On top of these projects I also provided a creative aspect to DD's business development ambitions.

Ultimately, after nearly 4 years away from Game Development, in late 2016 I have jumped back into the fire. At nearly 20 years away from Vancouver, or half my life, I have decided to return home. I am pleased to announce I have joined Capcom Vancouver for an exciting unannounced project. Join us today, we got something cool in the works!