Game Designer / Story Artist
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Bravemind / STRIVE, trauma therapy simulator [PC/Mac] (2012) – Level Designer / Scripter
Roundtable, non-linear conversation authoring tool [Browser] (2011) – Tool Designer / UI Designer
SimCoach, interpersonal counseling simulator [Browser] (2011) – Web Designer
INOTS / ELITE, leadership training simulator [Installation] (2011) – Design Lead / Producer /
Interactive Narrative Writer / Animation Director
ArmyFIT, physical training game [Mac] (2009) – Game Designer / Scripter / Animation Director
ELECT BiLAT, negotiation training simulator series [PC] (2008-2010) – Game Designer / Level
Designer / Interactive Narrative Writer / Game Programmer / Animator
Soul Trapper: Episode One – Ollie Ollie Oxen Free [iOS] (2009) – Game Design / Additional Design
Star Wars: The Clone Wars [LeapFrog Didj Handheld] (2008) – Game Designer
Sonic The Hedgehog [LeapFrog Didj Handheld] (2008) – Game Designer
Disney Princess: A Christmas of Enchantment (2005) – Lead Animator (Interstitial Characters)
Sinbad: Legend of the Seven Seas (2003) – Digital EFX Animator
Spirit: Stallion of the Cimarron (2002) – Digital EFX Animator
Osmosis Jones (2001) – Digital EFX / Digital Character Animator
The Iron Giant (1998) – Digital Character Animator (The Giant)
Marvin the Martian in the 3rd Dimension (1996) – Digital Character Animator (Marvin & K-9)
NBC’s “Passions” (2005) – Flash Animator (Character & EFX)
Bugs & Daffy Visa Check Card (1997) – Digital EFX Animator
Haben Cold Medicine (1995) – Digital Art Director / Digital EFX Animator
Myth (1994 CalArts New Plays Festival) - Director
Maxwell House (1993 CalArts New Plays Festival) – Co-Director
California Institute of the Arts (1992-95) – Master of Film and Video, Experimental Animation
California Institute of the Arts (1990-92) – Bachelor of Film and Video, Experimental Animation
West Valley College (1990) – Associate in Fine Art, Drawing and Painting
Productivity: All major graphics, production and business applications, and any OS.
Creative Expertise: Maya, Flash, Photoshop, Illustrator, Unreal Editor, Unity, related.
Proficiency: Kismet, Java, C-Sharp, HTML5, PHP. Familiarity: C++, Ruby, Lua.
Specialty: Learning unfamiliar or proprietary processes, software and tools rapidly.
Bonus: Tool design and development.
USC Institute for Creative Technologies - Game Designer
(Nov '08 - present) I was hired to perform the typical tasks of game design for a variety of projects
involving ongoing research efforts. These tasks have included game production, game design, level
design, writing for interactive media, creative management and design lead on a range of serious
games, including interpersonal leadership and cross-cultural negotiation simulation systems. At times, I
have worked as producer, organizing and running one of the larger projects at the ICT, and as
animation director, overseeing a team of artists and technical specialists. Special tasks have included
gameplay scripting in ActionScript and UnrealScript, programming in Java, concept development.
Realtime Associates, Inc. - Game Designer
(Mar '07 - Oct ‘08) As the staff Game Designer, I worked on the broadest range of game design and
development assignments, and did so over several projects. At a high level of quality, I completed
game design tasks including concept creation, gameplay, level, activity / puzzle, and interface design,
AI design, tool design, cinematic direction, writing (both design documents and creative), the creation
of assets such as dialog and story, graphic design, character and location concepts. I worked in concert
with teams in Art, Programming and Production, while overseeing the Design team. I also worked in the
support capacity as a technical specialist on some programming/scripting tasks. I divided my time
among the many assignments as priorities warranted. Published commercial credits include Star Wars:
The Clone Wars and Sonic the Hedgehog for the LeapFrog Didj handheld console. Non-commercial
products include serious games and educational games, such as ICT's ELECT BiLAT project and San
Francisco Children's Hospital's pedestrian traffic safety game Ace's Adventure.
Avalon Visual - Graphic Designer / Animator
(Aug '06 - Nov ‘06) As an independent contractor, I developed and delivered a range of broadcast
quality 3D motion graphics and special effects to be integrated with live action.
Ka-Chew! - Animator
(Feb '06 - June '06) I was contracted to help animate characters in Flash for the kidzbop.com
webisodes. My focus is largely on animating full body motion, such as walk cycles and unique
movements. These cartoons air regularly on their website.
Liquid Development - Modeler / Rigger / Digital Character Animator
(Mar '06 - May '06) I was contracted to bring a character from design to final lip-synched test for an
undisclosed project for Microsoft. This test was proof of concept for a series of animations with several
characters for a product to be targeted toward kids. My focus was to work with the character designer
to model, rig and animate this character within a very short time frame for a first test. The test shown
on my demo reel represents three days modeling, six rigging and one animating. The client was pleased
with the results I could deliver in such a short time frame.
Ka-Chew! - Animator
(Sept '05 - Oct ‘05) NBC’s “Passions” is a soap opera with a reputation for w ild storylines. I was
contracted to help animate “Passions” characters that had been magically transported into a storybook
fairytale, complete with dragons, spells and a knight in shining armor rescuing a damsel in distress. To
match the look of a storybook, the project had a compelling two-dimensional style and was animated
in Flash. My focus was to animate difficult full body motion and special effects. This unique project
was aired in a series of episodes in November.
Four Eyed Films - Lead Animator
(Apr '05 - Jun ‘05) I was contracted to animate the Princess characters in Disney Princess: A Christmas
of Enchantment. These were interstitial sequences of the Princesses talking to the audience which
bookend the cartoons in this DVD release. I was asked to animate these characters using Flash. My
focus was in keeping the classic Disney characters on model and in character while animating to the
provided dialogue tracks in this challenging medium. This was my introduction to working
professionally in Flash.
Dreamworks Feature Animation - 3D EFX Animator
(Nov '01 – April ‘03) I was brought onto Sinbad early in the production to help develop the many effects
needed. My primary job ended up to be developing, training, and managing the falling snow EFX using
dynamic simulations, although I also used my timing skills to animate many props and vehicles in a
realistic way. I was also able to help the 3D EFX team complete work on a variety of elaborate water
effects. I was responsible for development as well as production 3D EFX animation. I developed tools to
help work with developed EFX using primarily MEL programming language. I trained and managed
artists new to 3D software to work with my developed EFX. I worked primarily with Maya, Light,
RenderMan and Animo. I completed over 600 feet of approved production work in a year and a half.
Dreamworks Feature Animation - 3D EFX Animator
(Mar ‘01 - Sept ‘01) I was brought on to Spirit to help the 3D EFX team during the last six months of
production. I was able to use my animation timing skills in realistic prop animation, namely shots
where 3D chains had to move with traditionally animated horses. Although relatively new to 3D EFX
work, I also worked with dynamic simulations to produce such effects as dust and breaking/flying
debris. I was responsible for 3D EFX animation production work. I developed tools to help work with
EFX using MEL. I worked primarily with Maya, RenderMan and Animo. I completed over 200 feet of
approved production work in six months.
Warner Bros. Feature Animation - Digital EFX / CGI Animator
(Feb ‘00 - Mar ‘01) I was brought on to Osmosis Jones early in the production to develop the look and
the tools needed to animate the very toony vehicles and props in the City of Frank. I also ended up
doing most of the primary vehicle animation in the film and leading other EFX animators on the
developed look. This position required the timing and animation skills of a character animator, but it
was my efficiency helping the 3D EFX team on Iron Giant that got me this job. I did end up doing some
character animation, namely the Eye close-ups and one Drix dialogue shot. But, my primary job was to
make sure the vehicles and props had the same toony life that the characters had. Along the way, I
picked up on Digital EFX compositing and helped finish that production work concurrently. I was
responsible for development as well as production work in 3D EFX animation and production Digital EFX
compositing, receiving dual screen credit. I developed tools to help work with EFX using MEL. I trained
and managed 3D artists to work with my developed EFX. I worked primarily with Maya and Animo. I
completed over 450 feet of approved 3D EFX production work and over 150 feet of approved Digital EFX
compositing work in just over a year.
Warner Bros. Feature Animation - CGI Animator
(Nov ‘97 - Oct ‘98) I was brought on to Iron Giant to animate the Giant character. I animated the Iron
Giant in scenes where the Giant was less robotic and more evolved, such as “Comic Books in the Barn”
and “Meeting Dean”. After completing character animation work, I helped the 3D EFX team finish. For
the 3D EFX team, I used my timing and animation skills to help animate the many props and vehicles
realistically, including the shots where the traditionally animated Hogarth had to move with his 3D
bicycle. I was responsible for production 3D character animation and 3D EFX work, only receiving credit
for character animation as CGI Animator. I worked primarily with Maya.
Warner Bros. Classics Animation - CGI Animator
(Oct ‘95 - July ‘97) I was brought on to Marvin the Martian in the 3rd Dimension to animate the Marvin
and K-9 characters. As one of three 3D animators in the Classics Division of Warner Bros. Animation, I
helped Classics set the look for the character animation on the stereoscopic short that took 9 studios
over two years to complete. The animation had to be toony and it was during work on the first shot I
got (Very Angry/K-9’s Introduction) that the Director commented that my shot would set the look of
the animation he wanted. I was also introduced to EFX animation on that project. After work on Marvin
had completed, I worked on two national television commercials as a 3D EFX animator and developed
3D versions of classic characters. I was responsible for development and production 3D character
animation, EFX animation, modeling and rigging. I worked primarily in SoftImage and Alias/Wavefront.
Visual Magic Images - Digital Art Director
(June ‘95 - Sept ‘95) After graduating from CalArts, my job was with a small production house just
starting up. They had overseas clients, but needed the equipment and staff to produce the work here
in Los Angeles. This was a great opportunity for me to apply a wide range of skills; from artistry to
technical to management. This job demanded efficiency and introduced me to the film industry in a
comprehensive way. I was responsible for setting up a digital effects production studio. I was
responsible for hiring, managing and directing a team of artists. I responsible for conceptual
development, storyboarding, directing, 3D animation work on mixed media broadcast television
commercials and corporate logos. I worked primarily in SoftImage and Eddie.
Broadcast Production Group - Storyboard Artist / CGI Animator
(June ‘94 - Aug ‘94) While at CalArts, I worked as a storyboard artist for a video production company in
San Jose, California. The project was for a prominent Silicon Valley company’s Halloween party. Using
a combination of 3D animation and live video, children were led through a blue-screen set to put them
into a cartoon. I worked with the Director to come up the series of gags centered on catching a bug in
a warehouse; the idea being that this software company catches all the bugs. Then, I recruited a
couple student artists and managed the production of the animation. This was my introduction to
managing artists. I was responsible for conceptual development, storyboarding, 3D animation,
modeling, recruitment and management of artists. I was responsible for meeting a production deadline
with budget constraints. I worked primarily with SoftImage and Alias.
Direction for Film and Theater
Storyboarding for Animated Film and Television
Story Development and Analysis
Character Design and Analysis
Lighting and Scenic Design for Film and Theater
Cinematography and Film / Video Editing
I collaborate with great groups to develop experiences that tell a memorable story.