From 2009 to 2012, I was employed in the immense undertaking of Lead Cinematic Artist on this project.
The challenge was to try and present the Olympics in a realistic broadcast style, which began with poring over reference materials, and replicating the real-world constraints of shooting in the venues. I designed a range of ‘rigs’ that would mimic the behaviour of mounts like Steadicam, fly rigs, on-foot as well as aerial photography.
I also designed and implemented a system that allowed for the immense range of possibilities that a live broadcast utilises, all whilst trying to maintain the cinematic drama for the games and respecting the limitations the art and engine imposed.

In the end, it was a huge task, but the results I hope speak for themselves, my intention was to articulate the physical challenge, as well as the psychological underpinning that world-class athletes face in order to become the best on the planet.
Please enjoy these excerpts of my work on this project.  More items related to it can be found in the Previs section, to give an idea of how many of the shots came about.

Let me show you the trailer I created for Sega. All cinematography and editing by me.

London Olympics - Official Trailer

Stills Gallery

The Dark Knight was an epic open-world game taking place across five highly different and beautiful islands of Gotham City, from the precipitous ledges of the New Cbd, across the dilapidated Narrows, the player could freely roam, grapple, parkour, and glide as the inimitable Batman. I was the primary cinematic artist on this title, developing reactive and dynamic camera solutions to augment and emphasize the actions of the worlds greatest comic hero.

I drew specifically on the comics for inspiration, being that the film-makers were incredibly tight-lipped and resources were scarce beyond the first Nolan helmed feature.
I felt it important to articulate the verticality of the experience, the notion that the open streets were a vulnerable place, the rooftops stretching out before him as a sea of traversable, irregular terrain.

Of particular pride were the perch points, a system and aesthetic I designed to allow the player to naturally focus on areas of the environment whilst shifting the sense of distance whether the player was looking across the rooftops or down into the veins of Gotham’s streets, scanning for crime, ready to drop into action at any time.

For Legal reasons i am unable to PUBLICLY share images or content from this project.

sadface.

Stormrise was a console RTS game set in a far future post-apocalyptic world in which humanity's control of the weather had plunged them into war. It pitted those who successfully hid from the ravages of the decaying world, and those left to survive the hostile environment, by mutating and evolving.

I was tasked with producing and delivering high-quality Engine-rendered FMV Cinematics for the game Stormrise, I specialized in collating the delivered materials from outsourcers, integrating and maintaining the pipeline for said content. I undertook the training of additional staff in the process, offering them new opportunities and skills to use within the industry. The Direction of the VFX and Post was also under my purview, the Herculean 35 minutes of rendered and treated cinematic on a tight budget was a challenge, but one that I look back on fondly.

Revenge The Energy

This is a Promotional music clip I created for Creative Assembly during the promotion of Stormrise.

Vehicle Previs

This is a quick collection of test captures and animation sequences from Stormrise, all created and shot in real-time passes.

All in all these runs took less than half a day, and were immediately functional in-engine, this allowed for experimentation with the number of vehicles used, wheeled vehicle interactions with the world, etc..

Fatalities

These are a couple of hero treatments of Fatality animations from Stormrise.

I was employed on DAH2 as a Cinematic Artist, responsible for staging and implementing the cutscenes for each mission. This was a fantastic project to be involved with, and I learnt a great deal, not only technically, but from the team around me. I was also responsible for concieving the introductory cinematic, which entailed working with an outside company to break out and develop the sequcne tying this game with the first. Of particular benefit was that I was able to work with the writer of the series, contributing to the feel and wit of the game.

Introductory Movie – Destroy All Humans! 2

I began as a Modeler on this project, creating various environment assets and Vehicles, until i was promoted to Cinematic Artist, after i demonstrated an aptitude and talent the studio wished to utilise.

I sought an opportunity to create the eponymous Stargate itself, and worked very hard to create the most accurate Hi-Res model i could, before moving onto to creating the game asset (bear in mind this is 2004, just as modern shader techniques such as normal mapping were becoming feasible, so the detail had to be accurate, and hold up.)

I was later fortunate enough to create the Promotional Trailer for the game, to be shown at E3 that year. The game was behind schedule, and so several moments in the trailer had to be ‘augmented’ in order to convey the intended result.

E3 Game Trailer

High Resolution Stargate Model

In-Game Assets (Modeling and Texturing)