RESUME
Work​
experience​
Sound Designer
Nomadic Noize Productions
​2010 - present
Sound design, editing and audio implementation work for video games, films, commercials. Sync, music supervision, and original music composition for commercial, film, video games. This is my own outsource sound company with additional sound designers available for larger projects to work along side me.
Projects:
Pinball Maniacs
Overpower
Human Orbit
Sound Designer
Otherside Entertainment
2017-2018 - Contract
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SFX implementation and technical sound design on Underworld Ascendant. I did a bit of asset creation, but focused on getting sounds working in the game using the questionable SECTR audio engine. There were many challenges in making this system work instead of a workhorse like WWise/FMOD or even Fabric, but we ended up making a good sounding game with a 3 person audio team spread across North America.
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Projects:
Underworld Ascendant
Skills
Pro Tools (9 years)
Wwise (5 years)
FMOD (7 years)
Unreal (4 years)
Unity (2 years)
Gaia (5 years)
Ableton Live (13 years)
Sound Forge (15 years)
Sony Acid (15 years)
Vegas (7 years)
Reaper (1 year)
Sound Designer
Funky Rustic
Contract - 2014
SFX creation on a variety of projects in conjunction with Funky Rustic, based in Austin, Texas. I worked with a team of 5 people on our major title of Sonic Boom, with an in house Audio Director & sound implementer at Big Red Button, and a team of 3 outsourced sound designers through Funky Rustic. We received videos of levels with notes based on timecode, and created level specific sounds from these simple bits of info, or made cinematics made to order. All work was organized through google docs and timing/organization planned through Alex at Funky Rustic headquarters. Tools used include Reaper, Ableton Live, Sound Forge, Basehead, Zoom H4N. My work was completed from my studio in British Columbia.
Projects:
Sonic Boom: The Rise of Lyric
Unannounced ios project for TenCent
Unannounced console project
As an example of some of the work I did on the Sonic Project I worked on the cut scenes for Boss fights #1, 2, 3, 5, 6.
Languages
French - Beginner
Japanese - Beginner
Sonic Boom
Senior Technical Sound Designer
Eidos Montreal
January 2010 - October 2012
Senior audio team member on location in Montreal studio for the latest Thief project. Our team initially consisted of an overseas audio director, and sound programmer, and myself. By the time I finished my time at Eidos (the last 6 months or so) our team involved an in house audio director, audio lead, audio programmer, myself as Technical Sound Designer, and 2 other sound designers.
Having had an overseas audio director I was tasked with organizing assets, communicating with other teams in the project, assessing workflow and content desires of audio, integrating sound and music on levels, scripting, animation, and other aspects of sound design. I worked to create new audio systems with programming, tweaked them to fit our audio vision, and constantly iterated to achieve our desire to push the possibilities of audio in games. This included problem solving with the integration of Wwise and the Unreal engine like devising strategies to work with next level obstruction/occlusion systems, loading systems/hierarchies, streaming strategies, and more. I was also involved with planning and scheduling of our deliverables, getting bark and dialog systems up and running, and kept abreast of the new directions the rest of the team were heading in. All my work on this project was done using Basehead, Soundforge, Vegas, Wwise, and Unreal 3.
Projects:
Thief 4
I was the Technical Sound Designer on the game so this clip helps to show the obstruction/occlusion system I helped build with our programmer, as well as keyhole peek through system, and work done on the bow, focus system, and more. At 7:14 on this video it shows some of the occlusion system I had been working in, as well as the eye and focus systems.
Thief
Sound Designer
Artificial Mind & Movement (A2M)
August 2008 - January 2010
Being the only full time sound designer on WET, with an audio director and occasional help from other sound designers, I took care of creating all the sound effects for the production, the implementation, and technical sides of the project. In working with programmers we found ways to improve our audio engine, create new features, and problem solve our bugs. Creating SFX and implimenting ambiences, character sfx, animation sfx, scripting audio in LUA, and all physics sfx have all been part of my process in making WET and Naughty Bear. I attended lead and level design meetings, delegated bugs, worked with LDs, animators, AI, and VFX to get audio working in all aspects on our new engine throughout the production. I was in charge of the localization in 6 languages, and even performed as a voice actor for Naughty Bear. Music placement, mixing, looping, triggering, along with contacting and contracting bands for the soundtrack also fell within my range of expertice on WET. These projects were made using Gaia (proprietary level building and audio tool sets), Vegas, Pro Tools, Sound Forge, and Soundminer.
Projects:
Wet
Naughty Bear
MySims Sky Heros
I did all of the work on the sound for Wet, minus some cutscenes and weapon sound tweaks. This video is just the begining of the game and you can click around anywhere to hear my work on our grindhouse cinema style sound. At 2:17 is a decent spot to begin showing some of gameplay in different areas of level 1, and some cutscene work as well.
Wet
Sound Designer
Shiny/The Collective/Double Helix Games
August 2008 - January 2010
My time at Shiny began with just 2 sound designers on The Golden Compass who split the levels to pump all the sounds out. We evolved into a team that also included an audio programmer to help rebuilt our broken audio system with me (aka Noise Pilot), Audio Director Levon Louis, an audio scripter, and a junior sound designer.
Created SFX, implemented SFX, worked with streaming strategies of getting sound functional for all platforms of The Golden Compass, from PSP to PS3, managed dialog system/localization for 6 languages while working with multiple outsource studios for dialog assets, animation audio scripting as well as music recording, editing, and implementation.
I worked closely with the programming team as well to get FMOD integrated into our proprietary world building tools to make a better next gen audio situation for all the sound designers at Double Helix.
In Silent Hill I worked on audio scripting for the creatures along with UI sounds. I created and implemented audio for the vertical slices of GI Joe and The Green Hornet before moving on from this studio.
Tools used on these projects included ProTools HD, Vegas, Sound Forge, Soundminer, FMOD, Noise Pilot (proprietary audio engine - Shiny), Base (proprietary audio engine - The Collective), AnimEd(proprietary animation scripting tool), and the proprietary game building tools.
Projects:
Golden Compass (PSP/PS2/PS3/X360/Wii/PC)
Silent Hill: Homecoming(X360, PS3)
GI Joe: Rise of Cobra(VS)
Green Hornet (VS)
For Silent Hill I mainly worked on the monster animation sounds to make the bosses more creapy and otherworldly. At 9:00 on this video gets to one of the boss fights I worked on for the game.
Silent Hill: Homecoming
This section of the Golden Compass is a fight scene that is fine for young kids. I did all the scripting, SFX, and implementation for the gameplay on this level. At 5:55 is one of the battle scenes with the physics object sounds involved, though it is a kids game, so things could not be too realiztic or violent for a G rated game.
The Golden Compass
Education
Art Institute of Vancouver
2006
I went back to school at AI in Vancouver as it is the oldest audio school on the west coast of Canada(named CDIS until the year I started) and I realized that although I had enjoyed my undergraduate degree, what I really loved was sound and music. Going to this school helped to improve my skills on tools I already had worked with, but it mainly showed me how to work with people of other disciplines to make an interesting game. I got to work on a team making the game Introspect - which won the EA Reveal competition for student games that year. I also got to work on my first ios game, Splatter, with a student at the Vancouver Film School. Working on crazy deadlines for large projects at this school for a year got me warmed up to the realities of working in the game industry, and I hit the ground running and landing my first job within 2 months.
University of Victoria
1996-2000
​My time at University of Victoria was a period of major growth in understanding other cultures and working with people. I graduated with distinction and a greater understanding on how international affairs, trade, and cultural shifts have been working for the last few years, and centuries for that matter. Working at CFUV, the student radio station, kept my focus and love for music alive as it was always great to have at least 3 hours a week when I just listened intently to music and researched new grooves. These sensibilities have helped me in all aspects of my life, and during this time I got into making music on my computer with the program Acid, which ended up changing my life forever.