I have been the Studio Art Director at Sledgehammer Games for 7 years. I have worked on 3 Call of duty Titles since. The art team is a talented and exceptionally creative group that i am privileged to work with. We have a dynamic team culture of passion and excellence.
During the entire production phase of Advanced Warfare, I was responsible and directed for the Production Design, Direction of Photography, and Art Direction until our product shipped in 2014.
Advanced warfare was one of the most challenging and fulfilling projects in my career to date. Although there were many personal sacrifices made on the project, I would never change the humbling growth experience as a person that this studio and project has provided me. I view my career/life of an artist as an ongoing cycle of learning and collaboration.
*Below are small collection of public examples that I had the privilege of contributing to.
During Advanced Warfare I was responsible for the Production Design of the Concept Art, Character, Environment, Vehicles, and Weapons designs.
I was also responsible for the Direction of Photography which focused on lighting, VFX, color grading and post FX.
This is a great screenshot taken of a realtime cinematic in the game, I am most happy with the lighting on the character. It was a goal of ours to move as close to the subtleties of realism as possible. That took a lot of effort and discipline from delicately balancing values and hues within the lighting and materials to the subtle lifelike expressions in the face, to obsessing over the qualities of the characters eyeballs.
Another realtime in-engine sequence. There was a lot of great work put into this shot. In the background we built a futuristic refugee camp that the Advanced PMC soldier in the foreground was peace keeping. We designed the character to have an Advanced technical look while contrasting current day materials and designes to ground the design in believability. Our look was developed to simulate natural realism to root you into believability.
This realtime in-engine screenshot hits home for me. As a team living in the SF Bay Area, we set out to create a realistic and believable representation of our beloved landmark the Golden Gate Bridge.
We traveled onsite to collect and measure every form of reference imaginable to make this scene a reality. Check it out here!
One of my favorite screenshots in general. This is a great example of our production design work pushing the boundaries of believability within the COD universe. From the advanced design of the marines and overall military forces to the landscape of South Korea's famous Gangnam district set in the future.
By this time in development we were well practiced in our techniques in physical based rendering. We even flew out to Korea to capture all the data for scientific reproduction of lighting and materials.
The project was in its final phases of development and my duties as an Art Director were shifting into marketing and sales promotions. One of my favorite art covers that we collaborated on was this beauty from Edge Magazine.
I love this piece because it was at the time unapologetic about what we are setting out to do. Create a realistic advance soldier tier 1 experience set in a future timeline. From a production design standpoint finding the right balance between futuristic and realistic was dividing internally, but all great designs come from healthy conflict, collaboration, and belief! The design of the mask says it all. In your face, clean, bold, simple.