BAFTA awarded
Best Sound, 2000
Theme Park World
Bullfrog Productions
BAFTA nominated
Best Sports Game, 2003
Formula One Career Challenge
Electronic Arts
Develop awarded
Best Use of IP, 2008
Metal Gear Solid Mobile
Konami
Develop nominated
Best Sound, 2008
Race Driver : GRID
Codemasters Software
BAFTA awarded
Best Sports Game, 2009
Race Driver: GRID
Codemasters Software
BAFTA awarded
Best Sports Game, 2011
F1 2010
Codemasters Software
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Having worked within the games industry for 18 years, I have seen several large changes in the format games are produced for. This experience gives me certain qualities and skills not found in "new blood" audio people.
· Working with the audio programmer in creating new tools to aid sound designers make the best use of audio memory whilst maintaining realism of sound, but still working within the confines of the format's sound capabilities.
· Pre-visualising new technologies to allow sound to be more submersive and exciting.
· Size reduction of content to fit into memory requirement of the project. This may be simple cutting of data, sample resolution, creating "sentenced" sounds, and other "techie" approaches, wherever possible.
· Work with sound designers, discussing the most appropriate way to realisticaly get their vision for their sounds to work on the gaming platform.
· Port music, SFX, and speech from one platform to another. Use in-house orchestration and conversion tools to achieve optimum results for the target machine.
· Compose original MIDI music scores appropriate for game and target hardware; using in-house orchestration tools to arrange music to achieve optimum results for target hardware. Co-ordinate the hiring of session musicians and/or engineers as required. Remix and/or re-edit licensed music to fit game design.
· Develop sound effects on target hardware appropriate for the game, both through original creation as well as sourcing from libraries of pre-recorded material. Provide audio post-production for in-game video clips and in-house video productions.
· Produce and co-ordinate the integration of speech into the game. Edit recordings and fine tune files.
As for can see, this skill set gives the employer a complete one stop audio solution for their developments. For voice work, I subcontract all recording to a specialised dialogue producer who then co-ordinates between the actor, recording studio, and vocal director, using world class agencies to source the voice talent.
I have expert knowledge in the use MIDI equipment and sequencers, digital mixing consoles, audio editors (MIDI and Tracker), and development tools for the next gen platforms..
I believe the main area that stands me out from the crowd, is the fact that once your content has been created, I can work also then onsite, with your programmers, and implement and manage bugfixing all audio content.
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