Friday, May 28, 2010

Raven Wolfenstein Samples 2008-2009

The collection of quick movies below represents the work completed for Wolfenstein within a 1.5 year period of time. After leaving Chicago with the closure of EA, I made the move to Raven in Madison, WI. Wolfenstein presented unique challenges since it was a game that had been in production for some time, and in many ways had grown old during the development cycle. When I started on Wolfenstein the decision had to be made to abandon 3 years worth of VFX assets because the old particle system was so slow on the CPU. We simply did not have the processing power on any of the consoles to manage the overhead associated with running the old Doom FX sims.

The movies below are broken down into the main areas of FX work, in no particular order.

Several of the Effects you will see in this first reel are the combined efforts of myself and VFX artist Jeremy Mitchell. Primarily the bullet impacts and the Particle Cannon effects.

The Veil in Wolf is an alternate dimension floating on top of our world. The player can enter this dimension at the press of a button and post FX combined with particle FX help sell the experience.

Creating atmosphere and movement through the use of VFX just happens to be one of my favorite things to do. Considering my background in level design it is not surprising I enjoy working closely with designers and set dressers to help create a unique experience and mood.

Again, I enjoy working with Design, so I often times try to involve myself to help push major gameplay events with the use of particle effects.

Wolf had quite a big story, and much of it was told through the use of Bink movies. This was an opportunity for a game effects artist like myself to throw caution to the wind and go crazy with particle overdraw. Framerate doesn't matter as long as the scene will run, Bink will convert it to a video that automatically plays at 30 fps.

EA Chicago/Def Jam ICON Reel

From February 2006 until November 2007 I had the priveledge to call Chicago home, and EA Chicago was my base of operations. While I am not particularly fond of Hip Hop music and the materialistic culture of Hip Hop I was drawn to this project because of the need for solid VFX. EA Chicago had just completed Fight Night Round 3 and was coming on strong when I accepted the offer to join the studio.

My time there was great, working with an entire studio filled with creative people who also knew how to have a really good time. We worked hard and we played hard. It was a sad cold day in November when the studio was closed. This reel represents the work done during my tenure with EA Chicago.