Call of Duty: WW2
Image samples below.

I was responsible for much of the lighting present in our multiplayer reveal trailer.  Between Shane Daley, and myself, we were a team of two on our lighting and rendering team for our entire Multiplayer mode.  Credit to Raven Studios for the help on our War map that debuted in the trailer and playable on E3 show floor.  Specific responsibilities in trailer can be provided upon request.  Ardennes Forest and Point Du Hoc responsibilities are listed below.  

Sample of my work from Call of Duty: World War 2:

Flak Tower; I was the primary lighting artist responsible for working with all departments on determining tone, adjusting/authoring materials, material composition, lighting all content found in map, authoring sunflare FX, and partial authoring of sky images alongside our vendors and concept art/matte painting teams.  Credit to Shane Daley for lighting support, and the rest of the team for final production of map for its E3 playable debut.  

Ardennes Forest; I was the primary lighting artist responsible for working with all departments on determining tone, adjusting/authoring materials, material composition, lighting all content found in map, authoring sunflare FX, and partial authoring of sky images alongside our vendors and concept art/matte painting teams.  Credit to Shane Daley for technical lighting support, and the rest of the team for final production of map for its E3 debut.  

Carentan; This map was a joint lighting effort between myself and Shane Daley.  We shared the role iterating on initial look development, sky box authoring and position, and content/gameplay lighting.  I handled the character visibility pass after partnering on initial lighting phases which includes material composition/adjustments, adding lights to high traffic combat locations with eSports in mind, and fog tuning for depth reads throughout the gameplay space.  

"HQ", This is our gameplay hub and social space.  I was responsible for technical lighting support (scripting events and performance optimizations) as well as implementing/tuning our post effects which includes fog, tonemapping, and color correction based off of Art Director feedback.  

​Just Cause 4
(Releasing December 4, 2018)

I was the Lead Lighting Artist for this project, joining the team with just under a year of production left.  Responsible for all environment lighting (sun, sky, cloud tuning, light fixture placement, etc), all post effects (tonemapping, color correction, fog, etc), as well as leading/mentoring/scheduling for our 2 cinematic lighting artists.  

​

Call of Duty: Advanced Warfare
I was a technical lighting artist, focusing on scripting, gameplay cinematics, gameplay visibility, material tuning, and general level lighting.