Video
Games

As the Lead Gameplay Producer for this product from 2022 onwards, I led a cross-disciplinary team of 40+ developers, delivering high-quality expansions and overseeing live game operations. I spearheaded change management, streamlined production workflows for the entirety of the live product, and drove team health and DE&I initiatives. With a focus on balancing strategic goals and mentoring junior producers, I ensured both efficient processes and exceptional player experiences. By listening to player feedback and engaging with our communities directly through avenues like social media and influencer round tables, I helped shape game features that aligned with player expectations, fostering a strong connection between the game and its passionate audience.

During early production of Helldivers 2, I managed some art outsource production, where I collaborated with global vendors to execute and deliver in-game assets. As the core team worked to define its artistic goals, I facilitated the integration of outsourced work and ensured alignment with the evolving vision of the game.

I was embedded in the Cinematic Animation pipeline and owned the Technical Art portion of the process. I collaborated closely with the team to audit scenes, ensuring all necessary elements—such as props, rigs, floor planes, ADR, and tooling—were properly flagged, tracked, and sprinted. My efforts focused on maintaining continuity between scenes and aligning all technical and artistic requirements with the evolving script. Additionally, I facilitated both in-house and client-facing animation reviews, managed roadmapping, and mitigated risks throughout the production process.

While deep in production on The Last of Us: Part II, I became involved with The Last of Us: Part I team during their pre-production and scoping conversations. I consulted the core Production team on aspects like animation scoping, face and body rigging, blendshape production, and in-house tooling, ensuring a smooth foundation for the project’s technical and artistic development that was built on the learnings of the in-progress sequel.

I played a role in streamlining the environment art outsourcing pipeline for Rift Apart, ensuring seamless collaboration with external partners to bring vibrant, dynamic worlds to life. My contributions helped streamline asset integration, ensuring every detail aligned with the game’s signature style and high-quality standards.

I was responsible for blending global outsourcing with in-house production to ensure a smooth flow of high-quality assets for our repeat client, San Diego Studio. I maintained consistency across teams and vendors, driving efficiency in the creation of sports-resonant and immersive in-game environments (and maybe a dinosaur or two, for good measure).

I managed the production and optimization of in-game assets for Spider-Man: Miles Morales, ensuring they met the high-quality bar expected for the PlayStation 5. By balancing global outsourcing with in-house production, I played a role in delivering visually stunning assets that were optimized for seamless performance on next-gen hardware.

I facilitated production pipelines for Marvel's Spider-Man: PlayStation 5 Remaster, driving updates to in-game textures and enhancing graphical and performance KPIs. My work ensured the remaster met the high standards of next-gen visuals while maintaining smooth, optimized gameplay.

I led cross-discipline teams ranging from 50 to over 100 professionals in our Cinematics pipeline, delivering more than 500 minutes of body and facial animation and over 100 minutes of in-game cinematics (IGCs) for flagship PlayStation AAA titles - including The Last of Us: Part II. These teams spanned cinematic and in-game animators, technical artists, motion editors, motion capture technicians, and production coordinators, driving high-quality results for one of the industry’s most iconic games.

I managed internal and external environment art and concept support teams for Death Stranding, delivering next-gen assets for this AAA title. Working closely with artists, designers, leadership, and producers, I drove project goals, owned the day-to-day tasking and scheduling of environment teams, and provided support to client-side developers. From initial estimates to 3D modeling, engine integration, and legal coordination for gold mastering, I oversaw every stage of the Art Outsourcing pipeline, ensuring high-quality results that exceeded AAA expectations worldwide.