​WORK HISTORY

Audio Director
Soundcreature Interactive
Dunedin, NEW ZEALAND
2022 - Present
Full audio support for game, VR and film/TV productions:
  • Audio direction, sound effects design and integration
  • Technical audio specification and support
  • Dialog audio and script coordination, voice direction, editing, processing and mastering
  • Music procurement and integration
  • Production sound

Lead Sound Designer / Editor / Recordist / Implementor / Producer
Paul Fox Audio
Dunedin, NEW ZEALAND
2013 - 2022
Freelance support for game, VR and film/TV projects:
  • Audio direction, sound effects design and integration
  • Technical audio specification and support
  • Dialog audio and script coordination, voice direction, editing, processing and mastering
  • Music procurement and integration

Audio Director
RocketWerkz Studios
Dunedin, NEW ZEALAND
2017 - 2020
  • Set up a sound department from the ground up at a new company
  • Create and integrate sound assets for all our games (Unreal 4 and Unity)
  • Define and maintain audio aesthetic vision in support of each project
  • Establish, promote and maintain audio standards, workflows and best practices with an aim to unusually high-quality audio at lower cost for a small studio
  • Procurement, supervision, mentorship, training and direction of audio support staff and external service providers
  • Specify, collaborate on and oversee development of in-game audio systems/tools and workflow for sound effects, dialogue and music
  • Establish and manage audio budget and schedule
  • Create and collaborate on tools and workflow for story/writing team
  • Dialogue and script supervision, coordination, voice direction, production, editing and mastering
  • Voice talent casting and negotiation
  • Music supervision and coordination for licensed and bespoke content
  • Document audio processes and technology

Senior Audio Designer
Activision, Inc. - Central Audio
Santa Monica, CA
2015 - 2016
  • Sound effects design and integration on multiple Activision video game projects (Skylanders, Destiny, etc.)
  • Dialog audio and script coordination, editing, processing and mastering
  • Localisation: Post-processing, mastering and asset coordination
  • Music editing and integration
  • Supervision and direction of junior audio staff and interns
  • Technical specification for workflow and pipeline efficiency
  • Evaluation of audio software in development
  • Coordination with Production Management Group, external vendors and development teams on audio support and scheduling

Dialog Supervisor
Naughty Dog, Inc.
Santa Monica, CA
2014 - 2015
  • Prepared and managed ADR and mo-cap materials for sessions and attended them; edited takes based on notes and direction from the Creative Director and Cinematic Production Lead
  • Coordinated all dialog assets from recording to integration
  • Edited, processed and mastered dialog
  • Managed and supported outsourced dialog personnel
  • Supported localisation
  • Worked with the programming dept. on dialog tools and pipeline
  • Documented dialog process and technology

Game Audio Implementation Supervisor
Warner Bros. Entertainment
Burbank, CA
2013 - 2014
  • Coordinated and implemented sound assets for video games supported by Warner Bros. Game Sound department
  • Worked remotely with UK game development team using Wwise and Unreal 3
  • Consulted on best practices

Manager, Audio Development
(Internal Dev Team)
Sony Computer Entertainment America - Santa Monica Studio
Santa Monica, CA
2010 - 2013
  • Oversaw direction and execution of audio for Internal Development Studio AAA titles (God of War; see game credits on last page)
  • Coordinated with and directed central sound service groups
  • Collaborated with production, design and engineering to define priorities and improve pipeline and workflow
  • Procured, managed and supported sound staff and equipment
  • Participated in project audio budgeting and scheduling
  • Implemented, mixed and reviewed sound for various projects

Lead Sound Designer
(Central Service Group)
Sony Computer Entertainment America - PDSG
Foster City and Santa Monica, CA
2004 - 2010
  • Designed sound and provided audio direction on multiple internal/external projects handled by sound service group
  • Established and championed game audio production best practices regarding pipeline, tools & technology and documentation
  • Field and Foley recording: Planned, scheduled and supervised
  • Participated in project audio budgeting and scheduling

Senior Audio Specialist
NovaLogic, Inc.
Calabasas, CA
2001 - 2004
  • Designed and implemented sounds as primary content creator
  • Directed, engineered, edited and implemented dialog
  • Produced, edited and maintained in-house sound effects library
  • Worked closely with game design, production and programming
  • Composed original music

KNOWLEDGE, SKILLS AND ABILITIES
  • Game sound designer with many years experience from experimental/indie to AAA
  • Technical and artistic expertise in game audio: concept, design, implementation, supervision and project management
  • Sound team leadership and creative direction
  • Recording of firearms, vehicles, ambience, Foley - in engineering and project coordination capacity
  • Expert user of Pro Tools, Reaper, Sound Forge, Sonar, Reason, SoundMiner, Basehead
  • ADR, Motion Capture and music production
  • High proficiency with game sound middleware including Wwise and SCREAM as well as experience with FMOD, Miles Sound System and base Unreal audio; Able to learn new tools and tech quickly
  • Implementation of sound via 3D game design and text based scripting systems, including: Maya, Unreal, and various custom in-house environments
  • Task tracking, scheduling and prioritisation (JIRA, TestTrack Pro, Excel)
  • Excellent written and oral communication abilities
  • Focused and organised in highly creative and chaotic environments

EDUCATION
BFA, Music Technology
California Institute of the Arts
Valencia, CA
1996-2000
  • Coursework included: Sound Design, Engineering and Recording; Film Sound Production; Basic Programming; Musical Ear Training and Theory; Composition; Interactive Media Design and Production
  • Teaching Assistant and tutoring for undergraduate and graduate level Film Sound courses
  • Production and post-production sound on multiple student film projects


LECTURES AND PRESENTATIONS

Foley and its Use in Games
Michigan State University
April, 2016
  • 1 hour lecture on the history and importance of the art of Foley, and its use in games. Used slides and audio examples.

Why Foley Matters in Games
GameSoundCon
November, 2013
  • 45 minute lecture on the history and importance of the art of Foley, and its use in games. Used slides and audio examples.

The Epic Sound of God of War III
Sony Computer Entertainment - Game Tech Conference
March, 2011
  • 10 minute presentation about the audio production for God of War III, focusing on how audio supported the “epic” God of War aesthetic. Keynote with the Game Director, Senior Producer, Art Director and Lead Programmer.

Game Audio Overview
USC School of Cinematic Arts
November, 2010
  • 45 minute lecture for graduate class, Anatomy of a Game. Used slides and audio examples to describe my career path and show how sound for games is created and integrated.

God of War III and Uncharted 2 Audio Production Overview
Sony Computer Entertainment - Game Tech Conference
March, 2010
  • 15 minute presentation going over the audio production on two recently completed games.


AFFILIATIONS
Audio Engineering Society (AES), Society of Composers and Lyricists (SCL), BMI


GAME CREDITS