I was one of the principal Level Architects on the original BioShock, created by Irrational Games in 2004-2007. I modeled architectural systems and props in 3DS Max and created many of the memorable sections of the city of Rapture in Unreal. It needs to be noted that while I did a large amount of work on the spaces you see in the video reel below, every virtual inch of BioShock's world was labored over by numerous artists and level designers on our team. We all built the world of Rapture together.
I hired, managed and directed the Environment Art Team in the creation of a more dilapidated and weirdly more beautiful version of Rapture in the follow-up, BioShock 2. My goal as the Environment Art Director on BioShock 2 was to rally the art team around a handful of vision statements and visual prototypes so that the world onscreen contained as little of my own work as possible. My team was incredible and that's why this stuff looks so great.
I was hired on as a contract Art Director and environment artist to build all of the world art for the pitch level/prototype of 2013's Adr1ft PC game. Adr1ft takes place in a broken-open, depressurized space station and I designed/built a system of modular space station architecture so the game designer could easily re-configure destroyed space station pieces as the game design and player pathing evolved. Assets were modeled in 3DS Max and scene assembly/lighting was completed in Unity. This prototype secured the development team a publishing deal that funded the creation of the full, retail game.
The Bureau: XCom Declassified
Mere months before shipping, I was contracted by 2K Game's publishing division to direct lighting on The Bureau. Using a brand new real-time radiosity solution embedded in Unreal 3, I did hands-on lighting of key areas and directed a small team of level architects to light all the other major locations of the game world. Additionally, I created a color-grading LUT for the game to give it a vintage mood.