About
I'm a Senior Lighting Artist with 15+ years of AAA experience defining visual tone, building lighting systems, and driving quality across large-scale productions. My work spans live service games, new IP built from pre-production through ship, and character-driven narrative titles. Across all of them, the throughline has been the same: hands-on craft, scalable systems, and a collaborative approach that bridges Art and Engineering.
Most recently at Bungie, I've served as Senior Lighting Artist III on Marathon and Destiny 2. On Marathon I defined lighting quality targets across the game's environments, built foundational real-time lighting systems for new maps, and developed region-based color mapping and color scripting systems that gave multi-artist teams a shared visual language to execute against. I also acted as the bridge between Art and Engineering on lighting technology, evaluating existing solutions and advocating for practical improvements to both workflows and rendering output. When production gaps opened up, I stepped in to own completion of major environment structures and re-establish visual clarity for the player experience.
Before Bungie, I was Principal Lighting Artist at Deck Nine Games, where I led the studio's full transition to UE5 on Life is Strange: Double Exposure. That meant establishing lighting standards, workflows, and systems in a new engine from scratch, working closely with technical leadership on production challenges, and setting benchmarks the whole team could execute against. Separately, on the Life is Strange Remaster in UE4, I relit and modernized lighting across 100+ environments and cinematics, updating legacy lighting, shaders, and VFX while preserving the original artistic tone. Across both projects I profiled performance, iterated on rendering solutions with engineers to hit targets, and built documentation habits designed to outlast the people who wrote them.
Throughout my career I've taken on increasing responsibility beyond the craft itself. I've hired, directed, and mentored junior and contract artists, led external partner relationships, created lighting documentation and visual style guides, and acted as Lighting Lead when teams needed direction and cross-discipline alignment. I care about leaving pipelines and teams in better shape than I found them.
I'm looking for a team that takes visual quality seriously and where lighting has a meaningful seat at the table. If that sounds like a fit, I'd welcome the chance to talk.
Resume PDF
ViewSkills
Software proficiency
