Entertainment / Cinematic Development / Worldbuilding

I understand story as a sequence of decisions - not a single beautiful frame.

My entertainment foundations were built in AAA cinematics, feature-film previsualisation and repeatable broadcast production. That craft now informs destination-scale visual development and story architecture.

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Why this experience is relevant

Camera, action, environment, interface and editorial rhythm become more useful when they are resolved as one decision system.

Shot-driven storyboards and cinematic grammar
Action blocking, virtual camera and pacing
Environment concepts, VFX and interface thinking
Repeatable production formats across 100+ episodes

Selected work / Roles stated clearly

AAA game craft, pre-shoot iteration and long-form production discipline.

Published game credits / Historical artist roleCinematics and Visual Development2005-2008

Published PC cover for The Lord of the Rings: The Battle for Middle-earth II — Published game cover. © Electronic Arts / respective rights holders.

Published PC DVD cover for Command & Conquer 3: Tiberium Wars — Published game cover. © Electronic Arts / respective rights holders.

Electronic Arts / 2005-2008

Cinematics and Visual Development

Two published game credits, presented with my historically accurate artist role and without invented production evidence.

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Selected production credit / Released feature filmIron Man 22009

Marvel Studios / 2009

Iron Man 2

A concise production credit for my contract role within the Iron Man 2 previsualisation pipeline.

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AI-assisted Lions4Life title treatment over a Johannesburg skyline with a rugby ball

Lions4Life / SuperSport / 2011-2017

100+ Episode Sports Documentary Format

A repeatable 5-7 minute documentary format that humanised elite players across broadcast, social and live channels.

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Discuss a senior role or project.

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