Director of Creative Technology — 2K Games
Finding new ways
to tell stories
worth sharing
From dev diaries to trailers and the tools that make them,
I help creatives share their work.
Director of Creative Technology — 2K Games
From dev diaries to trailers and the tools that make them,
I help creatives share their work.
Tech
I lead Creative Technology at 2K — where some of Ireland's top talents make cutting-edge tools to create trailers for our games.
Recruiting, Direction, Pipeline, Innovation
Our latest innovation is a virtual camera system that runs in real time during gameplay. Shooting in-game eliminates the need for lengthy pre-vis and lets us capture the actual game, fully rendered, so we can make real creative decisions behind the lens.
We create capture tools, so development don't have to. Our Universal Capture Tool drops one controller-driven camera into any title — lens, depth of field and focus lock built in — behaving like a free-cam that follows the action live, replacing the inconsistent per-game rigs studios used to build for themselves.
Re-Cap records a live gameplay session straight into Unreal's Sequencer — transform, animation and performance captured as an editable timeline rather than a fixed render. Because the shot is data, it updates with the game: when lighting, animation or environments change, we refine the moment instead of reshooting it, so raw gameplay becomes cinematic footage with a real shelf life.
Live Link drives a character's performance straight from the mo-cap stage into the running game — motion captured live, in-engine, in real time. It collapses the usual storyboard-and-animate cycle into a single take, so we can turn around expressive, fully-rendered character content fast enough to feed a social schedule.
Some trailer moments call for a scene the game itself never has to render — a shot built purely for the camera. We build those sequences directly in-engine, from blocking and lighting through to final .exr renders graded to the trailer's palette, delivering the complex shots developers don't have the bandwidth to make themselves.
Publishing
I've cut trailers for some of the biggest franchises, working closely with development to land the tone before a frame goes public.
Creative, Direction, Capture, Editing
A combination of in game cinematics and Caravaggio inspired set pieces. The emotional pace is driven by outstanding voice over and live orchestral recordings. This trailer reached over 720k views within two weeks and has an amazing dislike ratio of only 2.2% across all uploads
Creative, Editing, MGFX
Armed with only a style guide, I quickly drafted the look and feel for these deep dives paying particular attention to the voice of the developers.

Producing, Direction, Camera, Editing
A recruitment promo for the 2K Tech Art Graduate Program, spanning our Dublin and Novato studios. Fittingly for a programme built around tight production deadlines, the whole piece was shot in a single day and edited the next.
Producing, Direction, Editing
A behind the scenes look at the development of Baldur's Gate 3. The challenge was to generate hype without actually revealing the game. It was filmed in several countries and graded to match the games gold & silver pallet.
Creative, Production, Direction
A live stream Escape Room where the audience could vote on what happens to a team of developers trapped in a magic castle. The entire production was coordinated remotely and written in collaboration with one of Europe's leading escape room agencies.
Production
Before games I worked in design, animation, VFX, TV and film — carrying those skills over to my games career.
Camera, Lighting, Grade
Years behind the lens on live action shoots taught me how a scene is really built — blocking, lensing, and lighting a moment so it reads on camera. It's the instinct I bring to every virtual shoot now: the tools change, but framing a shot is framing a shot.
Creative, Writing, Storyboard, Direction
Filmed over 3 days with a cast of 30 students at a school in Washington DC. I drafted these storyboards for stakeholder approval before flying over to direct the shoot.

Creative, Writing, Post Production, Direction
Faoladh was shot for the Google Jump creators programme — the perilous journey of a 9th century Irish child whose village is attacked by Viking raiders.

Creative, Direction, Design
A 52 level augmented reality math game for kids age 6-12. Focus testing showed us that kids held tablets at different heights. This informed our level design which I had SME's plan using LEGO before I sketched the final designs.

Design, Video Production
My early years were spent as a designer and video producer — at Webzen, cutting promos and marketing pieces for online games, and later at UTV Ireland, producing video for broadcast. It's where I learned to turn a brief around fast and make every frame earn its place.
Contact