Bio

Although I finished my Masters degree on computer graphics, Sound and Music were always important to me. I thrive and grow in an environment in which talent, respect, fun, and research merge, one can take risks and fail safely, and collaboration is culture. I am excited to discover new challenges and find appropriate solutions reaching a clear goal. When I started in the industry my goal was that Audio in CRYSIS would earn a higher rating than FarCry did, and I think we clearly reached that goal. Then my goal was to get the same audio quality and fidelity available on consoles for CRYSIS 2 and again as a great team we achieved that. For Blizzard we defined a goal of ''Play By Sound'' for Overwatch. Working closely with the Designers we were able to offer tons of relevant gameplay data to the player and create pavlovian responses in gently teaching them the game. I developed and implemented an ''Importance'' system, which was critical to deliver the clarity we have in our mix today. Overwatch was also the first PC game that supporter Dolby Atmos for headphones. After shipping 2 ''Game-of-the-Year'' games, I wanted to focus back on core game engine technology and joined a team at Blizzard to build shared technology from scratch. This tech- team recently merged with the ''Unannounced Survival Game''. Specialties: sound libraries, code integration, workflow and pipeline optimization, DSP effects, reverb, dynamic music, conference presentation, gameplay audio features, localization