HALON Entertainment is seeking a Game Cinematics and Trailer Producer in Santa Monica CA. .
Reporting to the CEO & COO, the successful candidate will lead the expanding game cinematic department working on rendered or in-engine cinematics and trailers for AAA games clients. You will assume a wide range of duties, which include working with team supervisors to break down creative, create project budgets, schedules and cost estimates, staffing, managing the agreed upon schedule, facilitating communication and maintaining effective information sharing between client and Halon teams. As the department lead, you will provide support for Cinematics Directors/Supervisors in Santa Monica, London and Vancouver and co-own the client relationship with your Sales Manager.
Responsibilities
As Game Cinematics and Trailer Producer, you will:
Create estimates and budgets for game cinematics and game trailer projects.
Deliver client facing proposals.
Develop and grow a world class team of artists.
Managing the day-to-day needs of the cinematics team.
Support clients with production priorities, delivery targets, reviews, and deadlines necessary to meet milestones on time and within budget.
Requirements
Three (3) years’ experience working on cinematic and/or trailer teams as a producer/ technical project manager, on at least 2 shipped AAA games.
A passion for video games and the cinematics found within them.
Fundamental understanding of how game projects are budgeted and financed.
Experience preparing estimates, pitching proposals and successfully winning bids.
Excellent oral and written communication skills.
Experience with tracking work and mitigating risk.
Ability to effectively communicate with artistic and technical personnel.
Self-motivated and able to take the initiative as the need arises.
Switch between day-to-day firefighting and high-level planning and budget responsibilities.
Possess an understanding of the complete cinematics pipeline, including MOCAP, facial scanning/rigging/animation, shot selection, scene layout, etc.
Advantages
Knowledge of game pipelines including Maya, Mobu, P4, Unreal, CryEngine or the equivalent base technology.
Knowledge of production management software such as Shotgun or equivalent.
Familiar with animation, motion capture, facial capture, CG and engine based production.
Three (3) years of progressively responsible experience in the job area offered.
Comfortable working in small group environments to accomplish larger tasks.
Self-driven, capable of working well under deadlines.
Track record of success managing client relationships as a vendor.
Please send your resume, link to an online demo reel and a reel breakdown list to: employment@halon.com
greetings. i am a sound designer looking for the opportunity to collaborate in 3rd party game titles. you have my portfolio and cv below.
my cv:
TIAGO MORAIS MORGADO, BORN 1988, BRAGA, PORTUGAL), IS A PORTUGUESE COMPOSER, IMPROVISER, SOUND DESIGNER, MUSIC CURATOR, SOUND ENGINEER, AND SOFTWARE DEVELOPER. HE STUDIED CLASSICAL MUSIC PERFORMANCE (ARTAVE 1999-2006), MUSICOLOGY (2006-2008 UMINHO AND FCSH UNL), MUSIC TECHNOLOGY (MEPM - ESART 2008-2011) AND SONOLOGY (ROYAL CONSERVATOIRE OF MUSIC OF THE HAGUE), WITH RICHARD BARRETT, JOEL RYAN, (BOTH COLLABORATORS OF EVAN PARKER, IN HIS ELECTROACOUSTIC ENSEMBLE) PAUL BERG (AUTHOR OF AC TOOLBOX SOFTWARE ENVIRONMENT), KEES TAZELAAR (EX-ASSISTANT OF GOTTFRIED MICHAEL KOENIG), RAVIV GANCHROW (PART OF THE TEAM OF GAME OF LIFE FOUNDATION), PAUL JEUKENDREUP (EX-ASSISTANT OF STOCKHAUSEN, ONE OF THE TOP SOUND ENGINEERS FROM HOLLAND), JOHANN VAN KREIJ, PETER PABON, FRANK BALDÉ, JUSTIN BENNET, LEX VAN DEN BROEK, AND BEGAN WORKING WITH LEADING IMPROVISERS IN 2010 SUCH AS JOE MORRIS, JOE MCPHEE, CHRIS CORSANO, PETER EVANS, MARK DRESSER, FRED FRITH, WILLIAM PARKER, AND JASON HWANG, SUCH AS IN IMPROVISATION MUSIC WORKSHOPS. IN 2014 HE WAS ADMITTED FOR A PHD IN COMPOSITION IN THE BEAST - BIRMINGHAM ELECTROACOUSTIC SOUND THEATRE -, IN THE UNIVERSITY OF BIRMINGHAM, TO STUDY WITH SCOTT WILSON AND ANNIE MAHTANI, BOTH STUDENTS OF JONTY HARRISON, ALTHOUGH HE DECLINED THE OFFER DUE TO PERSONAL FINANCIAL CONSTRAINTS, CONTINUING TO DEVELOP HIS MUSICAL PRACTICE IN A SELF TAUGHT AND PRIVATE TEACHING REGIME. TIAGO ALSO ATTENDED LECTURES, SEMINNARS OR WORKSHOPS WITH WITH TREVOR WISHART, DANIEL TERUGGI, DOUGLAS KAHN, ARNE DE FORCE, JOHN RICHARDS, LARRY POLANSKI, DIEMER DE VRIES, MATHEW OSTROWSKI, FRANCISCO LOPEZ, LAWRENCE HARVEY, EDWIN VAN HEIDE, BARRY TRUAX, AND MATMOS. TIAGO HAS PERFORMED IN COUNTRIES SUCH AS PORTUGAL, UNITED STATES, UNITED KINGDOM, HOLLAND, SERBIA AND SPAIN, PLAYING IN VENUES SUCH AS STUDIO LOOS, CAFE DE VINGER, KORZO THEATRE, TROUW AMSTERDAM, BLIK OPENER, MASKERADE SINZINE, MARTIN LUTHER KERKE, RADIO TONKA, AUTONOMOUS CENTRUM, ROYAL ANTON SZAAL, KEES VAN BAAREN HALL, CINEMATECA NACIONAL (LINHA DE SOMBRA), TEATRO A BARRACA, DIAS DE MÚSICA ELECTROACÚSTICA (SEIA), MOSTEIRO DE SÃO BENTO DA VITORIA, PEDRO REMY, MOSTEIRO DE TIBÃES, MIA - FESTIVAL DE MUSICA IMPROVISADA DE ATOUGUIA DA BALEIA, MARCO (MUSEUM OF CONTEMPORARY ARTS OF VIGO), CCB (FESTIVAL MUSICA VIVA), AND FINALLY HARVESTWORKS NYC (60*60)- AS A SOLO ARTIST -, COLISEU DO PORTO (VIOLA TUTTI ORQUESTRA ARTAVE), SXSW, EXIT FESTIVAL AND ISLINGTON METAL WORKS (AS A SESSION MUSICIAN FOR :PAPERCUTZ). HE IS THE FOUNDER OF THE RECORD LABEL NACHTSTUCK RECORDS, WHICH RELEASED MUSIC OF PEOPLE SUCH AS KARLHEINZ ESSL, JOHN DIKEMAN, GREGORY TAYLOR, COLECTIVO ABAETETUBA, WILBERT DE JOODE AND GONÇALO ALMEIDA, ROBERT VAN HEUMEN, HANS TAMMEN, PEIXE:AVIÃO, FUNCKARMA (ROEL FUNCKEN), EMANUEL SALVADOR, ADAMNED/AGE, MATHEW OSTROWSKI, AGNES HEGINGER, MARTIN MALLAUN, AIMING FOR SMALL SCALE PHILANTHROPIC CONTRIBUTIONS. HIS MUSIC WAS FEATURED IN XLR8 (WITH NECROSTILET - 2007) AND GONZO CIRCUS (AS A SOLO ARTIST IN A MIXTAPE CURATED BY JONATHAN REUS). INBETWEEN 2014 AND 2015, HE WORKWED FOR A WHOLE YEAR AS A SOUND ENGINEER, IN ARTAVE, THE SCHOOL WHERE HE INITIALLY BEGAN HIS MUSICAL STUDIES, WORKING WITH CONDUCTORS SUCH AS LUIS MACHADO, ERNST SCHELLE, EMILIO DE CESAR, AND HOWARD WILLIAMS, WORKING WITH MANY RENOWNED SOLOISTS. HE CURRENTLY SEES THE DEVELOPMENT OF HIS ARTISTIC AND TECH CRAFT, AND HIS WORK IN HIS CHARACTER TRAIT AS THE ONLY WAY HE HAS TO PURSUE PERSONAL AND COLLECTIVE DEVELOPMENT, AS WELL AS A CHANCE TO PRACTICE PHILANTROPY INTO A CERTAIN DEGREE. HE SEES THE NEED TO DO SO IN A COMPLETELY AUTONOMOUS WAY.
“During my activity as a music critic, theoretical writer and observer of all things concerning creative music, few times I have met such a young musician so commited to discover new things and learn new techniques and vocabularies, developing his music further and further with a rare focus and perseverance. Tiago Morgado was a real surprise when I first heard him play, some years ago, connecting his viola to a laptop computer and some effect pedals, and he continues to be. Considering the almost solitary conditions of his work, and living in a city far away from the main experimental / improvised / contemporary music circuits in Portugal, mostly concentrated in Lisbon and Oporto, it was kind of a miracle to have someone doing what he did the way he did it. Only a very special person was able of such enterprise, moved by a never ending curiosity and a purpose in life. Since then I’m always keeping me informed of what he’s doing and how are his studies abroad, knowing that he will be, in a near future, a very important musician not only in my country, but also in Europe and the world. That’s why I don’t have any hesitations in saying that Tiago Morgado deserves any support coming from cultural institutions. I’m sure the reward will be fullfiling, in terms of compositions, recordings, performances and projects under his name.” Rui Eduardo Paes (writer, journalist, chief-editor of the online magazine jazz.pt in recommendation letter)
if you feel like contacting me, please get back in touch
my email is