Jay Riddle Email & Phone Number

Needham, Massachusetts, US

San Francisco, California, US

Creative leader for a Next-Gen creative agency focused on the concept and production of marketing creative within the App-Install vertical.

San Francisco, California, US

• Member of core creative team developing an unannounced AAA mobile title
• Led a full-spectrum in-house art production team with outsourcing support
• Responsible for defining game’s visual style and leading team to achieve it
• Created in-engine assets for Marketing and Consumer Insights research

• Co-founder of a start-up game development studio of designers, artists and engineers.
• Developed Days of Discord, a sci-fi themed IP and mobile card battler built in Unity3D.
• Directed creation of all visual, audio and story content, much of it through outsourced partnerships.
• Directed UX and created all UI assets.

Burbank, CA, US

• Worked hands-on with development teams to solve specific challenges on high-profile game titles, setting the bar for visual excellence across Disney’s game studios.
• Notable titles included: Toy Story 3, Split/Second, Pirates of the Caribbean: At World’s End, Disney Epic Mickey, TRON: Evolution and Turok.
• Frequently led workshops to reinforce best practices across Disney Interactive.

Redwood City, CA, US

• Directed visual development of a wide variety of game titles over many genres and platforms
• Art Director for several high-profile titles, including the James Bond 007: Agent Under Fire and Everything or Nothing.
• Boosted visual quality across many game genres by applying filmmaking expertise and cinematic presentation skills.
• Led major upgrades in product quality across many EA teams by developing and implementing companywide visual quality standards and best practices.
• Mentored senior art leadership across EA’s studio system and provided hands-on involvement with artists at all levels.

Rochester, New York, US

• Led expansion of Cinesite’s 3D CG capabilities, building on its 2D-focused roots, to become a respected full-service visual effects facility.
• Designed and created film visual effects in close collaboration with well-known directors, producers and cinematographers.

Berkeley, California, US

• Worked closely with award-winning creature animation expert, Phil Tippett to plan and create Oscar-nominated animated giant bug sequences for Starship Troopers.
• Supervised on-set shooting of the majority of background plates during principal photography.
• Designed and led implementation of state-of-the art systems for CG lighting, shading, compositing and on-set data collection.
• Devised and directed implementation of novel data collection methods including capture of lighting information, 3D camera tracking, motion-control photography, aerial photogrammetry, land surveying, and digital.

Los Angeles, CA, US

• Recruited by founders James Cameron, Stan Winston & Scott Ross to help establish company as an industry leader. Collaborated with founding employees to develop end-to-end production pipeline, hire and train digital.
• Collaborated closely with Cameron & Winston on design and execution of Terminator 2 3D: Battle Across Time, a 3D stereoscopic attraction for Universal Studios.
• Supervised visual effects production for numerous film and commercial projects, including the award-winning Jeep spot Snow Covered, in collaboration with director Eric Saarinen.

• Recruited by Academy Award winning Visual Effects Supervisor Richard Edlund to spearhead upgrades to his fledgling computer graphics group while supervising several film projects.
• Collaborated with VFX Supervisor John Bruno to produce visual effects for Academy Award nominated Cliffhanger.

San Francisco, CA, US

Responsible for end-to-end process of producing visual effects for film and television projects, including design, directing plate photography, and production of visual effects through final compositing and delivery.

San Francisco, CA, US

Lead team of digital artists to develop many film industry firsts, with Oscar-winning results, most notably James Cameron’s The Abyss & Terminator 2: Judgment Day.

San Francisco, CA, US

As the first animator in new CG department, worked closely with Pixar’s founders to transition use of their proprietary tools for use in ILM’s productions. Integrated new digital production methods within a traditional visual effects pipeline and eventually made the pipeline fully digital. Acted as bridge to translate and build trust between CG and.

San Francisco, CA, US

Operated various motion-controlled camera systems in studio and location settings - notable productions: Cocoon, Back to the Future and Young Sherlock Holmes.