Matt Moore

OtherSide Entertainment’s Thick As Thieves is a multiplayer stealth game set in a magic-laden 1910 setting. It is being developed in UE5 and Lumen is being put to good use!

It’s been a total pleasure to work on a stylized game using our own IP. Building out the fiction and world has been really rewarding.

As Project Art Director, I manage an internal art team of about 6, provide AD and planning for numerous external art partners, coordinate with the other project leads, and contribute environment assets, lighting, and materials. I composed, posed, and lit the marketing in-game screenshots. I worked with a talented branding agency on the key art.

Super Beat Sports (2017) aimed to bring the fun of the Apple TV's Beat Sports (2015) to the Nintendo Switch.  Graphical improvements, multiplayer modes for every sport,  60 FPS, and a new sport were added.  As Lead Artist, I managed a team of 4-6 artists through the short development cycle.  I also created assets for the environments, menus, HUD, lighting and crowd systems.  

Rock Band VR (2017) was my first experience working in virtual reality.  As the lead environment artist, I was surprised at the unique challenges that VR presented.  For instance, accurate scale was WAY more important than in previous Rock Band games, which needed big spaces to accommodate the hundreds of camera shots.

I managed and art directed a team of 3 artists, made numerous environment assets, worked with coders to develop a cheaper 2D render-to-texture crowd system, created an automated lighting rig system based on song structure, contributed to the RBVR storyline, and played a major role in optimization.  My proudest contribution was the proposal and implementation of a lighting system that combined render-to-textures and spotlight cookies to dramatically reduce our GPU costs.  

It was an honor to serve as Lead Artist for the latest Rock Band.  I was responsible for a team of a dozen artists.  Rock Band 4 (2015) was developed on a new engine for the XBONE/PS4 console generation.  It was the first RB title to use physically based rendering.  I provided art direction, management, scheduling, and marketing/packaging support. I also made asset contributions to environments, lighting, HUD, and menus.  

Dance Central Spotlight (2014) brought the Dance Central series to the Xbox One.  It was also my first opportunity in the Lead Artist role.  I provided art direction, management, scheduling, concepts, and made assets for environments, HUD, and menu systems.

After three Rock Band titles, I was eager to work on the new franchise Dance Central.  I served as Lead Environment Artist on Dance Central (2010) and 2 (2011).  It was fun working with Microsoft's secret Kinect tech and helping to develop DC's charm and style.  I provided art direction, assets, and management to the environment and lighting team.

I was lucky to be a part of Harmonix during the peak Rock Band years.  I worked as an environment artist on Rock Band (2007) and Rock Band 2 (2008).  Each environment artist had a lot of creative control over the look of each venue, gathering reference, making concepts, building assets, and optimizing the final space. I also got to make the world maps for the shell.

On The Beatles: Rock Band (2009), I served as the Lead Environment Artist.  It was a challenging role. The team needed to create realistic recreations of famous Beatles performances AND build fantastical dreamscape spaces that transformed from their studio at Abbey Road.  I provided concepts, art direction, environment assets (including the Abbey Road studio!), lighting, and I authored the dreamscape sequences.  I'm really proud of how the final product turned out.  

When Harmonix started working on a game that needed giant plastic guitar controllers, I was pretty skeptical that anyone would buy it. Shows you what I know.  I served as an artist on Guitar Hero (2005) and Guitar Hero 2 (2006).  I provided concepts for characters and environments, environment assets, and scripted the lighting rig animation.  

Here's some weird stuff.