For Ghostbusters I was given the chance to work on everything from Storyboards to concepts and environments. It is one of the most creative project I have worked on. Below is a bunch of production work.

This boss fight was a major collaboration amongst the team. I was responsible for some background buildings, textures, and some material work.

Worked on these environments in collaboration with other artists and designers

One of the hero buildings I made for timesquare. Spark and fire particle effects by Glenn Gamble. Signs above building by Alex Rodriguez

After these sketches and others we decided that almost anything inanimate could potential be taken over by a ghostly entity. I really wanted the sconce crawlers to have a shadow casting point light. It proved way too expensive for xbox360/PS3 and the light was taken out.

Some quick concepts for different areas.

I drew a ton of boards most of which I gave away to ghostbusters fans

Cathedral windows and doors located in Lost Island level. This was some of my first Zbrush work.

Upon request from the art director, I had to remake the base section of the Sedgwick hotel quickly. For the milestone we had to tweak most of the materials and fix some zfighting issues with the windows. This was also one of the many times we used masks to break up tiling. The bottom section of the building was made by 3d artist Dan Sandberg.

This is an early destruction physics prototype I worked on with a programmer, Fletcher Dunn. We created a very complex hierachy for intact and chunked areas of the mesh. Intact section activate when shot with the proton beam, which are swapped out for the chunks that break off. The chunks also break into multiple pieces, and then gib out into tiny shards. Particle effects are of course used to cover some of the breakage. The entire bookshelf can be destroyed with the proton beam.

Another asset used in Stay Puft throwing test maps.

Terminal Reality Logo Animation from Shawn Spetch on Vimeo.

This is the Terminal Reality Introduction Logo for the Game. It was a collaboration between Alex Rodriguez and I. We used AFter Effects, in-engine effects, and 3dsmax for animation. We did this in 5 days on top of our environment art tasks. Audio support by Brian Fieser.