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I am a highly motivated and ambitious leader focused on creating and executing the most immersive and exciting audio content in video games.

My work extends across a wide variety of game genres on all major platforms with heavy emphasis on open-world and narrative action titles. I have 18 years directorial experience; building and leading teams of world-class talent to achieve widely recognized excellence in sound, music and dialogue on all my projects.

I hold both Canadian and UK citizenship and full BAFTA membership.

SOME RECENT WORK

SHADOW OF THE TOMB RAIDER

2018  I  XBOX1  I  PS4  I  PC  I  DOLBY ATMOS

Directed by Daniel Cheyer, developed by Eidos Montreal in collaboration with Crystal Dynamics, this final part of Lara's reboot trilogy is the epic conclusion to one of video game's most iconic franchises. I was responsible for the audio and music vision & direction, from pre-production to post-release DLC, overseeing a team of 7 sound designers at Eidos Montreal, and a further 4 at Crystal Dynamics. 

I supervised the Final Mix at Pinewood Studios, UK in Dolby ATMOS 7.1.4. The game took full advantage of the vertical spectacle afforded by this exciting new Home Theatre Surround Format.

PROTOTYPE 2

2012  I  PS3  I  XBOX360  I  PC

The second installment of the adrenaline-fuelled, open-world, new IP franchise developed by Radical Entertainment. For the full 2 years of development, I held Co-Audio Direction duties with my good friend Scott Morgan (Loscil) - between us we crafted all sound, music, implementation and mix 100% in-house, as well as perfecting our proprietary audio and dialogue tools (Audiobuilder & U.D.O)

 

PROTOTYPE

2009  I  PS3  I  XBOX360  I  PC  I  DTS NEURAL

New open-world IP developed by Radical Entertainment. My duties included sound design, mix, editorial and implementation for all cut-scenes, as well as the final full in-game mix for this critically celebrated title.

50 CENT: BLOOD ON THE SAND

SCARFACE: THE WORLD IS YOURS

2006  I  PS2  I  XBOX  I  PC

Commercially and critically successful open-world movie tie-in IP developed by Radical Entertainment. The game was a continuation of the movie timeline - what would happen if Tony Montana survived the final shoot-out?

As audio director, I was responsible for direction, sound design, music supervision of over 120 tracks and mix - from pre-production to post-production and release. I supervised the final audio post and mix over a 5 week period at Skywalker Ranch in collaboration with Randy Thom, Will Files and Juan Peralta, for which we developed proprietary mixer-snapshot technology.

*Officially entered into the Guinness Book of World Records for the most F-bombs in a Video Game.

ZORBIT'S MATH ADVENTURE

2009  I  PS3  I  XBOX360  I  PC

2013 - 2015  I  iOS  I  ANDROID

Cinematics sound design for innovative time-shifting title.

In a surprise return to video games for 'Fiddy', this game shook up the critics and pushed deep into an irreverent music-video / arcade game art and audio direction. Developed on the Unreal engine with Swordfish Studios and Radical Entertainment, I handled Audio Direction, music supervision, music editorial of Swizz Beatz' Score and mixing duties... as well as writing all of 50's taunts. Working on this project across two studios was one of my favourite development experiences.

LOOT HOUND

2015  I  PC  I  MAC

An adorable independent project in collaboration with  friends at Rhizome Games under the nom-de-plume 'Frizzle'. I did all sound design and voice implementation in Wwise over a 6 week period. This relaxing and fun game was 'sound only', which meant it had no musical score!

New IP for Ed Tech developer Clockwork Fox. For the two and a half years I was at the studio, my varied role as producer, audio director, composer and sound designer on four shipped titles (Pre-K, K 1, 2, 3) was an awesome and memorable learning experience with a fantastic team. My work included development and implementation of kid-friendly innovative audio features for mobile, such as dynamic headphone mode, and run-time environmental-noise-based compression.

CONFERENCES, BOOKS & OTHER STUFF

GDC, AES, DEVELOP, DEVCOM

In Addition to making games, I like to talk about and share as much as I can about making them.

I am a frequent speaker at GDC (beginning back in 2007), and have spoken at GDC Canada, Develop in Brighton, AES New York, AES San Francisco, guest lectures for University Audio Courses (Edinburgh Uni, McGill Uni, Sheridan College) as well as at Internal publisher-specific conferences demonstrating proprietary audio tools to other teams.

I also write a lot, running the gameaudiomix site, as well as writing several books on game audio development. I'm an active #gameaudio community contributor as well as a full BAFTA games member.

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