Resume

Joey Kuras – Sound Designer

Summary

I am a Sound Designer, with over 25 years of experience in creating and implementing sounds in games, and have worked on over 100 video games. My love for video games and sound started when I was 10 and got the Atari 2600, and progressed when I started working at an arcade at 15, getting to play games all the time and thinking how cool it would be to make games. Making sounds for games has been my passion since 1992. I love the aspect of taking recorded or designed sounds and getting them to play back in the game appropriately. I love to make custom sounds that are tailored for the game that enhance the experience.

Skills

  • Extensive experience using Unreal Engine 3 and Unreal Engine 4 in all aspects of sound implementation, including Blueprint, ambient sound, reverb zones, Matinee, Persona (animation editor)
  • Extensive experience using Sound Forge and Reaper for sound design
  • Experience with Sonar, Cubase, Ableton Live, FL Studio, Sony Acid, Wavelab, Digital Performer, Nuendo, Cakewalk
  • TestTrack, Perforce, Jira, Shotgun

Experience

Technical Sound Designer – Epic Games

Cary, NC – August 2012-April 2018

My responsibility was to design and implement audio for all aspects of each game. I have extensive knowledge of Reaper and Sound Forge, as well as Unreal Engine 4. Was responsible for implementing all sounds in Unreal Engine 4 through animations, blueprints, UI Widget Blueprints, and Matinee. Worked closely with designers, FX artists, and animators to design sounds that fit the game and the action to convey the proper feeling.

Projects worked on included:

  • Fortnite (additional sound design, memory optimization, custom sound recording)
  • Paragon (design and implementation of sounds for all aspects of the game, including ambient sound, front end UI, in-game UI, hero abilities, weapons, footsteps, body movements, enemies, gameplay events, victory cinematic, and dynamic sound mixing)
  • Infinity Blade 3 (all sound design and implementation)
  • Infinity Blade Dungeons (sound design and implementation)
    • https://www.youtube.com/watch?v=_OA8dzAIaNc
  • GDC and tech demos including:
    • Kite Demo (design and implementation in Matinee)
    • Showdown (VR)
      • https://www.youtube.com/watch?v=xyAkE-8Y3dc
    • Matinee Fight Scene (all sound design, mixing, and implementation in Matinee)
      • https://www.youtube.com/watch?v=EO0k92iVMjE
    • Zen Garden (iOS) (sound design and implementation)
      • https://www.youtube.com/watch?v=OK_gtNJ0Olk
    • Thief In The Shadows (sound implementation through Matinee and blueprints)

Technical Sound Designer, Independent Contracting

Clayton, NC — 2007-2012

I worked primarily, during this period, designing sound for Epic Games and ChAIR Entertainment. I worked closely with the audio team as well as design and FX. All sound was implemented using Unreal Engine 3.

I used the Unreal Editor extensively to implement ambient sound, reverb zones, matinee sound, playsound in kismet, triggered sound, animation notifies.

  • Cinematic sound and implementation – Gears of War 3, Shadow Complex, Infinity Blade 1 and 2
  • Ambient sound design and implementation – Infinity Blade 1 and 2, Gears of War 2 and 3, Shadow Complex
  • Non interactive scripted events design and implementation – Gears of War 2 and 3, Infinity Blade 1 and 2
  • Dialog editing and processing and implementation – Infinity Blade 1 and 2
  • Monster and enemy sound design and implementation – Infinity Blade 1 and 2

Accomplishments

    • 2012 G.A.N.G. Awards: Infinity Blade II – Winner: Best Handheld Audio
  • 2012 G.A.N.G. Awards: Gears of War 3 – Nominated for Audio of the Year
  • 2012 G.A.N.G. Awards: Gears of War 3 – Nominated for Best Cinematic/Cut-Scene Audio

Lead Sound Designer, Tommy Tallarico Studios

San Juan Capistrano, CA— 1994-2006

I was responsible for creating all sound effects, dialog editing, cinematic sound design, custom sound recording, sound effects editing, processing and optimization for the intended platforms.

Accomplishments

  • Created all sounds in SFX Kit sound library for Sound Ideas
  • 2003 G.A.N.G. Awards: The SFX Kit – Winner Best Sound Library
  • 2003 G.A.N.G. Awards: Tonka: Rescue Patrol Winner, Best Edutainment/Children’s Audio
  • 2005 G.A.N.G. Awards: Advent Rising – Nominated for Audio of the Year
  • 2005 G.A.N.G. Awards: Advent Rising – Nominated for Best Cinematic Audio
  • 2005 G.A.N.G. Awards: Advent Rising – Nominated for Sound Design of the Year
  • 2003 G.A.N.G. Awards: War of the Monsters – Nominated for Sound Design of the Year
  • 1998 Nominated Finalist: Wild 9 – Best Sound in a Video Game – Interactive Academy of Arts & Sciences
  • 1995 Best Music and Sound FXP: Earthworm Jim 2 – Sega 3rd Party
  • 1994 Best Sound Effects: Earthworm Jim – Video Games Magazine

Sound Designer, Virgin Interactive Entertainment

Irvine, CA — 1993-1997

I was responsible for sound design and implementation. Some notable titles included Spot Goes To Hollywood and Walt Disney’s The Jungle Book. I was responsible for implementation of all sounds in the Super Nintendo using a custom built audio engine, and on the Playstation using Sony’s Scream tool.

Credits

2017

  • Fortnite, Epic Games (additional sound design for searching objects, pickaxes, neon weapons, clinger grenade, abilities, traps, vending machine, ambient sound, and memory optimization for iOS)

2016

  • Paragon, Epic Games (implementation of all sounds in Unreal Engine 4. Lead Sound Design: hero weapons and abilities, UI, ambience, gameplay events, emotes, body foley and footsteps)

2015

  • Showdown, Epic Games, VR experience (sound design and implementation)
  • Open World Kite Demo, Epic Games (sound design and implementation: ambient sound, foley and footsteps, and implementing all sounds in Unreal Engine 4)

2014

  • Zen Garden, Epic Games (sound design and implementation of all sounds)
  • Matinee Fight Scene, Epic Games (tech demo sound design and implementation of all sounds)

2013

  • Infinity Blade 3, Chair Entertainment (sound design and implementation of all in game sounds, dialog editing and processing, cinematics)

2011

  • Bulletstorm, Electronic Arts, Inc. (ambient sound design, cinematic matinee sound design)
  • Gears of War 3, Microsoft Game Studios (ambient sound design, dialog editing, matinee sound design, scripted kismet sound design)
  • Infinity Blade II, Epic Games, Inc. (enemy character vocal sound design, ambient sound design, foley and object sound design, anim set sound design of all characters, matinee sound design)

2010

  • Infinity Blade, Epic Games, Inc. (enemy character sound design and implementation in animset of all characters, matinee sound design, ambient sound design and implementation into editor)
  • Monster Mayhem: Build and Battle, Crave Entertainment (sound designer)
  • Flip’s Twisted World, Majesco Entertainment (sound designer)

2009

  • Shadow Complex, Microsoft Game Studios (ambient sound design and implementation in editor, sound design of weapons, enemies, UI sounds)

2008

  • Gears of War 2, Microsoft Game Studios (ambient sound design, dialog editing, cinematic matinee sound design and scripted event sound design)
  • Line Rider 2: Unbound, Genius Products Inc. (design of all sound effects and cinematics)
  • Baby Pals, Crave Entertainment (design of all sound effects)

2007

2006

2005

2004

2003

  • Aquaman: Battle for Atlantis, TDK Mediactive, Inc. (design of all sound effects)
  • SpyHunter 2, Midway Home Entertainment, Inc. (cinematic sound design)
  • Unreal II: The Awakening, Infogrames, Inc. (enemy, weapon, ambient, and cinematic sound design)
  • War of the Monsters, Sony Computer Entertainment America, Inc. (design of all sound effects and creature sounds, and implementation into Sony sound engine)
  • Maximo vs Army of Zin, Capcom Co., Ltd. (design of all sound effects)
  • Tonka Rescue Patrol, TDK Mediactive, Inc. (design of all sound effects)
  • Fugitive Hunter:  War on Terror, Encore Software (design of all sound effects)

2002

2001

2000

  • Evil Dead: Hail to the King, THQ Inc. (design of all sound effects and enemy creature voices)
  • Messiah, Interplay Entertainment Corp. (design of all sound effects)
  • Sacrifice, Interplay Entertainment Corp. (design of all sound effects)
  • Spider-Man, Activision Publishing, Inc. (design of all sound effects)
  • Tony Hawk’s Pro Skater, Activision, Inc. (design of all sound effects)
  • NCAA March Madness 2001, EA Sports (design of all sound effects and cinematic sound)
  • NFL Blitz 2001, Midway (sound designer, dialog editing)
  • Army Men Air Attack, 3DO (design of all sound effects and cinematic sound)

1999

  • 007: Tomorrow Never Dies, Electronic Arts, Inc. (design of all sound effects)
  • BassMasters 2000, THQ Inc. (design of all sound effects)
  • Unreal Return to Na Pali, GT Interactive (additional weapon sound design)
  • Knockout Kings 2000, Electronic Arts, Inc. (design of all sound effects)
  • R/C Stunt Copter, Titus France SA (design of all sound effects)
  • Pac-Man World (1999), Namco Hometek Inc. (design of all sound effects)
  • NCAA March Madness 2000, EA Sports (design of all sound effects and cinematic sound)
  • Wheel of Time, GT Interactive (sound design)
  • Test Drive 6, Accolade (sound design)

1998

  • Test Drive: Off-Road 2, Accolade, Inc. (design of all sound effects)
  • WarGames: DEFCON 1, MGM Interactive (design of all sound effects)
  • Adrenix (1998), Playmates Interactive Entertainment, Inc. (design of all sound effects)
  • Hardball 99, Accolade, Inc. (design of all sound effects)
  • Apocalypse, Activision, Inc. (design of all sound effects)
  • Wild 9, Interplay (design of all sound effects)
  • Beavis & Butthead Bunghole in One, GT Interactive (all sound design and dialog editing)
  • Beavis & Butthead Do U, GT Interactive (all sound design and dialog editing)
  • Test Drive 5, Accolade (sound design)

1997

  • Duckman: The Graphic Adventures of a Private Dick, Playmates Interactive Entertainment, Inc. (design of all sound effects)
  • Grand Slam, Virgin Interactive Entertainment, Inc. (design of all sound effects)
  • MDK, Playmates Interactive Entertainment, Inc. (design of all sound effects)
  • VMX Racing, Playmates Interactive Entertainment, Inc.
  • Treasures of the Deep, Black Ops Entertainment (design of all sound effects)
  • Battle Arena Toshinden 3, Playmates Interactive Entertainment, Inc. (dialog editing)
  • NHL Face-Off 98, SCEA (design of all sound effects, dialog editing)
  • Test Drive 4 (sound design), Accolade

1996

  • Powerslave, Playmates Interactive Entertainment, Inc.
  • Creature Shock, Virgin Interactive Entertainment, Inc. (additional sound design)
  • NeoHunter, Virgin Interactive Entertainment, Inc. (sound designer)
  • Spot Goes to Hollywood, Virgin Interactive Entertainment, Inc. (design of all sound effects)
  • Toonstruck, Sold Out Sales & Marketing Ltd. (design of all sound effects)
  • Skeleton Warriors, Playmates Interactive Entertainment, Inc. (design of all sound effects)

1995

  • Earthworm Jim 2, Playmates Interactive Entertainment, Inc. (design of all sound effects)
  • Madden NFL 96, Electronic Arts, Inc. (design of all sound effects)

1994

  • Earthworm Jim, Playmates Interactive Entertainment, Inc. (design of all sound effects)
  • Demolition Man, Virgin Interactive Entertainment, Inc. (sound design and implementation)
  • Walt Disney’s The Jungle Book, Virgin Interactive Entertainment, Inc. (sound design and implementation)

1993

  • Cool Spot, Virgin Interactive Entertainment (Europe) Ltd. (sound design and implementation)

Unreleased/Cancelled

  • Infinity Blade Dungeons, Epic Games (sound design and implementation)
  • Black 9, Majesco (design of all sound effects)
  • Moto X, Konami (design of all sound effects)
  • Deuce (design of all sound effects)
  • Felix the Cat (design of all sound effects)
  • Major Damage (design of all sound effects)
  • Little Blue, InXile Entertainment (design of all sound)