Communication is key. I put emphasis on communicating effectively with teammates on all manners regarding the project’s direction in terms of story and emotion in order to create audio that effectively showcases the team’s vision and conveys the intended storytelling for players.
With 6 years of professional experience in the games industry & 7 commercially shipped games, including sound design, audio integration and audio programming, I understand how to work with you to make audio a success for your game.
Currently working at Stillalive Studios as a Sound Designer (including as Audio Lead on a major Project). I focus on solid communications and quick feedback to achieve the best results so that we can captivate your players with meaningful audio.
"Cai is so insanely good in multiple dimensions – artistic genius, generous, lovable and kind, professional, extreme quality and a pleasure to work with."
"I have worked with Cai on lots of projects over several years, and his attitude to work, attention to detail and keen ear for how a project should sound have been invaluable throughout."
"Working with Cai has been invaluable to my work. He has been really cooperative and easy to work with, and seems as excited about this project as I am."
I am a regular speaker at games and other tech conferences: over 6 talks and several panels speaking about Sound Design, Past projects, Source Control, VR, Business and Neurodiversity in Games.
Below are some of my talks, and a recent Sound Design breakdown I made after being on the winning team at Airwiggles Sound Design Showdown 2023!
In this talk I show the audience what goes into creating sound effects for games such as: what to consider when it comes to different assets, recording materials, layering, process and why I approach sound effects this way.
Neurodiversity is not spoken about much in the games industry and is something that affects me on a daily basis, I wanted to be on this panel to discuss just that and hopefully help others along the way.
In this talk I show my creative and technical process of making audio for VR , and the challenges I faced creating sound effects and audio programming for VR.
I join creative professionals in Game Audio to chat about our creative process, day to day lives, challenges we face and how we entered the industry in the first place.
I sit down with Henry Scott of Remedy Entertainment & ScottGameSounds to give an introduction to how source control works for game audio.
Working on Kandria was a unique and inspiring process, I had the opportunity to make a fresh sound palette.
As I was brought onto the project early, I had the time to record unique sound sources such as flaming circus staffs, obscure construction equipment, and scrapyard impact sounds which gave the game its own identity among its peers.
More sound breakdowns coming soon!
Squingle was a very in-depth and original game. I was hired very early in development which meant that I had humongous amount of headroom which allowed me to make very personal music and sound for this game.
By working closely with the developers, I was able to go above and beyond to give the game the audio soundscape it deserves.
More sound breakdowns coming soon!
For Operation Outsmart I was tasked with creating exciting and wacky weapons, vehicles, building, environment and UI sound effects to suit the game, recording construction equipment and ambiances to help give the game a unique identity.
I also worked closely with the whole team and regularly attend meetings to assess project scope and necessary changes.
Sound breakdowns coming soon!
