I was at Mighty Coconut three separate times, which I choose to read as a good sign.
2021 to 2026
Software Engineer, then DevOps Lead.
The automated Unity build and release pipelines behind Walkabout Mini Golf were stood up by an external engineering firm brought in before I arrived. I inherited them, then spent years improving and maintaining them: eight or more platforms out of one codebase, over and over, through launch and years of DLC and live operations. The game ships on Quest, Rift, Pico, SteamVR, Viveport, PSVR2, and iOS.
Taking over somebody else’s build system is its own discipline. You do not get to choose the shape of it, you inherit every decision without the reasoning behind it, and it has to keep shipping the whole time you are changing it.
Build times came down by about 85% across that stretch, through a mix of pipeline and infrastructure work. The number is the part people repeat, but what it actually bought was a build you run whenever you want instead of one you schedule your afternoon around.
The rest of it: CI/CD on Jenkins, Perforce, and AWS. Hybrid on-prem and cloud infrastructure for a distributed team of 35 and up. Localization across every platform. Platform SDK integration across a lot of XR and mobile targets, including hardware that is still yet to ship. Internal Unity tools aimed at the parts of a release cycle where people were losing hours to debugging.
2016 to 2019
Pipeline Technical Director and Unity Developer.
I was brought on for Kings of Atlantis, an animated series that ran thirteen episodes in 2017. IMDb credits me as a digital artist, which is one way of saying compositing, render wrangling, pipeline, and IT. That is the shape of a small studio: the job is whatever currently stands between the show and the finish line.
The pipeline itself ran on Shotgun, now Autodesk Flow, with Shotgun Toolkit on top of it as pipeline-in-a-box. I got up to speed on Toolkit and PySide, and built artist tools and automations that made production flow.
The render farm for it was Redshift on GPUs. It outlived the show by years, and the same machines turned up again later as the ones building a golf game.
My hand in Lazer Team 2 was much lighter. I was on the pipeline and render farm side for that show, tracked a handful of shots, and composited about six of them.
After the series: 57° North and Laser Mazer, both Unity titles on iOS and Android, plus the studio’s automated production pipelines and the infrastructure underneath all of it.
August to October 2014
Intern, for a few months, shortly before Moontower. This is where all of it actually started, and the reason I knew the place well enough to go back twice.