Good people.
Great chemistry.

I’ve worked in feature film and animation for studios including Disney, Amazon, and Rodeo FX, focusing on real-time workflows and visual storytelling.

I’m an Unreal Engine artist and have worked as a Technical Director at Walt Disney Studios, using real-time tools to help bring worlds, characters, and ideas to life. My background spans film, animation, and interactive projects, with a strong emphasis on practical problem-solving and creative iteration.

Born in California, I’m a self-taught artist and writer. I’m a family man, I love surfing and skateboarding, and I’m usually creating something—whether that’s art, a story, or a new idea. I care about people, art, good stories, and making work that feels honest and built to last.

He's worked on games as diverse as the flight simulator Falcon 4.0 to The Sims, and everything from massively multiplayer games to simple mobile titles. He has worked with many top studios including SEGA, EA, Activision, and more. With four releases under his belt as lead engineer and eight other releases as a contributor, he has more than enough experience to tackle any project. He has spent the last 12 years working as a technical director for Nvidia's GeForce NOW streaming platform and is now happily retired and working on pet projects.

Marcelo’s credits include art direction on Surf’s Up and production design on Hotel Transylvania, alongside work for Disney and Sony Pictures Animation.

At Walt Disney Imagineering, he helped design Disneyland’s Toontown and served as lead designer for Roger Rabbit’s Car Toon Spin.

A dedicated mentor, Marcelo also shares his approach to drawing, composition, and visual storytelling through his Into the Design Lab lessons.

My professional background encompasses large, renowned studios like Rockstar Games and Bungie, as well as successful indie studios, startups, and a niche hobbyist game (Zwift) that have had over 1 million paying users. The AAA games I have contributed to as a designer have been played by over 140 million people and generated ~$5 billion.

I have designed and shipped a wide range of features and tooling workflows spanning NPC behavior, progression, rewards, mechanics, curated social groups, narrative systems, cinematics, UI/UX, live events, mechanics, in-game activities, incentive models, and content pipelines. I love collaborative development and making creative ideas come to life.

I am a California native and enjoy several balance and flow based sports like slackline, AcroYoga, snowboarding, and firestaff.

Emily Cronander brings a multidisciplinary design background to her work as a UI Artist at Eranos Studios. Her experience includes freelance design, with skills across typography, web design, art direction, and page layout.

She studied at the University of Tennessee at Chattanooga and is based in the San Francisco Bay Area.

His work spans major studios and productions including Godzilla: King of the Monsters, Monsters at Work, and numerous primetime series and feature films.

Throughout his career, James has held key roles at studios such as Disney Television Animation, Warner Bros. Animation, Nickelodeon, and leading VFX houses, contributing across compositing, lighting, look development, and pipeline design. He brings a deep understanding of both creative direction and technical execution, with experience building scalable pipelines and leading global teams across complex productions.

More recently, James has worked across commercial, game, and emerging media projects, supporting high-profile marketing campaigns, developing real-time workflows, and supervising VFX and lighting for projects ranging from indie series to startup game development.

Outside of production, James has a passion for photography, film, and storytelling. A lifelong fan of Star Wars, he draws inspiration from cinematic world-building and visual design. Above all, he values time with his family, which continues to shape his perspective as both an artist and collaborator.

His work spans the full character pipeline, including animation, rigging, modeling, texturing, and pre/post visualization, with a strong focus on performance-driven character work and real-time workflows in Unreal Engine.

At Walt Disney Studios, Tom has contributed to real-time character experiences, actor-driven performances, and production animation pipelines that bridge cinematic storytelling with interactive technology. He specializes in bringing expressive, believable character performances to life while collaborating closely with directors, technical teams, and cross-disciplinary artists.

For the past three decades, I've had the privilege to work at some of the finest game studios in the business such as Electronic Arts, Midway Games, ArenaNet, Ubisoft, Toys For Bob, and Skydance Interactive. Of the games I have contributed to as a designer include 007: Everything or Nothing, The Lord of the Rings: The Third Age, The Godfather, John Woo presents: Stranglehold, The Wheelman, Guild Wars 2, the DLC for Assassin's Creed III, the Spyro Reignited Trilogy, and Skydance's Behemoth.

I'm a first generation game designer, having become one back in 1995. I'm regarded as a senior/lead generalist, but my focus has been split between content and systems design throughout my career. I know how to use many tools, but I'm specialized in the Unreal engine and with Unity. Game design to me is holistic and I'm always cognizant of how what we make translates to how the player will enjoy the experience.

Aside from being an avid gamer of all types, I enjoy night rides on my bike, public speaking about obscure history subjects, and exploring old bookshops. My wife and I are proud owners of a house in Oakland, CA where we care for our rambunctious dog, Betty White.