Dwayne presided over Sony Playstation's service bureau in San Diego as it made the difficult transition from a Playstation 1 mode of game production, to a company producing contemporary, near film-level assets that were required by the Playstation 3 gaming console. A tremulous time for sure, Dwayne attended to the challenge of company-wide growth with a confident ease. He charted new waters as project scope grew exponentially and was not afraid to bring in any/all talent he thought might help address these new production demands. The most ambitious pre-rendered project ever undertaken by Sony Playstation San Diego was executed during Dwayne’s watch. Having worked with Sony recently, it’s fair to say that many of the techniques and procedures developed during those early Playstation 3 days are still informing the standards and practices of the crew there today.

I had worked for and with Dwayne Mason at Playstation Cinematics. Dwayne ran the whole show. At the time the studio ramped up to 100 + man VFX facility for world wide Sony game developers. The other arm of the facility was the largest Mo-Cap studio in the United States. Also under Dwayne's supervision was a scan studio housing the world most sensitive Attos Scanner. The Pre-rendered cinematics group was doing $10+ million a year in asset, mocap, and cinematic contracts. Under Dwayne's supervision the studio developed a very sophisticated mental ray pipeline (unheard of in-game studios). Dwayne was unafraid to higher top Hollywood movie talent to fill gaps and advance a unique studio. I pinched myself at the level of talent there was at one time......There was a guy there with an Academy award next to a tool's writer who was X-N.A.S.A. I couldn't beleive this was a game studio. Soon the studio devloped a digital creature and character pipeline. Innovative image based texturing allowed cutting edge realsim. A "universal" character was developed as THE option for next-gen assets as well as the first game studio to embrace Z-brush. The research and development team expiremented with Wavelet compression which was the same stuff ILM was using for their OPEN EXR format. So when I gave a briefing for the CEO of Sony ....Phil Harrison at my desk, I new Dwayne and the facility was doing something right. It was an exciting time for a branch of Sony that was fighting off old business models amongst the developers. Now that I have worked for Sony Playstation (game division) and Sony Imageworks (movie division)......I can't believe how close that studio was fundamentally to the big movie houses. I would love to work with/for Dwayne anytime.

Dwayne and I were peers and SCEA and worked closely together. Dwayne was responsible for running the entire budget and headcount for the Art and Animation services group. I highly recommend Dwayne in his work capabilities and proactive stance at tackling difficult problems as well as see the best future vision for a company. His detailed focus on customer service made him a great asset to the central team.

Dwayne presided over Sony Playstation's service bureau in San Diego as it made the difficult transition from a Playstation 1 mode of game production, to a company producing contemporary, near film-level assets that were required by the Playstation 3 gaming console. A tremulous time for sure, Dwayne attended to the challenge of company-wide growth with a confident ease. He charted new waters as project scope grew exponentially and was not afraid to bring in any/all talent he thought might help address these new production demands. The most ambitious pre-rendered project ever undertaken by Sony Playstation San Diego was executed during Dwayne’s watch. Having worked with Sony recently, it’s fair to say that many of the techniques and procedures developed during those early Playstation 3 days are still informing the standards and practices of the crew there today.

I had worked for and with Dwayne Mason at Playstation Cinematics. Dwayne ran the whole show. At the time the studio ramped up to 100 + man VFX facility for world wide Sony game developers. The other arm of the facility was the largest Mo-Cap studio in the United States. Also under Dwayne's supervision was a scan studio housing the world most sensitive Attos Scanner. The Pre-rendered cinematics group was doing $10+ million a year in asset, mocap, and cinematic contracts. Under Dwayne's supervision the studio developed a very sophisticated mental ray pipeline (unheard of in-game studios). Dwayne was unafraid to higher top Hollywood movie talent to fill gaps and advance a unique studio. I pinched myself at the level of talent there was at one time......There was a guy there with an Academy award next to a tool's writer who was X-N.A.S.A. I couldn't beleive this was a game studio. Soon the studio devloped a digital creature and character pipeline. Innovative image based texturing allowed cutting edge realsim. A "universal" character was developed as THE option for next-gen assets as well as the first game studio to embrace Z-brush. The research and development team expiremented with Wavelet compression which was the same stuff ILM was using for their OPEN EXR format. So when I gave a briefing for the CEO of Sony ....Phil Harrison at my desk, I new Dwayne and the facility was doing something right. It was an exciting time for a branch of Sony that was fighting off old business models amongst the developers. Now that I have worked for Sony Playstation (game division) and Sony Imageworks (movie division)......I can't believe how close that studio was fundamentally to the big movie houses. I would love to work with/for Dwayne anytime.

Dwayne and I were peers and SCEA and worked closely together. Dwayne was responsible for running the entire budget and headcount for the Art and Animation services group. I highly recommend Dwayne in his work capabilities and proactive stance at tackling difficult problems as well as see the best future vision for a company. His detailed focus on customer service made him a great asset to the central team.

Dwayne presided over Sony Playstation's service bureau in San Diego as it made the difficult transition from a Playstation 1 mode of game production, to a company producing contemporary, near film-level assets that were required by the Playstation 3 gaming console. A tremulous time for sure, Dwayne attended to the challenge of company-wide growth with a confident ease. He charted new waters as project scope grew exponentially and was not afraid to bring in any/all talent he thought might help address these new production demands. The most ambitious pre-rendered project ever undertaken by Sony Playstation San Diego was executed during Dwayne’s watch. Having worked with Sony recently, it’s fair to say that many of the techniques and procedures developed during those early Playstation 3 days are still informing the standards and practices of the crew there today.

I had worked for and with Dwayne Mason at Playstation Cinematics. Dwayne ran the whole show. At the time the studio ramped up to 100 + man VFX facility for world wide Sony game developers. The other arm of the facility was the largest Mo-Cap studio in the United States. Also under Dwayne's supervision was a scan studio housing the world most sensitive Attos Scanner. The Pre-rendered cinematics group was doing $10+ million a year in asset, mocap, and cinematic contracts. Under Dwayne's supervision the studio developed a very sophisticated mental ray pipeline (unheard of in-game studios). Dwayne was unafraid to higher top Hollywood movie talent to fill gaps and advance a unique studio. I pinched myself at the level of talent there was at one time......There was a guy there with an Academy award next to a tool's writer who was X-N.A.S.A. I couldn't beleive this was a game studio. Soon the studio devloped a digital creature and character pipeline. Innovative image based texturing allowed cutting edge realsim. A "universal" character was developed as THE option for next-gen assets as well as the first game studio to embrace Z-brush. The research and development team expiremented with Wavelet compression which was the same stuff ILM was using for their OPEN EXR format. So when I gave a briefing for the CEO of Sony ....Phil Harrison at my desk, I new Dwayne and the facility was doing something right. It was an exciting time for a branch of Sony that was fighting off old business models amongst the developers. Now that I have worked for Sony Playstation (game division) and Sony Imageworks (movie division)......I can't believe how close that studio was fundamentally to the big movie houses. I would love to work with/for Dwayne anytime.

Dwayne and I were peers and SCEA and worked closely together. Dwayne was responsible for running the entire budget and headcount for the Art and Animation services group. I highly recommend Dwayne in his work capabilities and proactive stance at tackling difficult problems as well as see the best future vision for a company. His detailed focus on customer service made him a great asset to the central team.