Cinematic Artist / UK
Adam
Broder
Cinematics and trailers for games. Directed, shot in engine, cut, and graded. By me.
Cinematics and trailers for games. Directed, shot in engine, cut, and graded. By me.
Directed, lit, shot in engine, VFX, composited and graded in ten weeks. Debuted at Gamescom Opening Night Live. For Paradox.
Announce trailer for Kaidan, debuted at Gamescom 2025. Lit and shot the cinematics, cut the trailer, and graded it.
Launch trailer for Funcom, via Fire Without Smoke. The brief: feel like the films, but obviously a game you can live in. All shot in engine.
A 101 trailer for Starship Troopers: Extermination, with PunkSock. How the game plays: the bugs, and the choices players make. Shot and lit the cinematics, and captured gameplay.
Release date reveal for Funcom, via Fire Without Smoke. All shot in engine.
Story trailer for Sparks of Hope, via Fire Without Smoke. Captured the game and cut the trailer.
Fully CG trailer and season opener for the BBC's Saturday-night flagship. Directed, shot, and cut it. Animation by Rekindled Studios.
Reveal trailer for Hellboy Web of Wyrd, via Fire Without Smoke. In-engine cinematic work.
Launch trailer for Undisputed. Cinematics.
Trailer for Planet Zoo's Arctic Pack, for Frontier. Edited, captured, and graded.
Desktop apps and editor plugins, built from what a decade in engine taught me. Each one is a tool I wished I'd had, made so artists can get on with the creating. Six so far.
Understand your Unreal graphs.
Load any graph and ask how it works. The answer is drawn on the canvas, anchored to the nodes. Describe what you need and get a wired Blueprint, Material or Widget back, then paste it into Unreal or deploy it in one click. Seven graph systems, Blueprints through MetaSounds and PCG. Bring the AI you already use; you choose what leaves your machine.
The cinematic canvas for Unreal's Sequencer.
Capture Sequencer shots as portable cards that outlive the project. Plan with references, palettes and checklists, reuse setups across UE5 projects without rebuilding, and send cameras out to After Effects or Fusion.
Review on your own drive. Send to anyone.
Frame-accurate notes, drawn markup, versions and a merged timeline, for video, images, audio and 3D assets. Send a review as a single file someone double-clicks, or run it off a drive you already own. No cloud, no account.
Reparent anything in Sequencer. Nothing moves. Every transform keyframe is recalculated for you.
Add tracks and properties without the menu closing. A persistent panel beside Sequencer.
Connector
Hit Deploy in GraphDeck and the graph is in your Unreal project. Send one back the other way to ask how it works. Free, localhost only, nothing to compile.
I build cinematics inside the engine: Unreal mostly, Unity when the job calls for it. Lighting, cameras, blocking, all in the level, on the game's own assets. On bigger productions that runs from previs and mocap direction through to final polish.Unreal Engine 5 · Sequencer · Unity
Brief to delivered master. I direct the story, the pacing, and the arc that makes a reveal land. More than a decade of trailers now, premiered at The Game Awards, gamescom Opening Night Live, the PlayStation Showcase, a Nintendo Direct, the PC Gaming Show, the Future Games Show and E3. Over 35 million views on YouTube between them. Some clients hand me the whole piece; others slot me into one stage of theirs. Both work.Storyboarding · Shot Design · Creative Direction
Real gameplay, captured to look its best. Capture is rarely straightforward: every engine has its own fight, and after a decade of it I've probably fought yours before.Unreal · Unity · CryEngine
I cut trailers, cutscenes, and social spots from capture and engine output, and build the motion graphics around them, 2D and 3D. The edit is where the piece finds its shape.Premiere Pro · After Effects
Everything goes out finished: graded, cleaned, mastered. I build the grade around the look you're going for.DaVinci Resolve
I've been making game trailers and cinematics for just over a decade. It started at PlayStation as an editor, then Automaton, Frontier, and Fire Without Smoke, learning every engine's quirks along the way. The last staff job was Splash Damage, senior on the cinematics team, directing mocap and building cutscenes from previs to final polish.
These days I'm freelance, working with studios directly and through agencies. Some hand me a brief and get a finished master back; others embed me in their team for the cinematic work. Both suit me.
Home is Bedford: wife, two kids and a little dog.
Tell me the game, the date you're aiming for, and whether footage exists yet or needs shooting. I'll get back to you within a couple of days.