Who am i
My name is Grover Blom. My journey began at film and television school, where I primarily focused on editing short films and documentaries. During this time, I gained extensive experience editing arthouse films, which honed my attention to detail and storytelling skills.
After my time in the film industry, I spent several years exploring music composition, production, and sound design. This period allowed me to further develop my creative abilities, particularly in sound design and how music can enhance the atmosphere of a project.
With seven years of experience in the film industry, both professionally and semi-professionally, I eventually expanded my passion for creative work into game development. During this time, I have sharpened my skills as a solo developer, enjoying the variety and challenges that come with taking on multiple roles in game development. Although I have experience collaborating on creative projects, I primarily identify as a solo developer because I appreciate the dynamic and versatile nature of this role.
While I see myself fitting into various roles within game development, my greatest passion lies in working as a cinematic-animator/director. Bringing a story to life through cinematics is my ultimate challenge, and I would be honored to further develop my skills in this area through an internship.
cinematics
Despite my experience working with slow-paced arthouse films, where long silences often dominate, I have a strong desire to create more dynamic and varied scenes where powerful non-diegetic music and action play a prominent role. I thoroughly enjoy the freedom that a game engine provides, especially when it comes to lighting and decoupage.
I have a particular preference for dark, hazy scenes illuminated by neon lights, though I am also eager to explore and experiment with new types of environments and cinematic styles.
Decoupage
D.o.p.
Cinematic-lighting
3D Artist
As a 3D artist, I strive to maintain a diverse skill set. My work spans across environment art, texturing, environment lighting, 3D rigging, mechanical animation, and more. However, alongside my work as a cinematic artist, my primary focus lies in hard surface modeling.
I have a particular fascination with creating strange industrial machines (complete with mechanical animations) whose purpose remains a mystery. My preferred style often leans toward semi-realistic futuristic settings, though I am always open to exploring and experimenting with a variety of styles and atmospheres in my work.
environment-artist
hard-surface-modeling
texturizing
rigging
VFX
VFX in games is a relatively new area for me, particularly when it comes to particle systems. However, I thoroughly enjoy experimenting with shaders, and I find that my experience in post-production has been incredibly valuable in understanding these shaders. Additionally, I believe that my background in After Effects and working with light materials provides a strong foundation for creating effective and engaging visual effects.
Shaders
Particles
motion graphics
Music & Sound design
Although I no longer compose that much music myself, I want to briefly highlight the fact that I have spent a considerable amount of time in this field. I strongly believe in the importance of understanding music, audio, and especially rhythm when creating compelling cutscenes.
While I’ve discovered that music composing may not be my strongest skill, I have found a strong affinity for sound design. One of the exciting aspects of working in games is that they are interactive experiences where both music and sound design can be adaptive. The process of conceptualizing and creating these systems in audio middleware, such as FMOD, is something that deeply engages me.
