OBJECTIVE
- To use my skills and professional experience in a studio team environment, creating games that are next gen and leave the player with an unforgettable gaming experience.
SUMMARY OF SKILLS
- Well established in the creation of high quality environments and assets using techniques in low and high-poly modeling, projection, shaders, AO, diffuse, spec, normal, alpha, emissive maps, and lighting.
- Well versed in cinematic animation for both in game and pre-rendered cut scenes in terms of the creation of particles, breakables, and other cinematic assets.
- Highly experienced in analyzing performance for potential issues and performing optimization tasks to improve the game’s draw, GPU, and frame rates. Established in knowing what is put into the game in terms of art, effects, and gameplay, and how it will affect game stability and performance.
- Involved in giving feedback and taking instruction.
- Experienced in being a leader when called upon and helping others get things done.
- Organized groups of people to produce themed assets required for a variety of game levels.
- Extremely fast learner and open to change and growth.
PROFICENCIES
- 3Ds Max, Maya, Zbrush, Adobe Photoshop, CrazyBump, UDK (Unreal Development Kit)/Unreal Engine, Perforce, DevTrack
- Familiar with: Mudbox, After Effects, Dreamweaver CS3/HTML, Flash AS2.0/3.0
EMPLOYMENT HISTORY
Sony Santa Monica (SCEA) Santa Monica, CA Jan 2011—Feb 2013 Environment Artist
God of War Ascension (PS3)
- Created and animated in game emitters used as particle effects for dust, smoke, sparks, and rubble.
- Collaborated with producers, animation team, and environment team ensuring a cohesive vision with optimum quality.
- Modeled, unwrapped, textured, and animated assets throughout various areas of the game environment both in Singleplayer and Multiplayer experiences.
- Blocked out art sheet based off of approved concept and design for SP/MP.
- Created waterfall and water effects to be used in Bog and Desert.
- Textured Canyon Red Orb Chest used throughout canyon and MP.
- From my own modeled and textured assets, populated both Single player and Multiplayer maps (Canyon, Bog of the Forgotten, and Desert of Lost Souls).
- Created stoning texture change effect as the Stheno Beam Medusa in MP Bog gazes over the terrain.
- Worked closely with MP lead, Art Director, Game Director, Design, and Production teams to create levels that meet optimum quality, fun gameplay, next gen art in a timely manager against heavy deadlines.
- Worked with QA, Production, Programming, and Tech to identify and fix bugs that relate with art, gameplay, or optimization to create levels that visually leave a lasting impression and still run smoothly.
Electronic Arts: Danger Close Los Angeles, CA May 2010—Nov 2010
Asset Integrator
Medal of Honor (PS3, Xbox 360, PC)
- Modeled, textured, and created shaders for architecture and props based on concept; primarily in Bagram control tower.
- Worked on set dressing and polish passes on various areas throughout single player enriching the gaming environment.
- Assisted the lighting team by correcting baked lighting errors and improper light map layouts. Also, created assets and shader instances for window parallax and light source emissive to be used in Gardez.
- Identified performance issues on a per level basis in terms of draw, GPU, and frame rate.
- Performed multiple optimization passes based on identified performance issues to improve overall game stability and reach desired frames per second (FPS).
- Assisted EA Partner, People Can Fly (PCF), with their project: Bulletstorm. Identified and fixed performance issues to improve stability. Assisted with set dressing to improve the player experience.
- Collaborated with producers, visual effects (VFX), lighting, optimization, animation, environment, and design at both Danger Close and PCF teams.
EMPLOYMENT HISTORY
Sony Santa Monica (SCEA) Santa Monica, CA Aug 2009—Feb 2010
Cinematic Environment Artist
God of War III (PS3)
- Created and animated in- game emitters used as particle effects for dust, smoke, sparks, and rubble.
- Collaborated with producers, animation team, and environment team ensuring a cohesive vision with optimum quality.
- Modeled, unwrapped, textured, and animated assets and breakables* throughout various areas of the game environment both during gameplay and cut scene cinematics. *Anything that can be or will be destroyed.
- Animated destruction triggered in real time during both active gameplay and cut scene cinematics.
- Animated Army of Sparta shields and spears triggered for Kratos (character special moves).
- Rendered frames for assigned cinematics for later composition into .m2v format for engine.
- Dynamically lighted environments and characters for cinematics, both for defaults and on a per shot basis to match in game and achieve desired “look and feel”.
Luxoflux /Activision Blizzard Santa Monica, CA Jan 2009—March 2009
Intern: Environment Artist
Transformers: Revenge of the Fallen, The Game (Xbox 360, PS3)
- Created Level of Detail assets (LODs), insuring distance dependant details blend smoothly in the environment, making gameplay flow seamlessly, and further ensuring game immersion.
- Tweaked game AI navigation and collision for smooth gameplay in single/multiplayer modes.
- Manipulated in-game assets improving level design.
Digital Toybox Santa Monica, CA Aug 2008—Dec 2008
Environment Artist
Chadam (Animated film using Unreal - Unreleased)
- Modeled, unwrapped, and textured sets and assets for the “Chadam” project based on a given segment of storyboards and reference, and created modular pieces.
- Tested assets for use in terms of scale and texture quality using Unreal 3.0 Editor.
Game Wizards Production Team Los Angeles, CA May 2008—Dec 2008
Level Designer and Environment Artist (Oct 2008—Dec 2008)
Starfall (PC)
- Populated and lighted levels in UT3 Editor used in demonstrating the art style and game play of the GameWizards projected "Starfall".
- Coordinated with the lead concept artist and project lead ensuring a cohesive vision.
- Counseled and aided team members in problem solving, as well as techniques for clean modeling, textures, renders, and lighting.
- Created props and assets for in game use, including importing into Unreal Engine.
Street Lead and Environment Artist (May 2008—Sept 2008)
Killing Time (PC)
- Lead, managed, and tutored a group of 3-6 members in the use of 3Ds Max, Photoshop, and Crazybump.
- Ensured cohesive quality between all assets in terms of texture detail and style.
- Collaborated, problem solved, and worked with a team of level designers, sectional art leads, and an overall art lead.
- Utilized Unreal 3.0 Editor to import team assets and create shaders.
- Created in game assets and textures.
EDUCATION
The Art Institute of California Los Angeles, CA
- Bachelor of Science in Game Art & Design
- Maintained a GPA of 3.8
- Awarded Best of Quarter for Outstanding Portfolio
- Awarded Best of Quarter for Advanced Game Prototyping
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