Working as part of a small team introducing characters to the EVE Online persistent universe. Our small team developed the custom character creator with a unique grab and pull sculpting feature.

Responsibilities are minor on this game, mainly reviewing meshes for proper topology for skinning and animation. Other minor tasks working with the character modeling department for best practices.

While still early in development, tasks include model reviews for proper topologies, rigging, weighting, and some minor scripting to make rigging and animation setup easier. This includes human characters, as well as creatures.

The Character TD on inFAMOUS. Duties included technical art support for shaders, animation, lighting, and character pipeline. Lead a talented junior TD. Created all HDR light probes used in game. Created 200+ camera anims for all hands off cameras in cutscenes and mission starts. Many other tasks.

Hired at Naughty Dog in June 2003 as the technical artist on Mark Cerny's ICE Team. We developed Playstation 3 tools/tech for Sony's launch titles. Our involvement with Uncharted was extensive. It included nearly every aspect from animation, shaders, rendering, lighting, performance, and effects.

Insomniac was probably the closest non-Naughty Dog team we worked with. I worked with their character rigging and animation departments to develop with our programmers methods within the engine that would work with their specific needs. They had many types of characters that were humanoid, but needed tailored components for the alien creature designs.

Most of what I worked on with the Resistance team trickled down to the R&C team, so direct involvment on this title was minimal.

I worked with the environment team to develop Progressive Mesh technologies to address the unique aspects of viewing the terrain very close, and far away while maintaining good performance. Also, a lot of shader and texture work to ensure buildings and environmental materials retained their high quality look both near and far.

This was another example of Progressive Mesh usage. I worked with the environment team to implement Progressive Mesh technologies to address the unique aspects of viewing the terrain very close, and far away while maintaining good performance.

Hired at Naughty Dog in June 2003 as the technical artist on Mark Cerny's ICE Team. We developed Playstation 3 tools, tech, and development advice for most of Sony's launch and first generation titles. The team assisted in the presentations for E3/GDC presentations since the first public PS3 showings.

Primarily character animation and lighting work. I worked closely with Jason Parks, and other members of the technical art staff in San Diego to ensure our character system worked well with their mocap, and secondary animation needs. Lighting and shaders were also critical to making a realistic court, and animated clothing normal maps.

Primarily character animation and lighting work. I worked closely with Jason Parks, and other members of the technical art staff in San Diego to ensure our character system worked well with their mocap, and secondary animation needs. Lighting and shaders were also critical to making a realistic court, and animated clothing normal maps.

During the production of this game, I was part of the internal ICE Team at Naughty Dog developing Playstation 3 tools and technologies, so my involvement with the daily to day production of the game was limited. My primary responsibility was as the ICE Team artist, which was still a secret, but I was able to assist with art production and pipeline decisions.

During the production of this game, I was part of the internal ICE Team at Naughty Dog developing Playstation 3 tools and technologies, so my involvement with the daily to day production of the game was limited. My primary responsibility was as the ICE Team artist, which was still a secret, but I was able to assist with art production and pipeline decisions.

I was hired near the end of the production of this game, to be part of the "skunkworks team" at Naughty Dog, called the ICE Team. So I didnt directly work on the game, and did my best to stay out of the way during the last couple months of its development.

Designed and setup all of the characters rigs and skinning, including the create-a-character module and an automated facial animation system. Acted as Animation Team Lead overseeing a small animation staff, and worked closely with the programming staff to streamline the character system.

Took over after the main animator left, and reworked all of the motion capture and created animations for anything that didnt exist. Created all of the sky textures and did most of the in-game lighting.. Modeled random objects and did most of the scripted camera animations. I also worked with 2 others to get the company up to speed using Maya.

Created multiple levels, including all textures. Also responsible for sky textures and most of the in game lighting.

The Japanese cover was cooler than the US version, the game is the same.