Please read below for areas that I a break down my experience.
For the majority of my 12-year career in the games industry, I have specialized in 3D Hard Surface and Character modeling. I use modern techniques in Maya (15 Years) and 3DS Max (13 Years) utilizing crease sets with OpenSubdiv and Quad Chamfer. I have integrated CAD modeling workflows with programs such as Fusion 360 and Solidworks. I am also familiar with hard surface techniques in Zbrush & Mudbox and have a background with User Interface Design, Motion Graphics and Particle FX.
I was the lead artist on all of the bike and rider models for the latest "MX vs ATV ALL OUT" at Rainbow Studios. I personally modeled 20 bikes and parts. I also oversaw and trained many of my coworkers while reviewing all assets produced by outsourcing teams for vehicles and riders.
GAME ENGINE EXPERIENCE
I have been using Unreal Engine in a professional production environment for 3 years at Rainbow Studios, formerly know as Big Bang Entertainment. In March of 2018, Rainbow Studios released "MX vs ATV ALL OUT", which uses Unreal Engine. Currently, I am working on the newest announced Monster Jam Steel Titans title and another undisclosed game title which both are being created in Unreal Engine 4. I have also worked on the old Rainbow Studios proprietary game engine for MX vs ATV Supercross Encore (2015) and MX vs ATV Supercross (2014). While working at 2XL Games, I worked on their proprietary 2XL game engine. Those titles included console & PC games such as Baja Edge of Control (2008/2017), Jeremy McGrath's Offroad (2011), 2XL Supercross (2009) and a number of mobile iPhone and Android related games released from 2009 to 2014.
ENVIRONMENT ASSET EXPERIENCE
I have created environment assets, textures and set placements for the current title MONSTER JAM STEEL TITANS, MX vs ATV ALL OUT and the other games listed above. I am familiar with utilizing Marmoset Toolbag and Unreal Engine to preview and test the lighting and texturing for assets before they go into the levels. I helped create a streamlined lighting model to double check all assets with unified lighting for PBR accuracy before the assets were put into the game engine. I am also familiar with modular modeling workflows, set dressing and utilizing dynamic material layering with vertex color or a combo mask in Unreal Engine. I have also taught a class on Environment modeling at the Art Institute of Phoenix.
CHARACTER MODELING EXPERIENCE
Many of the organic assets I have worked on involve character art. I modeled the current male and female riders in MX vs ATV ALL OUT. I first simulated the wrinkled uniform using a new technique in Marvelous Designer 5 and then finalized the folds and creases in Zbrush 4 R7 for the high poly model. From there, the game models were retopologized in Maya's Live Surface via Quadraw and textured in Substance Painter.
I also worked on character modeling for the following mobile games; Ricky Carmichael’s Motocross Matchup (2011) and 2XL Supercross (2009).
I am proficient with Allegorithmic Substance Painter 3D painting and have been using that professionally and personally since its release in 2014. I have been using Photoshop since 1997. Photoshop was the main painting package used in MX vs ATV ALL OUT. During game production, many of the artists on our team did not have working knowledge of Substance Painter yet. To mitigate this, I was able to utilize a plugin called Expresso to assist in streamlining the source and intermediate process ensuring proper PBR workflows to the game Engine. I also developed training methods to ensure all artists were using Photoshop with a linear workflow for PBR. All color space needed to be at Grey Gamma 2.2 in order to not break the linear values of Roughness and Metal in a PBR Metal Rough workflow. I also try to stress a non destructive workflow in all texturing and modeling software. As the production pipeline moves forward and more artists become familiar with Substance Painter, I have also setup special custom outputs to bypass Photoshop completely.
For Substance Designer I am also familiar with setting up special outputs for source "*.sbs" file adjustments and even Substances without a Source by recreating the "*.sbsar" with custom outputs via a new "*.sbs". These kind of modifications allow for reduction of texture sampling draw call amounts via an SFX/Combo map output instead of the traditional separate AO, Rough, Metal outputs. I will sometimes expose or create extra parameters to use when adjusting a Substance if I feel it is lacking.
3D SOFTWARE EXPERIENCE
I have worked with 3DS Max since 2005 and Maya since 2003. Rainbow Studios and 2XL Games primarily used 3D Studio Max. Maya has become the main modeling program at Rainbow Studios the last three years. I am extremely skilled with both programs and have used both in MX vs ATV ALL OUT and previous games that I have worked on.
I am also experienced with Cinema 4D (6 Years) and am currently learning the new game development tools for Blender, Modo and Houdini in my free time. This includes round edge shader workflows.
MY FUTURE GOALS
My future goal is to carry forward my enthusiasm for 3D Modeling and design in my employment choices. I welcome challenges that are out of the ordinary. My ambition is employment with companies that will inspire my imagination and creative drive. I never stop learning and I am always on the hunt for new knowledge and ways to improve my skills.