I have 5 years of industry experience working primarily as an Technical Artist. I started my career out at InXile Entertainment, where I worked on Wasteland 2, and Torment: Tides of Numenera where I was responsible for all of the VFX, Lighting, Level Design and World Building, as well as a few environment assets on 5 levels. I also acted as an outsourcing manager giving feedback to artists for iterations and approving final assets.
Then I moved onto Highmoon Studios where I contracted on Call of Duty: Advanced Warfare as a technical artist and art optimizer.
I've had the pleasure of working at Frostkeep Studios for the past 3 years and counting, working as a environment/technical artist for Rend and other unannounced projects. I've been responsible for rigging, animating and importing props/characters from Maya and Max to Unreal 4, creating gameplay blueprints, organizing folder structures and handing assets off to designers/engineers.
I started my wild ride of a career in sunny Newport Beach while finishing up my Bachelors of Science, working 40-hour weeks and taking a full accelerated course load to graduate with honors and making a huge impact at InXile along the way.
From VFX for cutscenes to paper-designing 5 levels and taking them to completion, crunching out a 48-hour weekend R&D screenshot for Kickstarter, prototyping a pipeline for pre-rendered backgrounds that saved Torment: Tides of Numenera's from not hitting its funding goals - I learned an incredible amount working alongside the brilliant people at inXile. And being able to see the beach from the kitchen is a view yet to be beat!
I had the opportunity to come and work on Call of Duty: Advanced Warfare as a Technical Artist, contracting for Highmoon Studios. My responsibilities included optimizing level clutter/decals, VFX and rigged vehicles created by other artists for NextGen consoles, so that they would run at 60 FPS on X360/PS3. I also fixed visual bugs such as Z-fighting, objects clipping or floating inside GTK Radient (map editor) as I discovered them during playtests and as the QA team reported them.
I started out with Frostkeep as their 2nd employee, and have had the extreme pleasure of watching the studio grow from 4 people to 20 people, and it's been an incredible journey. I've been working as a environment/technical artist for Rend and other unannounced projects. I've been responsible for rigging, animating and importing props/characters from Maya and Max to Unreal 4, creating gameplay blueprints, blendspaces, and VFX, organizing folder structures and handing assets off to designers/engineers.