I started out wanting to make a cool snow-cat I found online, then found it needed to have someplace to call home... And somehow I ended up making this whole environment as an excuse to learn UE4 and learn DDo2/NDo2. Not really sure how it happened but hey I made some art and learned a new engine and some new tools!
I started on Halo 4 at the beginning of 2012 as a Technical Environment Artists. My job was to keep the levels running in memory and at a consistent 30fps with out diminishing the quality of the art in the levels. My job duties consisted of some art tasks, but mostly performance diagnostics, memory monitoring, level volumes/seams creation, collision mesh generation, occlusion volume passes, and other tech art related tasks. I was responsible for the first two missions of Halo 4 and two DLC map packs.
|This was the first map I worked on, it was one hell beast to get to run, but it was worth it.|
|This was the second map I worked on, it took a lot of work to get it to all be seamless but very rewarding.|
|This was one of the two maps I worked on for the Crimson DLC map pack. This was a map no one said could be done.|
This is a Environment Art Test I did in 2011. I was supplied with a rough concept and a rough block out of the concept. From there I did the modeling, texturing, and lighting. All the work was done in 3DSMax and Photoshop. To save time most of the normal maps were created with NDo2 in Photoshop. The scene uses a total of nine materials with each texture maps at 1024x.
|Main view from the concept art.|
|A few more angles of the scene.|
For this game I started at the very beginning of pre-production, and stayed on until it's cancellation. During that time I worked directly with the design team figuring out metrics that would work with arts needs and designs needs. I co-designed a building generation tool and system that gave design the ability to build grey box buildings that could be swapped out with different art styles, as well as add inner room visibility.
I also built out a number of tilesets for the building generator and interior rooms as well as directed other artists in building their sets. I did a number of smaller props but mostly all big ticket props. I was the "go to" guy for all things involving the LOD system as well as any new shaders that came online. I helped design and figure out what new shaders would be needed. I made some high poly prerendered cinematic environment work. I also did a lot of the training for people joining the project as well.
|A view of an early Prototype.|
|This was the first building tileset that I made for the game. It was made up of around 24 tiles with LODs.|
|This was the second set I made. It was made up of around 16 or so tiles with LODs.|
|This was the third set I made. It was made up of around 12 or so tiles with LODs.|
|This was the last tileset I made. It was made up of around 120 tiles with LODs.|
|These are a few of the interiors that I worked on. All the details are baked on to low poly geo with a 1024x emissive map.|
|Here are a few more interiors for a different building set. All use the same tech as above.|
|This cargo container is one of the props I made using a tint shader.|
|This is one of the first props I made for the game using LODs. All the LODs use the same textures.|
|One of the rooftop vents I made. All the LODs use the same textures.|
|Another one of the rooftop vents I made. All LODs use the same textures.|
I started on F.E.A.R. 2 just after it had finished pre-production and was on the project until the last DLC was almost finished. During that time I made hundreds of assorted props ranging from signs to some big ticket items, such as the Alma tree and swing. I also made hundreds of assorted tiling material sets. I worked on every level of the game, some more than others.
|A shot of some of the smaller props I made. I had a lot of fun with the names on the sign.|
|A shot of the window washer I did.|
|I did the bed in the penthouse as well as all the wood work, doors, and the table lights.|
|I loved working on this level. I did almost all of the props and materials as well as the destruction states.|
|Same level, showing one of the projector lights I made.|
|Another shot of the level showing some of the smaller details.|
|For this level I did a lot of destruction including the entry hole, the mangled catwalk, and the destruction it points to.|
|This is part of that same level showing some more destruction.|
|This is one of the many destroyed areas in F.E.A.R. 2 that I made.|
|The Alma tree as seen at the end of F.E.A.R. 2. Also in the background are some pine trees I did.|
|This is one of the DLC maps that I worked on. I was the primary artist on this level.|
|I made everything in this shot other than the spinners, ball return shell, and the stuff outside the cabinet.|
|This is a shot from above of that map. The play surface was made at the end to reflect any changes needed by design.|
|Various crates/crate like objects from F.E.A.R. 2.|