Resume

Magnopus / August 2023 - Current / Lead Lighting & Look Dev Artist

Work closely with the art, technical art, and design departments to conceptualize and implement real-time lighting solutions that satisfy both aesthetic and gameplay objectives.

The Walt Disney Company / June 2019 - June 2023 / Technical Art Director

Art directed multiple artistic styles to achieve a cohesive look within the greater production design, and also maintained technical requirements of the episodes.
Supervised all asset, vfx, and look/lighting departments for the productions: Baymax Dreams Season 2, Big City Greens "Virtually Christmas,” and Unreleased IP 1, 2, & 3.
Production designed an innovative painterly style for real-time, and art directed the custom render engineering efforts for the production.
Developed both artistic and technical pipeline standards for a brand new real-time pipeline to integrate into current Disney TV broadcast workflows.
Partnered with Producer in building the team and future production strategy.

Fable Studio / June 2018 - May 2019 / Technical Art Director

Oversaw the work of both in house and remote asset artists for the production, Wolves in the Walls, and ensured all assets met artistic and technical guidelines.
Developed both artistic and pipeline standards; set design and prototyping within mocap restrictions; asset setup and exports, material instancing standards, etc.
Actively partnered with production and studio management in recruiting and career development efforts. Helped grow the environment team and keep studio morale high during tight deadlines and external deliveries.

Autodesk — Facebook — Fable / June 2017 - May 2018 / Freelance Artist

Worked both independently and collaboratively across various studios as a freelance artist and consultant on VR/AR experiences.
Collaborated directly with clients to understand their workflows and tailor a custom VR pipeline to suit their needs. This included building both one off solutions as well as packaging repeatable portions to make implementation seamless and documenting all steps of the process for training and reuse.

Oculus Story Studio / January 2017 - May 2017 / Lead Shading Artist

Worked directly with shader writers and game engineers to production test and develop non-photorealistic rendering techniques for the immersive VR experience, Wolves in the Walls, until studio closure in May 2017.
Collaborated directly with the Production Designer to translate highly stylized concept art to a VR space. This necessitated developing global procedural materials, custom textures, and various rendering functions.

Pixar Animation / March 2015 - January 2017 / Shading Technical Director

Responsible for shading of assets and locations as a member of the Sets Team for the productions: The Good Dinosaur, Cars 3, Coco, and Toy Story 4.
Refined and set new shading pipeline standards such as generating fiexible global materials for streamlined workfiows during the studio adoption of Katona.
2017 VES Award Nomination for 'Outstanding Created Environment in an Animated Feature' - Cars 3 "Thomasville."

Dreamworks Animation / September 2012 - February 2015 / Surfacing Artist

Surfaced props, sets, and characters to meet a variety of art styles for the productions: Mr. Peabody & Sherman and B.O.O. (unreleased).
Production tested new software for viability in current studio pipeline, and provided software demonstrations and training sessions for other departments.
Led and contributed to multiple task forces with the goal of diversifying the Surfacing department's responsibilities.

"Real-Time Non-Photo-Realistic Rendering” - US Patent 17/971,383 Filed Oct 21, 2022

"Production Asset Library Management” - US Patent 17/326,158 Filed May 20, 2021