Things I'm useful with
My Unreal knowledge is Self-Taught. Since learning UE4 I have worked on Triple AAA Cinematic titles that have used custom UE3 and UE4.
Python 2.7 is my version of choice. Professionally I have been using Python for 6 years. Here are some of the more popular APIs I use: Pymel, PySide, Shotgun, Agisoft, QUBE, SoftBody, PIL, Faceware, and FaceShift
I use QtDesigner and custom code to create GUIs. All projects in the last year have been created with PySide, which is a wrapper around pyQt. As a side project I am streamlining the process of turning a .ui file into a python file without destroying its contents, allowing for faster development.
I have spent Five years using Maya professionally; developing tools in Python, Mel, and C++ to support artists and research solutions for the project/studio.
I have used PhotoShop in the graphic design and the 3D Texture use-case of the program. Also a great tool for mocking up UIs that contain large portions of art, and to document tools for artists.
MEL is a needed skill. This skill was honed at TTF as the entire codebase was MEL. This knowledge is still fresh due to the large amount of MEL throughout forums and at studios.
I have taken multiple courses and read numerous books on C++. No studio to date has needed my C++ knowledge, however the OOP structure that is taught alongside has been invaluable.
MotionBuilder was the main program used on the last project for AAA Game Cinematics. Assessed tools from the Client as well as supported Animators. Cleaned up files and delivered entire scenes to client.
While at SCAD I used Houdini on multiple projects, utilizing the different aspects of the program. The Python API and node based structure work well together and with procedural animation.
Places I've influenced
Re-developed a Maya Scene Builder tool which combined FBX animation, Assets stored on Perforce and a Scene description file. Using PySide to create the UI and PyMel to build the maya scene, the process was reduced by 5X and all work was automatically offloaded to a headless machine so that no time was spent processing on the artist machines.
Automated Shotgun Events were set up in a collaboration between Production and Pipeline. Every shot and asset was tracked on the granular level. To alleviate the pain this puts on artists and production; automated triggers pushed assets from one place to the next as they traversed the pipeline.
Was the driving force and sole developer to integrate SVN into the developer workflow. No version or ticket tracking system was in place before my arrival at Frame Machine. Three developers are now all on SVN and had dedicated " artist-testers" to approve tools before release studio wide. Another added feature was to hide all source code from artists and only compiled code is saved on the shared drive.
All Code Revisions submitted to SVN were tracked in Shotgun so that developers could easily attach a Shotgun SVN Revision to a user created Help Ticket. This enables full tracking of an SVN depot with searchable results and accessible from any web browser. Shotgun could now be used by production to fully track all aspects of the studio, both Art & Development.
Worked in close quarters with production to prepare Shotgun for a new project. This could be from user permissions to field permissions per user group. Pipeline, task, and page creation were all part of my duty of placing our workflow on Shotgun. Before my arrival at Frame Machine all assets were tracked on Google Docs.
Designed and integrated a Batch Video Rotator for the litany of Facial Mocap videos our studio was set to ingest. All videos needed to be rotated 90 degrees and renamed to be coherent. Along with rotating Meta-data was preserved, and quality slightly reduced for a large decline in file size.
Was the go to person when any Shotgun question came up. My interactions varied from developers' questions about the API to production staff needing to find deleted assets or track down why a field is set to it's current value.
The sole developer in charge of turning the laborious manual photogrammetry workflow into an automated system.
Working with a small team where it is necessary to have a quick turn around from research to development, and finally implementing the product for the team to use.
Created code for Image manipulation, including, metadata queries, masking, feature detection, sorting, conversion, displaying, quality checking, and naming.
Oversaw every aspect of the production pipeline.
Sending data to and from various applications seamlessly in order to achieve a final 3D Asset.
Allowing drastic changes between projects to output for a specific vendors needs.
Spearhead the delivery of the studios first fully finals project. Crucial changes were made on existing code for the delivery of finals animation.
Designed and implemented fixes under a strict deadline while simultaneously delivering shots to an outside vendor.
Managed a small team that was tasked with delivering shots to an outside studio
Found and demonstrated solutions for both The Third Floor, and the other vendor
Modified existing HLSL shaders to meet the demands of our artists and rendering tools
Repaired an array of issues with existing tools, including things such as; Batch image resizing, duplicate node name fix, and Character rig space switching.
Created tools to automate redundant tasks and make the pipeline workflows more efficient.
Worked on several artist/show specific tools, but the primary focus was on optimizing the entire production pipeline.
Integrated Shotgun into facility Asset and Shot publishing system.
Creation of wx any pyQt User Interfaces, allowing artists to easily interact with production code.
Built a suite of tools allowing developers to dynamically switch between development and live code.
resizing, duplicate node name fix, and Character rig space switching.
What I have done in my academic career
BFA Visual Effects School of Digital Film and Media: Was trained by some of the best in the industry, for both Traditional Art and CGI. A strong understanding of art fundamentals was paramount, and taught throughout the curriculum. Meanwhile my background in Computer Science helped further my ability during my Visual Effects Studies.
Computer Science was my main area of focus in Angelo. While there I found more creative ways to use computers and coding languages. That is when the switch to a more artistic avenue was approached in order to get into Visual Effects. After building a portfolio the transfer was made to SCAD.