Here are the tools/software where I am expert or proficient.
- 3D Studio Max and conversion formats (OBJ, FBX, DAE) for export to other programs. I’ve been using Max since the first version released in 1995. Twenty years of experience in this tool alone means that modeling in Max is second-nature to me.
- ZBrush: Dynamesh modeling, general sculpting (soft body and hard surface), poly-painting, normal map generation, transpose master, etc.
- Unity 3D Engine and various plugins
- XNormal (Normal-Map Baking)
- Substance Painter (Physically-Based Materials)
- Deep Paint 3D (old-school software but still great)
- UV Layout (with ideas for improvements implemented).
- Paint Storm Studio (Some ideas implemented)
- Pro-Motion (Some major ideas implemented as a beta tester)
- Spine (Rigging and 2D Animation)
- VRAY 1.5+
- Keyshot 5+, including Keyshot to ZBrush Bridge
- Marmoset Toolbag 2
I have working knowledge of the following:
- Maya—but don’t even think about asking me to model in Maya. 😉
- Mudbox. Does anyone use this? I guess so. 😀
- Unreal Development Kit (UDK) (intro level)
Management: I have 2.5 years experience as an Art Director for two titles. I’ve found that my natural inclination toward understanding people, good humor and efficient workflows has made me a natural for this position. I also type 100 WPM and am a grammar/spelling enthusiast—so dealing with any offsite personnel through text is not an issue.
I developed a few new workflow systems as AD, such as allowing both Maya and Max freelance artists to work on the same project (with a custom import template). I also developed a novel system to allow a Game Director to pre-approve camera angles, initial lighting and object-placement with the use of 3D pre-vis art used to guide 2D digital paintings created offsite. This pre-vis greatly sped-up production and minimized major changes or re-draws before we went to final art. Before this, an artist could end up re-doing a drawing many times just to get the angle the Game Director was after. I’m always researching new tools and workflows to improve production, or to reduce the pain of tedious or repetitive tasks.
Finally, it’s clear to me in my experience as an AD that I’m able to remain calm and effective even in stressful situations and am quick to adapt to changing conditions and new challenges. As a natural fan of understanding human behavior, I know how to ask for changes while the artist is left feeling happy and motivated and often willing to go the extra mile. As an artist myself I know what it’s like to work with a great AD who gives clear goals and great direction. A happy artist is a productive artist, and there’s less turnover.
3D Generalist: I am a 3D generalist and can do it all, but my strength is modeling and texturing with an emphasis on character and creature modeling. My preference for personal projects is fantasy character and creature modeling but I can do realistic humans if needed (coming to my portfolio soon). You won’t catch me modeling photo-real tires or blenders for fun either, but I’ll give it 100% if assigned to such a task.
Animation: I have a lot of experience doing both real-time and cinematic animation with plenty of experience rigging in Max. I can animate characters and I excel at hard-body animation with secondary motion, weight, inertia, etc.
Design: Design comes naturally to me, and nothing is exempt. Design is part of what makes art so much fun. I’m currently shopping-around an invention (motorcycle accessory).
Rendering: I have a lot of experience with VRAY, Keyshot and Marmoset Toolbag 2. This is helpful for beauty shots and other promo art. It’s sometimes also helpful to create in-game assets.
Miscellaneous: Excellent written/oral language skills, logical critical-thinker, can give/take criticism with a good-nature and I have a great sense of humor.