I was also incredibly fortunate to have been a part of this game changing project with Quixel. Having already collaborated with them the previous GDC, Rebirth was an incredible continuation of the relationship between tech (SideFX) and art (Quixel).
We were responsible for building a lot of the workflows early on the project that allowed the Quixel team to focus on the art and less on the asset processing.

One of my first end to end workflows at SideFX was fleshing out our mesh processing capabilities to be able to ingest a high resolution mesh like a scanned asset and automatically run through the decimation/uv/baking process.

I was responsible for the Reality Capture C++ Plugin for Houdini, driving the UV tools revamp for Houdini with our R&D department, including an automatic uv generator, guiding and assisting the development of our new texture baker, all the way to a Sketchfab uploader

Certain Affinity is a co development studio in Austin, where I had the opportunity to work on some of the largest game franchises in the world. I worked at Certain Affinity twice, one brief time when I helped wrap up Halo: Anniversary and start Halo 4, and then a second longer time where I helped on Doom, Halo 2: Anniversary, Call of Duty : Modern Warfare Remaster and other unannounced titles.

The culmination of our Halo 2 work was the Remnant map, where we applied everything we learnt in production and applied it to this DLC map. We used the 1 button Zbrush pipeline to art out most of the level in record time, leveraged the new shaders to their best usage and dipped our feet into photogrammetry.

I had the incredible opportunity to join the Avalanche Studios NY studio before it was open and help build it from the ground up. Started by living in Sweden for 2 months, this was one of the highlights of my career.
We rebuilt most of the content creation pipeline from scratch and had a very early deployment of PBR, before most game engines. I was responsible for hiring and leading our team of 4, set our priorities and work closely with the art director on executing the vision.

I was a lead on JC3 from pre production until about halfway through the project. While I can't take credit for the shipped product a lot of the initiatives (and a couple of assets) I started can be seen in the final game.

I worked on the terrain materials/shaders, destructibles, and a lot of backend tools like animation and model exporters.

At SOE I started as a Rigging Artist working with the animation team, and by the time I left I had automated myself out of that job and built a full web based asset manager that had a distributed computing back end to process the information before feeding it into the database. I also helped coordinate the efforts between combat design, animation and FX and ended up having contributed in all 3 areas, designed 2 of the games launch weapons (handblast and bow and arrow), animated a few moves and build FX for our green lantern NPCs.

I was the single tech artist on DCUO, an Unreal 3 based MMO, from preproduction till launch.

We did a lot of things that were ahead of the game back then, from fully automated rigs to an internal Reddit like website where the whole team could have discuss which features they liked and didn't like after playtests.

This is where I cut my teeth in production and the sheer scale of DC is still not even close to anything I've worked on since.

My first job out of school, I deep dived into shaders as the PS2-PS3 generation shift was happening. I became responsible for all the shaders in Central Football Rendering, which worked on Madden, NCAA, Head Coach, and NFL Tour. I also lead a team of Tech Artists to optimize our shaders to get Madden running at 60fps on the PS3.

At EA I was on 4 simultaneous projects (while helping others here and there). Madden was obviously the highest priority one.

For Madden I built some new shaders for the superbowl rings features and defined the look of the hologram with our art director. This feature was my first exposure to Houdini, where our FX Artist used Houdini to place cards on the rings for the glints.