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Shot 1
Time-of-Day Test, Night Variation, 2008
Xbox 360
This is the first level the art team created with everyone using Pseudo's in-house node-based shader editor. I was co-designer (and minorly, developer) of the editor. All of the shaders in this level were created either by me or under my supervision. My primary responsibility for this test was to train the team in the shader editor system, and our level editor's lighting system. My secondary responsibility was to do tech-art evaluations, pointing out performance problems, providing solutions for special effects under the new shader system, and firefighting.
Shots 2 and 3
Flying Monsters, 2007
Xbox 360
For these characters, I created a skin shader with translucency. The shader uses textures which store precomputed occlusion information in tangent space so that they can be used on skinned characters. The textures are generated using a Maxscript that I developed.
Shots 4, 5 and 6
Full Auto 2: Battlelines, Outskirts Gladiator Arena, 2006
Playstation 3
I prototyped the car shader, one of the visual upgrades from Full Auto 1. The shader features metal flake and dual specular highlights. The car team also used Maxscripts that I wrote. In the version of Max we used for this project, it was impossible to apply a UV unwrap modifier to simultaneously unwrap multiple objects. Our engine required that the cars be separated into multiple meshes for physics simulation rigging. To keep the team's turnaround time quick, I created a script which could merge multiple meshes, allow unwrapping, then re-split the mesh into pieces again, keeping the original pivot points.
Shot 7
Cathedral, 2007
Xbox 360
This is the first level we created to showcase Pseudo's in-house node-based shader editor. I custom-created shaders for every surface, and led the art team in creating textures appropriate for the new shaders. One of my responsibilities for this project was to teach the environment team how to use Zbrush for environment texturing.
Shot 8
"Tekko," 2007
FX Composer 2 on PC
For this personal project, I did the character modeling, implementation of shadows, and wrote shaders for all the surfaces using HLSL. The character's shader is similar to that of the flying monsters in shot 3, using precomputed occlusion information, but with a few bonuses as well: translucent shadows and subsurface parallax to give his skin a jelly-like feel.
Shot 9
Time-of-Day Test, Afternoon Variation, 2008
Xbox 360
See shot 1 for details.
Shot 10
Time-of-Day Test, Dawn Variation, 2008
Xbox 360
See shot 1 for details.
Shot 11
Time-of-Day Test, Night Variation, 2008
Xbox 360
See shot 1 for details.
Shot 12
Cathedral, 2007
Xbox 360The shader I created for this surface uses parallax twice, in opposite directions, along with tinted specular highlights and reflections to simulate a glass tile mosaic. See shot 7 for more details.
Shot 13
Cathedral, 2007
Xbox 360
The shaders I created that are immediately apparent in this shot are for wood, marble, and brass. The wood shader uses specially-generated normal maps to give a bi-directional specular sheen to the wood grain. The marble uses subsurface scattering and give a feeling of depth and uniqueness to the surface; the effect is more apparent the brighter the light. The brass uses tinted reflections and a grunge map to mask reflectivity and specularity. See shot 7 for more details.
Shot 14
Cathedral, 2007
Xbox 360
See shot 7 for details.
Shot 15
Cathedral, 2007
Xbox 360
The shaders I created for the wall sconce both use reflectivity as a primary characteristic for demonstrating surface curvature -- neither use diffuse shading at all. The glass uses fresnel as an opacity modifier, and the reflections become more opaque in their brightest areas. I also created all of the textures for the brass using Zbrush, as a demo for the team. See shot 7 for more details.
Shot 16
Cathedral, 2007
Xbox 360
The shader I created for the light beam uses animated textures for the light motes, as well as fresnel falloff and inverse distance falloff to disguise the geometric nature of the surface. See shot 7 for more details.
Shot 17
Cathedral, 2007
Xbox 360
See shot 7 for more details.
Shot 18
"Full Auto 2: Battlelines," Menu System, 2006
Playstation 3
I wrote Lua scripts for animation, menu list population, and communication from Anark (the middleware we used for creating the menu system) to our engine. I also built meshes for, and animated, the blue circuitry tracing.
Shot 19
"Full Auto 2: Battlelines," Shipping District Race, 2006
Playstation 3During the preproduction of Full Auto 2 I worked on look development with our art director. The lighting and post-processing for this district are based on a paint-over I had done of a similar area in Full Auto 1. I also did environment texturing on surfaces which had the most complex workflow, including the water and ground surfaces. The environmental art team also used scripts I had created for cleaning and condensing multi/subobject surfaces, or for combining multiple textures into a single texture and rearranging the object's UVs to match.
Shot 20
"Full Auto 2: Battlelines," Industrial District, 2006
Playstation 3
See shot 19 for details.
Shot 21
"Full Auto 2: Battlelines," Garment District, 2006
Playstation 3
See shot 19 for details.
Shot 22
"Full Auto 2: Battlelines," Menu System, 2006
Playstation 3
See shot 18 for details.
Shot 23
"Full Auto 2: Battlelines," Entertainment Gladiator Arena, 2006
Playstation 3
See shot 4 for details.
Shot 24
"Full Auto 2: Battlelines," Outskirts District Race, 2006
Playstation 3
See shot 19 for details.
Shots 25 and 26
Vortex Effects, 2007
Xbox 360
I created the special effects for this sequence, including the ground effects and flash on hit, the particle effects of the vortex, the texturing and timing on the central beam, and the post-processing.
Shot 27
"Tekko" Closeup, 2007
Capture from Max 9
I created a DXSAS version of the shaders from the original project (see shot 8) to use with Max's DirectX material. This capture is from the Max viewport, and demonstrates more clearly the properties of this shader with different view or light directions. Shot 28 "Full Auto", Garment District Race, 2005
Xbox 360On the original Xbox title, I created several effects, including the blowing newspapers. I also did environment texturing, especially for the road surfaces and skyboxes. The environmental art team also used scripts I had created for cleaning and condensing multi/subobject surfaces, or for combining multiple textures into a single texture and rearranging the object's UVs to match. I also prototyped the technique the car team used for creating realistic headlights.
Shots 29 through 35
"Crash Demo", 2004
PC
This demo was created just as normal maps were beginning to make news. I did much of the environment texturing, some lighting, and some effects. I created JavaScripts for Photoshop to assist in the creation of clean heightmaps for normal map generation, and also for automatically saving and updating multiple textures at once. I also spoke at GDC that year about the content creation pipeline we had developed.
Shots 36 and 37
"Vectorman", 2003
Playstation 2
I created a set of Javascripts and actions for Photoshop to keep the texturing unified. I also did environment texturing, and used Pseudo's in-house level editor to create procedural animations for the "holographic" effects.
Shot 38
"Cel Damage 2", 2003
Playstation 2
I did all of the environment texturing for this proof of concept level, based on a digital painting I had done of one of our production designer's layouts.
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