• Over 20 years of experience in 2D and 3D art creation in the Entertainment industry.
• 25 game titles shipped.
• Passionate about art, strong work ethic, good team player.

August 2012 to August 2013: Crytek

At Crytek, I worked with the CryENGINE 3, lighting levels and cinematics for the title RYSE: Son of Rome. RYSE is a launch title for the Xbox One.

Duties included:

• Learning CryENGINE 3 rapidly, and working with a deferred renderer for the first time. Look Ma, no lightmaps!
• Communicating with Art Directors, Lighting Director, and Environment Artists to light game levels.
• Followed lighting and color scripts provided by Lighting Director.
• Placement of lights and environment probes, time of day specifications, creation of gobo textures for spotlights.
• Lighting creation and adjustment for single player, multiplayer, and cinematics.
• Animation of lights for lighting FX.
• Worked with programmers to suggest, test and help implement improvements to the lighting tools.

December 2011 to August 2012: Psyonix

I worked with the Unreal engine at Psyonix, a San Diego based game company, doing lighting and special FX work for a PC title, as well as the iOS game ARC Squadron.

Duties included:

• Working with the Art Director and Environment Artists to light levels per specification.
• Using Unreal's Lightmass global illumination system for baked and dynamic lights.
• Re-creating lightmap uv's (second uv set) where needed on lightmapped objects.
• Creation, placement, and adjustment of lightmapped and real-time lights.
• Creation and placement of Special Effects using Unreal's Cascade particle system.
• I needed to rapidly get up to speed with the Unreal Engine, which I had never worked with before.

I was initially hired at Insomniac as a Visual FX artist, and worked with programmers to develop the tools needed to create FX for our proprietary game engine.

The need later arose to do the same thing with the lighting, and I again worked with the programmers to develop a lighting pipeline for the new engine.

Duties included:

• Helping to develop lighting workflow and interface.
• Test and implementation of lightmap UV layout tools.
• Creation and placement of lightmapped and real-time lights.
• Preparing all game entities for either lightmapped or vertex lit setup.
• Balance the use of as many real-time lights as possible, while maintaining frame rate.
• Rendering and application of .hdr images for reflective surfaces in scene (specular cube maps).
• Creation and placement of lighting volumes along player path, for characters and animated props.
• Lighting the levels assigned to me, using highest visual standards while following concept art and art direction.

My most recent Insomniac Games title is Resistance 3, which shipped Fall of 2011.

For over ten years I worked at Westwood as a 3D artist. I spent much of my time in the cinematic department, but also worked on a project as lead artist for "World Art" which included modeling and texturing terrain, buildings, and world objects, as well as lighting and effects.

For the cinematic work, my duties included creation of high-polygon models, texturing, lighting, animation, special effects and compositing. I also spent many hours babysitting the rendering farm, making sure assets were rendered on schedule.

For the ingame world art, duties included modeling low-poly models, texturing, lighting, and working with the game editor (WorldBuilder) for placement and organization of all assets.

I was a lead CG artist on many of the projects I worked on, and helped define the look of both our games and in-game movies. My previous experience in real-world lighting and photography helped as we began to do our live-action video shoots as well. I designed and oversaw the construction of our sound stage/green screen studio, and installed the lighting grid and Kino-flo green screen lighting.

I also started the Westwood image (texture) library, and regularly added to, updated and organized over 30 gigabytes of textures for the art department. Many of my own photographs were added to the library as well, including machinery, military vehicles, and aerial helicopter photography.

Seth. Just Seth.

• Extensive experience: Maya, Mental Ray, IRush, Cinema 4D, Lightwave, Photoshop, Digital Fusion, Perforce, Alienbrain, DevTrack.
• Very experienced at working with proprietary engines and software.
• I enjoy working with programmers to develop and improve tools.
• Real World: Photography, Airbrush Illustration.
• Currently learning: ZBrush, Unreal Engine, Mudbox, Modo.

SetSource was my own set design and construction company.

I worked in the car photography studios in Detroit, as well as working on film, video, and still photography sets in Hollywood. I painted background murals, built props, and designed and built full room sets, both in studio and on location. Clients included Cadillac, Tokyo Disney Resort, Chevrolet, AT&T, Gallo Wine Company, KFC, Ford, Showtime Networks, FTD, Whirlpool, GM, Merillat, Dodge, MCI and Pirelli.

I also built the sets for the Tim Allen Showtime Specials.

• I'm hardware-literate, and build my own computers.
• For the last four years at Insomniac, I worked remotely. This required self-discipline, self-motivation, and excellent communication.