Special Effects Artist at Ubisoft
- March 2013 - Present
Typically in video games, the title VFX means pushing particles. This isn't the case at UBI, we do a lot more than that. My role includes particle work using our in-house particle scripting tool, visual scripting in our "FX Editor", shader writing in our node-based editor, using 3rd party apps to generate animated textures (Maya fluid dynamics, RealFlow, 3DS Max, Nuke) and tools dev. when necessary.
I also have several other roles that I've taken on, the principle one being a community leader for VFX at UBI. I've developed a few tools in our intranet to facilitate and encourage communication within the global VFX community. I also work with our job directors to organize meetups and workshops for VFX artists. I really felt this was a necessary effort to make sure all our artists are on the same page with skills and knowledge.
Since the last quarter of 2015 I've been on the For Honor team working on the VFX for our fight systems, game modes and custom emotes while being general support for Anvil (our proprietary engine and tool set). Even though we don't have an official title for VFX TD in UBI Montreal, this is exactly role that I've had. I collaborate closely with our programmers creating tools to get the best out of our engine and pipelines. Our tools on this project are incredibly unique and quite complex, which pretty much makes this a dream job for me. It's exactly what I need. I get to create nice art while constantly being challenged by the design team to come up with way to execute on the new systems and game modes coming in. Performance is of massive importance on this game. This creates a really fun challenge to make sure that our other VFX artists are doing their best to get the most out of their work without busting budgets. I have a really hard time accepting simply chopping out the particle to get it to run properly. I work as closely as I can to make sure everyone knows all the tricks to optimize their work as much as possible.
For Honor (current project)
Assassin's Creed - Syndicate
Assassin's Creed - Unity
Assassin's Creed - Black Flag
Lead VFX Artist at Visceral Games @ EA Montreal
- April 2011 - March 2013 (2 years)
My main responsibilities on Devil's Cartel included handling VFX for the IGCS' (in-game cut scenes) and epic destruction. While doing that, I made sure that the VFX quality for the whole game maintained at a consistent, high level.
Epic destruction was a pillar of our game, so making sure they were awesome was a big part of my daily work. This didn't mean only the particle work - I helped plan out and design the events with designers & the cinematic director and handled the animations, VFX and scripting.
I won several team and company awards for performance and effort. One being the first group of five people to win the Visceral Games Arny Award (yes, It's Arny and not Army). Another being a letter written by John Riccitiello for scoring in the top 3% of EA employees. Every milestone and demo, our management set up "dream teams" to add the final layer of polish. They were small groups of six or so people. I was a member of every single one of them.
Most recently, I was invited to be a member of the Frostbite Content Council. This is a small group of individuals considered experts with Frostbite, whom communicate frequently to improve the engine and tools for EA as a whole.
Lastly, and my only real claim to faim, would be that I was the first (and so far, only) person to demo Frostbite 2 to the public, a feature done for GameInformer Magazine.
Army of Two - Devil's Cartel
Senior VFX Artist / Technical Artist at Behaviour Interactive
- March 2010 - May 2011 (1 year 3 months)
My responsibilities included effects pipeline coordination, tool development and of course... creating special effects.
Working on the tools pipelingwas very interesting because I got to use my passion and experience in CG to influence the design of the new tools. The idea was to make the tools as friendly as possible to the artist (while introducing advanced features), but also not give them the power to destroy the GPU with one shader.
WET 2 (canceled)
Special Effects Specialist at Ubisoft Montreal
- October 2009 - March 2010 (6 months)
Creating and integrating visual effects in-game, for scripted events and cinematics.
Prince of Persia - The Forgotten Sands
Senior VFX Artist / Technical Artist at A2M
- September 2005 - October 2009 (4 years 2 months)
I started this job strictly doing particle effetcs, then slowly started including the role of technical artist. Soon after I was promoted to Senior VFX Artist. I started helping on improving VFX tools and pipelines for artists but my main focus was always creating VFX.
Kim Possible - What's The Switch
Indiana Jones Wii
two other cancelled games
VFX Artist / Shader Artist / Compositor at Ubisoft
- March 2003 - September 2005 (2 years 7 months)
I started my career off here by doing compositing for the live action shots in Myst 4. This job was tougher than it at first seemed. There was a lot of roto work required, painted shadows (many of the shadows were killed by the keyer so they were required to be drawn in by hand for every shot). There was also a lot color grading to be done to fit the shots with the rendered backgrounds.
Next I moved on to do in-game special effects and shader work on Splinter Cell Chaos Theory followed by Splinter Cell Double Agent. In between Splinter Cell games, I worked in the cinematics department doing comp work for the pre-rendered cutscenes in Prince of Persia Warrior Within.
Splinter Cell - Chaos Theory
Splinter Cell - Double Agent
Prince of Persia - Warrior Within
Compositor at Meteor Studios
- August 2003 - September 2003 (2 months)
contracted to do rotoscoping and basic compositing for the film Scooby Doo 2.
Compositor at Tube Studios
- January 2003 - July 2003 (7 months)
I was one of two compositors for a TV series called Inuk. I did comp for vfx and render cleanup.