Tech Artist - Bitloft - 2019
In 2019 I worked as a Technical Artist at Bitloft studio. One of the projects I worked on was a mobile horse riding game. Due to the small team size of 10 and rapid production schedule of 3 months I was afforded the privilege of wearing many wide ranging hats.
Throughout production I set up and updated lighting. This included developing shaders, optimizing light bake memory size, and profiling performance.
Performance profiling, Target Device testing, Project builds:
With the engineering team stretched thin I took on the responsibility of setting up project builds and producing weekly review builds. I used these builds to profile performance on our target mobile device.
Oversaw visual and technical direction for environment and character art:
One of my key art asset production responsibilities was to set strategies for identifying and meeting performance goals. Without a dedicated art director I also worked to ensure stylistic consistency across our assets and scenes while working with the environment and character artists on optimization strategies.
Wearing so many hats on this project meant I was constantly coordinating with most of the team members and maintained an eagle eye view of the production. I was able to leverage this to assist management. As production ramped up my performance earned me the privilege of being included in virtually all meetings to guide sprint planning, coordinate asset timelines, and identify when inter-disciplinary meetings were needed, then schedule and lead those meetings.
Player character integration, animation, and VFX:
As the technical artist it was my job to be the glue between art, design, and engineering. One of my production responsibilities was integrating the player character art assets into the player controller. To do this I built a mechanim blend tree that leveraged the player controller script to drive animations. In addition to implementing the animations handed off by the character artist, I created and implemented reaction animations for various mechanics such as a headbutt animation to communicate play errors and leaning blend poses for turning.
I set up procedural animations for the horse hair and tail, using a hybrid approach blending joint animations, dynamic bones, and cloth simulation to create a system that was performant, controllable, and procedural.
I prototyped shaders and implemented assets for the character customization systems.