ALEJANDRO CARBONERO

·        7 years experience with Maya, including dynamics, Fur,  Mel scripting, and the Maya API.

·        5 years experience using Digital Fusion and Adobe Premiere.

·        10 years experience painting in Photoshop.

·        C++, Mel, MFC, HLSL, Visual Basic, and HTML.

·        Good Understanding of vector and matrix math (linear algebra) for computer graphics.

·        Microsoft Project.

·        Currently Learning OpenGL and WX Widgets

·        Strong ability to quickly learn any software.

2007-Present         High Moon Studios Vivendi Games                      Carlsbad, CA

Lead Technical Artist

·        Developing shaders to be used in Unreal such as rain effects, sub surface scatter, fresnel, ambient occlusion, etc.

·        Developing Maya and Max tools to aid artist with repetitive task.

·        Creating a new set of tools and pipeline that will allow artist to more effectively use new and existing tools developed internally.

2005-2007          Sony Online Entertainment                       San Diego, CA

Technical Art Director

·        Created SOE Maya tools, for use by all SOE artist, compatible with Maya 5, 6, and 7.

·        Help establish a pipeline for art content generation and created several tools to aid level building.  Such as placement and composition tools within Maya.

·        Added ambient occlusion to ULDK PS3 lighting tool.

·        Became effects lead after helping develop the ULDK PS3 particle tools system.

·        Created effects and managed the effects development for ULDK PS3.

2004-2005          THQ, Heavy Iron                                   Culver City, CA          

Technical Art Director

·        Researching and writing shaders for use in Maya, some shaders include, Normal Map Shader, Parallax Map Shader, and Ambient Occlusion.

·        Help establish a pipeline for art content generation and exported data to be used in game.

·        Researching Next Gen limits and possibilities for art, animation, and design.

·        Working with core Next Gen team to develop Heavy Irons next generation engine and pipeline.

2002-2004          THQ, Heavy Iron                                   Culver City, CA          

Art Lead

·        Helped develop new tools for set dressing in Maya, during the production of Sponge Bob.

·        Created the Heavy Iron Maya custom menu, where I added several Mel scripts I created to help in art development and exporting data to be used by the game engine.

·        Took one level of Sponge Bob to completion, for the purpose of solving any problems that might arise (technical or artistic) before the rest of the art team encountered the problems.

·        Set up the art pre-production process and schedule for the development of The Incredibles prototype.  Working in conjunction with the lead designer, lead programmer, and the art director we where able to create a level that would be representative of the game we intend to make.  Creating the prototype helped us figure out what kind of game we wanted to make, what is fun, and what where some of the risks. 

·        As lead artist during the production of The Incredibles Game I was responsible for setting up and maintaining the art schedule in MS Project.

·        Wrote several tools during the production of The Incredibles to aid art development.

·        Completed a level of The Incredibles

2000-2002          Check Six Studios                                   Venice, CA              

Technical Art Director

·        Providing technical and artistic guidance in the art development of Spyro 4 for PS2.

·        Working directly with lead programmer in the development of new features for the Spyro engine, such as shader support, particle support, modeling tools, hierarchy organization, scene organization, AI scripting support, etc.

·        Implemented new engine features, and found the most efficient and diverse way of using them.

·        Created several Mel script tools to help artist with repetitive and tedious task, such as level exporters, skinning tools, auto character builder, enhanced vertex coloring tools, geometry and shader tagging, modeling tools, etc.

·        Created and managed the art and tools database.

2000-2000          Threshold Digital                                   Santa Monica, CA      

VFX Animator

·        Modeled and textured 3d objects to be used Highlander 4.

·        Created several cg energy, water, and fire effects, then composite them with live footage for Highlander 4.

·        Motion tracked cg elements on live footage.

1999-2000       Foundation Imaging      Santa Clarita, CA                                 NA

VFX Animator

·        Created 3D sets, lighting, and environment assemblies.

·        Created particle, fluid, explosive, and morph effect assemblies.

·        Animated 3D characters, creatures, vehicles, explosions, and camera work.

·        Created various textures and 3D models during the entire production of Rough Neck Chronicles and Max Steel.

1995-1999       Warner Brothers DC Comics    San Diego, CA

Colorist

·        Created color pallets for characters and environments.

·        Created color scripts for Graphic Novels.

·        Painted over line art in Photoshop to simulate 3D rendered look.