Matt Wright Lead Hard Surface & Environment Artist
British Citizen, US Green Card.
Technical Skills and Details:
15 years experience as a hard surface and environment artist in the games, film and industrial design industries
- Experienced designing and implementing new art workflows, and driving visual development across teams (engine, tech art, content teams)
- Experienced managing teams of between 4 and 10 artists, both on-site and outsourced.
Experienced working with and designing new technology for new platforms
Experienced working with physically correct lighting/shaders/materials
Enjoys working with the ambiguity of R&D projects
Experienced designing content creation pipelines, and procedural systems - and implementing them across teams
Expert Maya, Max, Photoshop, ZBrush/Mudbox, Lightroom user
Ability to work with polygons, NURBS, sub-divisional surfaces, smooth proxy
Very experienced generating clean high resolution meshes for either cinematics/film or high to low resolution transfers
Very experienced creating color maps, normal, specular, exponent, albedo and tint maps. Both procedural and painted
Experienced lighting artist with next-gen and traditional engines with Maya/Mental Ray/Turtle
Accurate mechanical and hard surface modeling based on knowledge from a 4 year Product/Industrial Design degree
Texture and Architecture photographer
Experienced running reference teams to overseas locations
Experience managing and training outsourcing teams
Mentor, manager and teacher for junior 3d artists
Experience compositing and video editing using After Effects and Premiere
Working knowledge of Rhino3D
Experienced user of photogrammetry (Photomodeler software, beta development)
User of LIDAR laser scanning for large environments. Experienced working with laser scan data
Award winning photographer
Turn 10 (Microsoft Game Studios) Art R&D LEad (April 2014 to Current
Tasked with designing new workflows and processes around existing and cutting edge technology (from both internal, middleware and content development software) to improve visual fidelity, increase efficiency, and lower art production time for both environment and car systems at Turn 10 Studios. Given difficult art problems to solve, and then educate the content teams on the implementation of the solution. Working hand in hand with tech art, engine and all content development groups to drive global visuals and implement new workflows.
Turn 10 (Microsoft Game Studios) Track Lead (April 2012 to March 2014
Forza Motorsport 5 - Track Lead for the high profile Yas Marina track for the latest in the Forza Motorsport Franchise, to shipped XBOX One. Responsible for managing a team of 4-6 artists to reference (field trip and local), design and recreate two high profile race tracks for Forza 5. My work consisted of creating (modelling, texturing, UVing, material development, technique development - high res sculpts, normal mapping) high profile assets (prop, architecture, terrain and foliage), managing and mentoring my team to work to consistently high standards, and meet all goals. Design and development of new systems and procedures to timely generate content required for a next-generation engine on a new platform. Further work included polish passes on 3 other tracks, where I lead my team to take tracks at various stages of completion, and polish them to a high standard ready for shipping. Polish work included “big picture” color/value work, performance optimisations, modelling and texturing, sculpting, whilst leading a team of artists to help complete all polish tasks. Managed and lead outsource “vendors” to produce high quality, accurate assets for tracks.
Valve Software (January 2003 to January 2012)
Senior and Lead Hard Surface and Environment Artist. At Valve artists are expected to take the initiative and research and design art needed for the game and to take that through to a fully textured, compiled model. All my work at Valve was researched, modelled and textured by myself, unless otherwise stated. Ran internal Maya classes for staff interested in learning 3D alongside art duties.
Half Life 2 - Creation of hard surface props and architectural details to fill the city 17 universe. Attention to detail to show an old city that has gone through many architectural styles over the course of it’s life. Working from self gathered research, old architecture books, collaborative concepts.
Half Life 2 Lost Coast - Researched, designed and created hard surface models and architecture for an abandoned Byzantine monastery taken over by the Combine.
Day of Defeat - Researched, designed and created hard surface props to fill the DoD universe, including cars, military vehicles and props.
Team Fortress 2 - Concept development of architectural spaces. Design work on TF2 visual style. Creation of props including trucks and trains.
Half Life 2 Episode 1 and Episode 2 - researched, designed, created hard surface props and architecture for both Half Life 2 Episodes, including a full MI-8 helicopter, foliage systems and a garden gnome. Yes, a garden gnome.
Left4Dead and Left4Dead 2 - QA control and mentoring of outsourced team. Redesign of existing spaces, creating hard surface props, weapon models and architectural props.
Portal 2 - Hard surface prop and architectural models and textures. Management of model poly and texture budgets.
CounterStrike:GO - Content and QA control for outsourcing team. Hard surface prop creation. Modeling and texturing of view and world weapons. Responsible for both high and low poly models, texture transfers and textures.
Internal design, rendering and engine development projects - managed a small team looking into new lighting systems for world rendering. Part of art team responsible for working on next-gen engine development. High resolution architecture and prop modeling, surface transfer from high to low res models.
Lidar VFX (March 2001 to October 2002)
Lead hard surface and environment 3d modeller for film visual effects. Working from photographs, plans, drawings and laser scan data, was responsible for making high resolution and pre-vis (low res) models of feature film sets, locations and props, creation of digital set extensions. Work was done in Maya, 3D Studio MAX and Rhino3D using polygons, NURBS and sub-div surfaces.
Harry Potter Sorcerers Stone & Harry Potter Chamber of Secrets: Creation of 41 digital sets, locations, environments and statues based off real world physical models and full size sets, including a full 3D model of Hogwarts Castle and the various halls and rooms within.
Master and Commander, Far Side of the World - 1 week studying USS Constitution ship in Boston, then creating extremely high resolution models of two 19th century tall ships that were the two focal ships in the movie. Work was based off original plans for the USS Constitution (which are a sight to be seen), photographs taken in Boston, and historic plans of other ships.
Fast and Furious 2 - Creation of high resolution 3D sports cars
Daredevil - created over 10 high resolution 3D models of downtown Los Angeles, added details to make look like a New York vista.
Other Projects: Tomb Raider, Stuart Little 2, Santa Claus 2, X-Men2, Day After Tomorrow - high and low resolution modeling of hard surface props and environments using NURBS and polygons based off photographs and laser scan data.
Crosstown Studios (January 2000 to March 2001)
Co-founder and 3D Artist. Ran a successful design visualization company producing renderings and animations for large marketing, defence industry and architectural clients. Besides generating 3d art and renderings I was responsible for client liaison and project management.
BSc(Hons) Product Design Visualization, Bournemouth University, England
Product Design degree focused on both aesthetic and mechanical design and 3D visualisation.