Experience

• Lead Lighting Artist at Crystal Dynamics

  Bellevue, US

  July 2022 - Present

  Roles and Responsibilities: Lighting, shaders and cinematics - using the Unreal Engine for game development. Responsible for all in-game lighting (real-time) and cinematics using UE5

• Lead Lighting Artist at Studio Wildcard

  Redmond, US

  July 2019 - June 2022

  Lead Lighting artist - Ark: Survival

  Roles and Responsibilities: Lighting, modeling texturing, shaders and cinematics - using the Unreal Engine for game development. Responsible for all in-game lighting (real-time) and cinematics using UE4 and UE5

• Sr Lighting Artist at Dreamworks

  Palo Alto, CA, United States of America

  May 1997 - August 2000

  Projects: Antz, Shrek, Simpsons 3D

  Role(s) and Responsibilities: I was hired as a Lighting Artist on a 2 film contract (Antz and Shrek). In addition to lighting and compositing, I worked on Look Dev (textures, shading) for various characters, including Shrek and Beast Fiona and did Look Dev on Shrek's interior home, the entire inside of the Mill, a large portion of inside the Dragon's castle and several outdoor scenes of the farmland. After the movie, Shrek.. I worked on the Imax 3D Simpson's episode as the Sr. Lighting Artist

• Technical Art Director / Sr. Lighting Artist at Electronic Arts (EA)

  Redwood Shores, CA, United States of America

  August 2000 - January 2002

  Projects: Tiger Woods Golf 2001, 2002, 2003), James Bond: Agent Under Fire and an unreleased project

  Role(s) and Responsibilities: Goldeneye: Rogue Agent (Tech Art Director/Lighting) - was hired in with the title of Tech Art Director, but my specific focus for this project was Lighting. I worked with a team of 5 artist's on the in-game lighting pipeline as we lit levels for final shipping quality, using a Proprietary Rendering engine that utilized baked light maps. After the project was complete, I moved over to the Central Technology Group (CTG) and focused on the future on lighting for games, doing Look Dev and partnering with Devs on features/tools needed for NextGen. I was also asked to provide assistance with the Medal of Honor team - and did 3 key shots for them exploring Look Dev for the game, early in pre-production.

• Art Director / Head of Cinematics Dept at Midway

  Chicago, IL, United States of America

  January 2002 - May 2004

  Projects: NFL Blitz, Redcard Soccer, MLB Slugfest, Mortal Kombat 5, Psi-Ops

  Role(s) and Responsibilities: Lead of team of 10 artist's, internally, to support and create cinematics for our various projects. We created both pre-rendered and in-game cinematics (over 60 minutes in-game for Psi-Ops!) We worked with the team on the story then owned everything from storyboarding thru final execution.

• Sr. Technical Director / Lighting & Compositing at Sony Pictures Imageworks

  Culver City, CA, United States of America

  June 2003 - July 2004

  Projects: Spiderman 2 (early look dev), Polar Express

  Role(s) and Responsibilities: SP2 (early look dev) - I was hired on for Polar Express, but after my internal training, provided early support focusing on Look Dev texturing/shaders (proprietary software) and lighting and then moved on to the Polar Express team - where I was a Sr Lighting artist for the film (lighting and compositing)

• Technical Art Director / Sr. Lighting Artist at Electronic Arts (EA)

  Los Angeles, CA, United States of America

  July 2004 - August 2005

  Projects: Goldeneye/Rogue Agent, Medal of Honor: Airborn Assault and several Central Art and Tech projects relating to 'next gen' lighting and rendering

  Role(s) and Responsibilities: Goldeneye: Rogue Agent (Tech Art Director/Lighting) - was hired in with the title of Tech Art Director, but my specific focus for this project was Lighting. I worked with a team of 5 artist's on the in-game lighting pipeline as we lit levels for final shipping quality, using a Proprietary Rendering engine that utilized baked light maps. After the project was complete, I moved over to the Central Technology Group (CTG) and focused on the future on lighting for games, doing Look Dev and partnering with Devs on features/tools needed for NextGen. I was also asked to provide assistance with the Medal of Honor team - and did 3 key shots for them exploring Look Dev for the game, early in pre-production.

• Sr. Art Director at Activision

  Foster City, CA, United States of America

  August 2005 - May 2007

  Projects: Xmen4: Wolverine, and several unreleased projects

  Role(s) and Responsibilities: Xmen4 (Tech Art Director) - worked on the project for over a year, setting the visual quality bar, solving pipeline and workflow issues in preparation for Production and providing hands-on support as a Lighting Artist during the Green light process and beyond (note: due to decisions at HQ, the project was later shipped to another one of our studios) Announced Projects - did several projects that were not released and worked in the role of Art Director - providing concept art, vision, asset creation and leadership for a small team of artists as we explored possible new IP content.

• Principal Art Director at THQ/Volition, Inc

  Champaign, IL, United States of America

  July 2007 - August 2011

  Projects: Saint's Row 2, Saint's Row 3, Red Faction: Armageddon

  Role(s) and Responsibilities: Saint's Row 2 (Cinematics artist) - from initial storyboarding thru the final execution of in-game cinematics. Saints Row 3 (Lead Lighting Artist) - led a team of 5 artist's for the in-game lighting of the game. Also worked with the Dev team on the creation of features and tools needed to speed up time and workflow. RFA (Principal Art Director) - led a team of 44 internal artists, providing the visual direction of the project, creating style guides, providing direction and feedback to outsourcing from 3 different countries, providing daily input and feedback to the team during reviews and provided Marketing assets thru logos, cover art, screen captures and more.

• Sr. Art Director at Microsoft Game Studios (Xbox)

  Redmond, WA, United States of America

  August 2011 - August 2018

  Projects: Ryse, Powerstar Golf, Killer Instinct 2 and 3, D4, State of Decay: Year One Survival Edition, State of Decay 2, 3 interactive graphic novels for Ryse; also involved in new IP development (concept art, leadership and Creative Direction)

  Role(s) and Responsibilities: Sr. AD working within Xbox Publishing - Collaborating with our Development partners on visuals goals and quality standards, providing both hands-on support (Concept art, Lighting, Style Guides, Marketing assets and when needed, and I led teams of Subject Matter Experts internally to work alongside the development team. Also lead a team that did Look Dev for New IP (concept art, leadership, collaborate and Creative Direction) for the studio.

• Owner - Sr Art Director/Sr Digital Artist at ChadCo

  Seattle, WA, United States of America

  September 2018 - Present

  Available for work (Art Direction, Consulting, 3D modeling/texturing, lighting, 2D/3D illustration and concept art. Visit my online website for examples of my work: www.chadgreene.net

  Projects: Concept Art (2D and 3D) for undisclosed project; Modeling, Texturing and Lighting for 3D project needs. Graphic Design and Illustration. Consulting with various studios on best practices relating to internal production as well as outsourcing