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First VFX IC Hire on a new, unannounced title as part of Riot R&D, responsible for building up and engineering the foundations for VFX systems, workflows, styles, and tools to create a whole lot of sparkle magic for a new team, as well as assisting VALORANT and general R&D teams with VFX Engineering and Support.

• Designed and implemented scalable VFX systems in Unreal Engine (C++/Blueprint/Niagara) to support gameplay, environment, and character content across a new FPS project.
• Built modular, data-driven VFX frameworks that enabled designers and non-VFX artists to safely author and iterate on content without direct support.
• Developed custom editor tooling (C++/Slate, EUW) to streamline prototyping workflows and improve iteration speed across multidisciplinary teams.
• Established and maintained VFX production pipelines, workflows, and documentation, reducing production risk and improving team scalability.
• Oversaw and implemented our baseline VFX production pipeline, workflows, style guide, and documentation, reducing risks for production readiness for the VFX team.
• Identified and resolved runtime performance bottlenecks in VFX systems, including implementing batching solutions that reduced CPU cost from ~5ms to 0.02ms
• Acted as a technical bridge between VFX, engineering, and design, contributing to gameplay feature prototyping and system implementation.
• Served as VFX technical lead during roadmap planning, providing system-level direction, risk assessment, and production scoping
• Helped other teams and VALORANT align on VFX best practices, and mentored junior artists on leveling up their technical skillset.
• Worked with VALORANT and Riot R&D Engineering and Technical Art on a number of cross-business unit tasks, becoming a force-multiplier and source of knowledge for projects including Niagara workflow improvements

Created gameplay and cosmetic VFX for multiple Destiny 2 releases, collaborating closely with designers, engineers, and art leadership to ship content at scale, while investigating and researching new technology for the Systems and Player Rewards areas.

• Created and implemented VFX assets for Player Rewards and other teams within the Systems area and beyond.
• Worked as a stakeholder for VFX in the Commerce Area, providing feedback and risk assessments, and participating in the greenlight process for Expressions content, such as Emotes and Finishers.
• Collaborated with other Artists, Producers, and Art Directors on various small teams to ensure on-schedule completion of assets in a pipeline production format.
• Provided actionable feedback and direction as well as mentorship to other artists, including Junior Artists, within the VFX discipline.
• Researched and developed systemic VFX solutions for various teams, helping to make the creation and maintenance of new and existing VFX systems easy and intuitive, even for non-VFX artists.
• Came up with creative, out of the box solutions for large, systemic issues related to the Rewards area. This can be seen in the implimentation of Weapon VFX and Gear rotation for the Inspection Screen, as well as developing per-plug item VFX.

Supported senior VFX artists on Destiny 2 content, building particle systems, shaders, and in-game integrations while ramping up on large-scale production pipelines.

Worked on the conception, design, and completion of various community contributed real-time particle effects in Valve Software's Team Fortress 2, created and ran promotional materials and campaigns for the effects and their associated Steam Workshop pages, and worked with Valve to add them to Team Fortress 2, with a focus on readability, style cohesion, and player delight.

• Came up with technically interesting and visually appealing concepts for particle systems that would excite players, while also fitting the theme of upcoming updates and original art direction.
• Executed on those concepts and rapidly iterated on them, creating particle systems, textures, shaders, and more in order to turn around finished products by deadlines.
• Brought WIP assets to a community of other artists in order to ask for feedback, and then quickly iterated on those suggestions back into the asset.
• Lead a team of promotional artists that created exciting images and videos in order to promote the sale of said particle effects.