Khai Epic Moment  I was the world builder for this section of gamplay in the single player campaign. I worked with the designer on building and sequencing all the destructible pieces in the room. This included the hero pillar, The front door, a chandelier drop, floor destruction, a van crash through a wall, as well as other miscellaneous destructible pieces placed throughout the room. All the destruction was in real time and occurred directly in front of the players field of view. This first image is the destruction in its final state.

Khai Epic Moment  Here is the level before all the destruction has taken place. The blood on the pillar was designed to appear as Khai slides down after being shot. 

Khai Epic Moment These next two images show the destruction of the room after gameplay has concluded. I needed to generate proper decal for the walls and floor as well as 3D bulletholes and debris to be properly placed throughout the room to accentuate the destruction.

Khai Epic Moment  This is an example of all the schematic rigging I created with the designer to trigger all the destruction sequences for the shootout at the appointed time.

Khai Epic Moment  This is the shader I created to allow for wood chipping and blood splatter to appear on the hero pillar during the destruction sequence. It uses different color channels as well as numeric values of those channels to determine when and for how long those sequences are fired off.

MP Bank These next Four images are examples of the modular downtown kit I created. The first two are more classical buildings with brick structures and old copper storefronts. The next two are More modern structures with metal face walls and large reflective windows.

MP Downtown This structure was generated specifically for Downtown but it used some of the modular kit pieces from MP Bank to help in memory and framerate.

NY Harbor Hero Submarine I worked on the exterior of the sub. This was modeled in Radiant to allow for proper light baking. This included the main body, the hatch, and the missile silo hatches.  The detail pieces were all done in Maya. I also generated the textures as well. Including the shell, walkways and signage.

NY Harbor Animated Submarine This was strictly a Maya mesh due to its need for animation. I generated the mesh and its textures. This was actually quite a difficult task. Due to it being a Russian Military Sub, there were no specs available for it. The only way to get information on it was through photographs and videos and that turned out to be quite a difficult task.

NY Harbor US Destroyer This was generated using a High poly bake to a low rez game asset. The initial asset had texture sheets but the base of the ship was converted to a tilable texture to help in texel density.

Dubai Hotel Poker Table and Chair This was created using a High poly bake. I generated the mesh as well as the textures. I also generated all the destructible parts as well. Including the cards stacks and poker chip stacks. I also created the lamps above the table as well.

Dubai Hotel Lobby Art For the Pillar Base, I used Zbrush to generate the fish scales as well as the face. These existed on a single texture sheet. The Ring at the base used a marble tileable texture. The colorful glass fish pieces were generated in maya as well as using a high spec shader to give it a nice glass reflective look.

Dubai Hotel Decorative Sofa A Maya mesh generated using a High Poly bake to generate the wood texture and a tileable texture for the fabric material.

Dubai Hotel Lobby Chandelier A Maya mesh generated using a High Poly Bake and using a hot spec map for high reflectivity as well as a seperate emissive map for the glow.

Dubai Hotel Poolside Area I was the initial worldbuilder for this area. I worked with the concept artist to come up with a proper look for the poolside area of a lavish 5 star hotel. This was all done in Radiant and set dress with maya props.

Section of Interior shots of an Alien race called the Borg. I acted as the art director for this environment while Nick Duguid and Gianna Rockwell built most of the main structure. I worked on the prop placement and lighting scheme. The desired feel was horror. We used sparing lights of cool and warm to help create the mood. We also used a combination of lights and linear props like cables and pipes to highlight where the player should go within the environment.

This was the first map I ever worked on for STO. I was the sole artist on this map. The desire was to give it an Indiana Jones Golden Idol feel. I wanted to add verticle elements around the central altar to create cover as well as parallax as the player circles the altar to combat NPC’s that beam into the room.

This is the summer event social zone called Risa. It has been live in the game for over 10 years. My goal was to improve some parts of the map every year if time permitted. I wanted to focus on lighting and asset revamps. With Lighting, I went with a more dramatic lighting scheme that made for some great vista shots that players got to enjoy as they hung out with their friends. With Asset Revamps, I replaced all the geo that didn’t look as if they could exist in real life and replaced them with assets that had proper framework and proper construction techniques.

BRIMER CARRIER  This was one of the largest assets in the Game. It was used to carry a players squadron to different battlegrounds. I was given a single concept of the front of the ship but was allowed some freedom to generate the back how I saw fit. I generated more detail in the back since this is what the player saw most.  I generated a High poly version and baked it down to a proper game size. I generated it to use 2 diffuse, normal, spec and emissive at 1024x1024 each. 

Rhino Fighter This was one of the funnest ships for me to create. Its a smaller ship but required a lot of bulk and strength. It was a re-do of an existing ship but I was given a lot of freedom on what I could do to improve it. I wanted a lot of good micro detail but most of it on the back because that's what the player would be seeing most of the time. Like the Brimir, I generated a high poly version to bake with.  I wanted good texel density because of its screen size. So I generated 2 diffuse, normal and spec at 1024x1024.

Battlestar Pegasus This was the first thing I worked on for this project. This was a simple bake project. Using the actual high poly model from the TV show, and a low poly version that I generated, I baked out 3 diffuse, normal, spec. and emissive maps at 1024x1024. Three maps were needed due to the immense size of the Pegasus.

Mark III Fighter This was the last thing I worked on for the project. I generated a High Rez model and Low Rez model and did a basic AO bake for the diffuse as well as a Normal and spec map. The final diffuse was created back in Germany. The final image is the Actual Finished Ship.

Large and Small Asteroid  These were my first uses of Zbrush for the project. It was the only way to get a nice seamless rock look. The Large used 2 1024x1024 diffuse and nomal textures while the small only used 1.

Colonial Character Selection This asset is the Hanger Bay of the Galactica. The original was extremely low rez. I went back in and added fidelity to the walls of the hanger as well as generated new textures for those walls and the floor. I also generated the hanging banners. I modeled them in Maya and painted the textures in Photoshop. I brought them into Zbrush to give the fabric some folds. Finally, I went in and generated a new lighting pass to give it  a more dramatic look.

Cylon Character Selection This area is from the main Cylon ship. The main focus of this was to make it look like skin on top of metal to go with the theme of the Cylon. The metal was done with a high poly bake while the skin was done in Zbrush. Then the focus was on getting very dramatic lighting as well as steam effects to fill the background and to separate the different pillars. 

Ammo Renders This was generated to create icons for all the different types of ammo the player can choose. They were generated at a large scale and reduced to a tiny 64x64. The silloette needed to be solid so that it could be read at such a tiny rez.