© 2024 Chad Greene. All rights reserved.

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/AboutMe 

(Short story)

 

Throughout my professional career, I have been responsible for concept art, 3D modeling, animation, 2D/3D texturing, lighting & compositing, and Art Direction for broadcast animation, video games, and feature films. In addition, I am a fine artist trained in drawing and painting. 

(Longer story - detailed history)

 

Graduating from Bowling Green State University in 1992, with a Dual BFA in Drawing and Computer Art, I began my career as a computer artist. After college, I moved to Detroit, Michigan, and worked for a service company (CDI Vislab) that provided 3D modeling and design for the automotive industry (modeling using Alias software). I also worked on broadcast animation for FOX and other networks. My project for the Detroit Pistons was to create an animation for their broadcast opening and one for the opening line-ups that would be shown on the Jumbotron during home games. In 6 weeks, I led a team of 4 and we produced 5 minutes of animation that won us 2 broadcast Emmys for excellence. I was responsible for concept, storyboarding, modeling, texturing, lighting, animation, and Art Direction.

 

After Detroit, I moved to Palo Alto, CA and worked in the games industry for Crystal Dynamics. I worked there for almost 2 years on "Gex" (3DO) and a game called, "3D Baseball", for the Sony Playstation (modeling, texturing, 2D/3D art, and animation). Next stop was Acclaim Entertainment, in New York. I was brought in to work in the Advanced Technologies group as senior artist/animator. While at Acclaim, I worked on various games (using Alias and Nichiman) and also a concept animation for a proposed Saturday morning cartoon (based on Turok the Dinosaur Hunter). This high-end experience enabled me to improve my demo reel/portfolio so that I could focus my talents on getting into the film industry, which had always been my dream.

 

I then worked as an Lighting Artist with PDI/Dreamworks for 3.5 yrs on 3D computer generated films such as Antz, Simpsons 3D Imax, and then the studio's 2nd CG feature film, Shrek. My role at PDI was lighting and as a 3D texture painter, in which I was responsible for creating the final rendered image using proprietary lighting software and a 3D paint system for textures.

 

After PDI, I started working for Electronic Arts (EA Sports, Redwood City, CA) as a Technical Art Director on Tiger Woods 2001 and 2002 (Playstation 2 and the X-Box) providing leadership as a modeler, lighter, texturer, and animator. I also was a lead lighter on the PS2 version of James Bond: Agent under Fire.

 

Next up, I worked as the Art Director/CG supervisor of Cinematics, at Midway Games, in Chicago. Midway provided me with the opportunity to lead a small group of artist's (11) in doing what I truly love doing-- making movies! We were involved in the production of a 3.5 minute intro animation for the highly anticipated release of Mortal Kombat 5: Deadly Alliance, as well as other game cinematics for Blitz, Redcard Soccer, Slugfest Baseball, and Psi-Ops.

 

In June of 2003, I moved back to California and worked on the film, The Polar Express, for Sony Pictures Imageworks (Los Angeles, California), where I was a Senior Technical Director. I was responsible for lighting, texturing and compositing on this CG animated film, which was released in theaters November 2004.

 

After Sony, I decided to return to video games, and I was offered a terrific opportunity to return to Electronic Arts (EALA) and I work on the Bond franchise game called: Golden Eye: Rogue Agent. I was a senior environment artist on the project; responsible for modeling/texturing and lighting of the environments. Soon after Goldeneye, I joined the Central Tools & Technology group within EALA, and devoted my time and energy into the research and development of tools/techniques and pipelins for generating content, specifically around lighting and rendering.

 

In August of 2005, I moved back up to the SF bay area and started working for Activision, at one of their development studios, called Z-Axis. I was working as a Sr. Technical Art Director on a 'next gen' title that later canceled due to conflicts with its movie counterpart-- the game was to be 'Wolverine' -- based around an X-Men 4 movie that was centered around the character Wolverine--  at the time, the movie was delayed, which unfortunately put my game on hold.. by the time things started going again, it was passed off to another studio - arg! (soon after this - I left the studio and moved to Illinois to work for Voltion)

 

In July of 2007, I started working at THQ/Volition. I was hired to work in the Cinematics dept on Saint's Row 2. After SR2, I was promoted and given the honor/opportunity to be the Principal Art Director on Red Faction: Armageddon, in which I led a team of 44 artist's and managed outsourcing in 3 different countries. After that project wrapped up, I was asked to help set up the lighting tools/pipeline for Saints Row 3, and work in the role of Lead Lighter (as the project only had 8-10 months left and needed this role/position to implement the vision and to complete the project).

 

In Aug of 2011, I was offered a terrific opportunity to work for Microsoft Studios, as a Sr Art Director, in the Global Publishing group for Xbox/PC and I'm getting a chance to work on a range of awesome projects (Win10 PC, Xbox One, and other entertainment related stuff!) -- I'm really happy working there (never a dull/boring day!) and i'm really enjoying living in the Seattle area. My first two projects were Day 1 launch titles for the Xbox One, Ryse and Powerstar Golf. Then I was happy to work on both Killer Instinct 2 & 3. In July of 2018 we shipped 'State of Decay 2' (Xbox and PC), which I was very happy to be part of that team.

 

Unfortunately, after nearly 7.5 years at Microsoft Studios, our group was hit by layoffs (about 15% of our team) and I was one of those employees (as I had just finished State of Decay 2 and was at the time, not on a new project). I'm currently doing freelance work (2D and 3D) and consulting with various studios on best practices relating to internal production as well as outsourcing. I'm currently looking for my next 'dream job' (preferably in the Seattle area, as I have kids in High School -- but i'm open to listening to any and all opportunities - so hit me up!).

 

Outside of work: I continue to work on my skills as an artist - both digitally and traditional -- which I have been exhibiting in various competitions and galleries. My underlying training as a Fine Artist drives my creativity. I make sure that even though I am sitting at a computer 10+ hours a day, I am keeping my hands busy by drawing the human form in my sketchbook almost nightly, as well as creating my personal art (landscapes and more). I have compiled a full sketchbook of ideas that are tearing at me to get out and complete!! 

 

I hope you enjoy my web site. I am happy to be able to share my artwork with you.

 

-cg