© 2024 Chad Greene. All rights reserved.

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Chad Greene

 

Address: Seattle, WA 

E-mail: chad_w_greene@yahoo.com

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Professional info

 

Throughout my professional career, I have been responsible for Concept Art, 3D modeling, animation, 2D/3D texturing, Materials, Lighting & Compositing, and Art Direction for broadcast animation, video games, feature films, illustration and graphic design. In addition, I am a fine artist trained in drawing and painting.

 

Work experience

 

Sr. 3D Artist, COLOR Creative

Jun 2019 - Present

Roles and Responsibilities - Sr 3D Artist (modeling, texturing/materials, lighting, compositing andanimation) for various projects (tv commercials, motion graphics, graphic design and more) 

Software/Skills - Maya, Photoshop, Cinema 4D, Redshift, X-Particles, Forester and After Effects

Sr. Artist & Art Director, ChadCo

Oct 2018 - Present

Projects: Freelance; Concept Art (2D and 3D) for undisclosed project; Modeling, Texturing, Materials 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

Sr Art Director, Microsoft Studios

​Aug 2011 - Sep 2018

Projects: Ryse: Son of Rome, Powerstar Golf, Killer Instinct 2 and 3, D4, State of Decay: Year One Survival Edition, State of Decay 2, Ryse interactive graphic novels (3); 

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, Materials, 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.

 

 

Principal Art Director, THQ/Volition

​Jul 2007 - Aug 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.

Art Director/Tech Art Director, Activision

​Aug 2005 - Jun 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 (along with textures and Materials) 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.

 

Tech Art Director/Sr Lighting Artist, Electronic Arts (EALA)

Jul 2004 - Aug 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 and materials 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 Lighting, Texturing & Compositing Artist, Sony Imageworks

​Jun 2003 - Jul 2004

Projects: (Feature Films) 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/Materials (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)

 

 

Art Director/Cinematics Lead, Midway Games

Jan 2002 - Jun 2003

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.

 

Tech Art Director, Electronic Arts (EARS)

​Aug 2000 - Jan 2002

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

 

Role(s) and Responsibilities:  I was hired into the Central Art Team and supported the Tiger Woods 2001 team (I modeled Tiger Woods 3D character and was asked to optimize the Lighting pipeline for the golf courses); once that completed, I was asked to support the James Bond team, specifically in the area of Lighting/Textures/Materials. I worked closely with Devs to create a new pipeline along with new tools to complete and game and then lit 3 levels that showed an improvement in the visual quality. After this, I was asked to work with the HR team on the creation of a new role that would be hired across the studios (Lighting Artist) and worked with them on creating the job description and responsibilities. After Bond, I was hired onto the project 'Tiger Woods' as the Tech Art DIrector.

 

Sr Lighting Artist, PDI/Dreamworks

May 1997 - Aug 2000

Projects: (Feature Films) Antz, Shrek, Simpsons 3D (tv episode/IMAX)

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, materials) 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

 

Career Experience

 

Video Games

Feature Films

Broadcast/TV

Graphic Design

Illustration

Fine Art

Animation

Software

Adobe Photoshop

Adobe Illustrator

Maya/Max/Modo/3D Coat

Zbrush / Mudbox

Art Rage

Corel Painter 2018

Bodypaint 3D

Mari 

Substance Painter

Substance Designer

Premiere/After Effects

Nuke/Shake/Combustion

UE4/CryEngine/Unity

Adobe Creative Suite

Marmoset Toolbag 3

Keyshot 8

Fusion 360

Quill

Oculus Medium

Gravity Sketch

MasterpieceVR

Cinema 4D

Redshift

X-Particles

Forester

Art Skills

 

Art Direction

Concept Art

Graphic Desgin

Illustration

Matte Painting

Cinematics

Modeling/Texturing

Lighting & Compositing

Storyboards

Fine Art & Illustration

Photography

Leadership Skills

 

Creative Team Mgt

Print/Web/Interactive Design

Concept Visualization

Project planning/Scheduling

Creative Design

Messaging and Branding

Collaborative

Artistic Vision

Mentoring

Strategic Direction

Self-Motivated

Problem solving

Visual Communications

Brand Re-Invention

Outsourcing

Marketing

Leadership experience

New IP Development

Freelance (Graphic Design/Illustration/Computer Art

Clients

GTE, Detroit Pistons, Detroit Red Wings, Detroit Lions, FOX Studios, Ford, Chrysler, GM, Cadillac, Fremont Advertising, Fremont Athletic Supply, Sandusky Register, Canadian Tire Company, Doner Advertising, NextSet, Maximum Golf magazine, Impress magazine, Electronic Arts, Sony, Electronic Gaming Monthly, Playstation magazine, Nabisco

Publications

 

Amiga World, Computer Graphics World, AV Video Magazine, Video Toaster User Magazine, Computer Artist, 3D Artist, Modern Engineering, Sandusky Register, Sight & Sound magazine, Canadian Tire catalogue, Maximum Golf magazine, IDAA Digital art & Design

Magazine 2001, Impress magazine, Bit-by-Bit Digital magazine, Plein Air Magazine

Awards/Honors

(2) Broadcast Emmy Awards – Detroit Pistons/FOX (tv commercial and in-arena JumboTron animation) – Art Direction

 

Broadcast Emmy Award – Keebler via Klaspy Csupo (tv commercial for EL Fudge cookies) – Freelance Production 3D Artist (modeling, texturing, shaders, lighting, compositing, animation)

 

Academy Award – Company/Project award for ‘Shrek’ (the first ever Academy Award for Feature Animation) – Sr. Lighting Artist

 

American Frame Company Corporate Achievement Award – Fine Art Show award for my painting, 'Rage against the Machine’

 

E3 Awards – for the game, ‘Red Faction: Armageddon’ (Art Direction):

         Games Radar – ‘Reason to Live Award’

         Machinima – ‘Best Original Game Award’

         IGN – ‘Best of E3’

         Gaming Excellence – ‘Best of E3, Best Shooter, Best Visuals, Game of the Show’

Education

 

Bowling Green State University (BGSU)

BFA - Computer Art and Animation

BFA - Drawing

 

 

Terra State Community College

 

Associates Degree - Graphic Design

2010 - present

2010 - present