hogjonny-myportfolio
Portfolio of JKG
NOTE: Most things in the 'Blog Roll' section of this site ARE NOT MINE, it's just stuff I like.
The rest of the sections are me.
Click through the slideshow of images. View my other posts or 3d Models. In the Expanded Portfolio click on the image to enter the high-res 'lightbox', use the arrow keys to scroll through images in high res mode.
201 posts
Don't wanna be here? Send us removal request.
Last Seen Blogs
piyu7art
Piyush Ahir
arin-fanson
fanson of hanson
tom-hunter-summah
multi-fandom page
leveraging-ai-and-human-talent
Alogrip
barrale-sicilgamma
Senza titolo
Link
Image Based Lighting (IBL)
Image-based lighting (IBL) is a technique used to simulate the lighting in a 3D scene by using an image of a real-world environment as the source of light. The image, known as an HDR environment map, is typically captured by taking a photograph of a real-world location or by synthesizing an image using computer graphics techniques.
To generally use IBL in a 3D application, the environment map is first mapped onto a sphere or a cube, which is then used to illuminate the scene. This can be done by applying the environment map as a texture to a special type of light source, such as an infinite light or a skydome light, which is a virtual light that surrounds the scene. (note: this is a general description, we will dive into the O3DE concepts, terminology, components and workflow later in this post.)
The main advantage of using IBL is that it can produce very realistic lighting and reflections in a 3D scene, since it is based on actual photographs of real-world environments. This can be especially useful for creating realistic visualizations of architectural designs, product prototypes, and other objects that will be seen in real-world settings. (aka Look Development)
IBL is also often used in computer graphics for film and video game development, where it can help to create more realistic and immersive virtual environments.
5 notes
·
View notes
Link
Understanding Image Frequency Separation
Macro Color and Detail Mapping
This article helps us understand the importance of Frequency Separation (FS), which is a technique used in image editing to separate the high-frequency details, such as texture and blemishes, from the low-frequency information, such as color and tone. This allows the editor to make adjustments to these different elements separately, allowing for more precise and targeted edits.
In real-time 3D engines like Open 3D Engine (O3DE), we use this technique in various ways, including Terrain Detail Mapping. Let’s explore ...
0 notes
Link
I wanted to know if I could generate scaffolding and example Python code for PySide2 work by using generative-AI like ChatGPT, the answer is YES.
1 note
·
View note
Link
Welcome to the Co3deX
Hello and welcome to the Open 3D Engine CO3DEX, a blog of my Journey’s in Real-time 3D Graphics and Technical Art. My name is Jonny Galloway, I work for @AWSCloud & my opinions are my own. The Open 3D Engine (O3DE.org) is an Apache 2.0-licensed multi-platform 3D engine that enables developers and content creators to build AAA games, cinema-quality 3D worlds, and high-fidelity simulations without any fees or commercial obligations. GitHub - o3de/o3de: Open 3D Engine (O3DE)
0 notes
Video
vimeo
Clips from one of the very first ‘realtime 3D’ games I worked on called
A-10 Cuba!
A flight sim and combat simulator built for the Mac and PC. I worked on:
- UI Design and Art
- Box Art Design and Art
- Manual Design and Art
- Environment and other in-game 3D modeling
2 notes
·
View notes
Link
This is part 1 of a speedrun, from my very first game: Secrets of the Luxor.
I worked on a large portion of environment design, 3d modeling, textures and lighting. It was a ‘point and click’ adventure game in the CD-Rom era.
0 notes
Video
A Dogflight gameplay video.
This is my favorite map of all time that I worked on. It’s for the Warhawk DLC Omega Dawn. It’s like a secret Axis Military Base for the Chernovan’s only in the WWII-esque setting of Warhawk.
0 notes
Video
This is my favorite map of all time that I worked on. It’s for the Warhawk DLC Omega Dawn. It’s like a secret Axis Military Base for the Chernovan’s only in the WWII-esque setting of Warhawk.
0 notes
Text
Cirriculum Vitae
JONATHAN KIMBALL GALLOWAY
(ask me for my address and or phone number)
(ask me for my email)
https://www.linkedin.com/in/hogjonny
http://jonathankimballgalloway.me/
https://www.co3dex.com
GENERAL SKILLS
Project Management
Product Management
Team Leadership, Mentoring and Direction
CREATIVE SKILLS
Creative Direction
Content Creation
Game Design
Maya Expert
TECHNICAL SKILLS
Python Coding
Shaders: HLSL, CGFX
Tools and Pipeline
Workflow Efficiency
Summary
I have over 29 years of experience in 3D production, technologies and AAA video game development, with a core background in 3D art and technologies.
I am a tinkerer at heart, making game tech and experiences fulfills all of my creative desires. I have directly contributed to the design, art, and development of over 16 shipped titles, as well as several canceled or unannounced projects and demos.
I have strong technical skills, including specialization in shaders and rendering, content tools and workflows, procedural design systems and toolkits, and scaled world building.
I also have experience with many game engines and technical tools.I have excellent leadership and management skills and am highly creative, with a passion for creating immersive game experiences. I have strong collaboration skills and am able to work effectively with other members of the development team. I am adaptable and able to quickly learn and adopt new tools and technologies.
I have worked with influential companies including EA, Activision, Atari, Take2/Rockstar, Sony, Amazon Game Studios and AWS Game Tech.
My specialties include technical art, shaders and rendering, content tools and workflow design, Python, procedural world building systems and toolkits, terrain, environment art, performance optimization, content memory management, and product/program/project/production management. I am Scaled Agile certified.
I believe the future is platform agnostic gaming experiences and cross-platform play that focus more on the consumer and their identity, then the identity of the device or service we play through. A web of game experiences spread across all the devices in our life. We may take gaming on the go with our tablets and phones, but come home to an extended HD experience in our living room, or cutting edge PC. (I guess my long term vision, right now connects to what people are now calling the metaverse.)
Projects:
- Open 3D Engine (o3de.org)
- AWS Lumberyard
- MaxplayGDS, w/ OrigamiSky (Cross-platform)
- Uncharted: The Nathan Drake Collection (PS4),
- Gravity Rush Remastered (PS4),
- Titanfall (X360)
- Starhawk, and Warhawk (PS3)
- (many others included in my profile below)6
Specialties:
- Technical Art
- Shaders and Rendering
- Content Tools and Workflow Design, Tools, UX
- Python
- Procedural World Building Systems and Toolkits
- Terrain
- Environment Art
- Performance Optimization
- Content Memory Management
- Product/Program/Project/Production Management
- Scaled Agile Certified
CURRENT EMPLOYMENT
Amazon AWS, @AWScloud – Austin, TX October 2016 – Current
Senior Technical Artist / Product Owner
- Large Worlds PO, procedural world design, dynamic vegetation (procedural biomes, etc.) and terrain.
- Getting started with Dynamic Vegetation crash course (I wrote this blog post, even though it was signed and posted by another person.) This toolset was first built for handing all of the vegetation biomes for New World
Senior Product Manager - Technical
- PM-T for Atom the new real-time 3D rendering engine powering Open 3D Engine (formerly known as Lumberyard)
- Responsible for managing the integration Atom into the engine and editor, in a usable state for creators.
- Rendering engine feature set, Rendering and Content tool and Workflows, PBR materials and lighting, Model pipeline, etc.
- Responsible for managing the design and integration of the initial Python bindings for the editor framework (extensibility), for automated testing and technical artists.
Senior Design Technologist
- Individual contributor, rendering and content tools and workflows SME
- Look Development tools and workflows, primary design lead for material data, material editor, material component, material authoring.
- ACES color managed workflow and tone mapping, color management tools and workflows, HDR color grading tools and workflows (postfx)
- Managed release and IC for technical demos such as ArchVis Loft sample
EMPLOYMENT HISTORY
MaxPlay Inc. – Austin, TX March 2015 – Current
Technical Art Director / Product Owner
MaxPlay DGS (Game Development System), OrigamiSky (Technology Showcase)
Directorial oversight of VR Technology Showcase Demos such as OrigamiSky (built in 3 months); managing titles from pitch through release. I provide Creative Direction as well as stepping into the trenches to fight, writing shaders or creating content.
‘Better Games, Faster...’, Working in the Product Development team, I work on product design for the MaxPlay GDS (Game Development System). A game development platform , engine, and an editor, providing cutting edge features such as realtime collaboration.
Certified SAFe Agilist (Scaled Agile Framework for Enterprise); as a Product Owner I help manage cross-functional feature teams working in areas like advanced rendering and the data pipeline.
Bluepoint Games – Austin, TX April 2013 – March 2015
Senior Technical Artist
Uncharted: The Nathan Drake Collection, Gravity Rush: Remastered
Titanfall (X360), Titanfall DLC, Original IP (Gen 8)
Data wrangling and memory crunching ninja.
Technical Art support and art staff mentoring; training them on workflow and process, and generally how to ‘problem solve’ and be more efficient and productive artists.
Project design, technical art, workflow and art pipeline implementation.
Environment art, 3D modeling, Terrain and additional content creation.
Lightbox Interactive (Incognito Reboot) – Austin, TX Jan 2009 – Nov 2012
Lead 3D Artist (Content Developer)
Starhawk, Starhawk DLC for PS3, Gen8 development on PS4
As a founding member, I helped Incognito transition from SCEA to an independent external developer known as Lightbox Interactive and helped nurture and grow a talented art team.
Lead developer heading up the Environment Team, responsible for mentoring and technical training of art staff, with oversight of all game content development.
Project design, technical art, workflow and art pipeline implementation.
Day-to-day content creation and generally awesome game development skillz.
Incognito Studio (SCEA) – Salt Lake City, UT July 2007 – Dec 2008
Technical Art Director (First Party Game Development)
Warhawk, Warhawk DLC for PS3
Day-to-day content creation, terrain and level building, texturing and lighting.
General game development tasks, managing of external art outsourcing.
K2 Networks, Osaka, Japan Dec 2006 – June 2007
Senior Producer (Operations, Product Development)
Sword of the New World, Gundam Online MMO
Producer overseeing external development and other K2 interests in Asia, on-site at Dimps our developer in Japan. Working on the design and upgrade of a Gundam based MMO for release worldwide.
I also managed our production team, as well as a second release for North America; flipping a Korean MMO, managing the localization and port of the title to other regions.
Atari, NYC, NY Dec 2005 – Dec 2006
Senior Producer (Product Development)
Dungeons and Dragons, Neverwinter Nights 2
Senior Producer for Dungeons and Dragons franchise, primary responsibility was the timely completion and shipping of Neverwinter Nights 2, a key product release.
Directorial oversight of the game's ‘Intro Cinematic’, Audio and VO, and all other external outsourcing efforts, as well as direct interface between Atari NYC and the Obsidian development team in California.
Rockstar Games, NYC, NY Sep 2003 – Dec 2005
Producer (Product Development)
GTA: San Andreas, The Warriors,, Midnight Club 3, Red Dead Revolver, Bully, Manhunt, Max Payne 2 ... and Double Agent (not released)
Provided core research and analysis for all Rockstar properties in production.
Responsible for overseeing the design and development of a key new Rockstar ‘original IP’ and franchise for the next generation gaming platforms.
Ritual Entertainment, Dallas, TX Mar 2000 – Jun 2003
Producer, Creative Director & Art Director (Project Lead, Game Development)
Star Trek: Elite Force 2, Blair Witch 3 – The Elly Kedward Tale
Built and established a development team, this team developed Star Trek: Elite Force 2.
As team lead, I managed the production plan and schedule for a 25-member team that included programmers, artists, designers, and any additional contract resources.
Managed the creative and game design process and associated design and art teams directly day-to-day.
Incognito Studio, Salt Lake City, UT Oct 1999 – Mar 2000
Senior 3D Artist (Game Development)
Twisted Metal: Black (PS2)
More details available upon request.
SingleTrac Studios, Salt Lake City, UT Jan 1998 – Oct 1999
Lead 3D Artist (Game Development)
Twisted Metal Series, Jet Moto III Series, Streak, Animorphs
More details available upon request.
Parsoft Interactive, Dallas, TX Nov 1995 – Nov 1997
Art Director & Lead Designer / Assoc. Producer (Project Lead, Game Development)
More details available upon request.
Mojave Interactive (Strata Interactive), St. George, UT Feb 1994 – Nov 1995
Multimedia Artist & 3D Artist (Game Development)
More details available upon request.
Strata Inc., St. George, UT August 1993 – Feb 1994
Junior Artist (Media Services)
More details available upon request.
PROJECT HISTORY**
Recent Projects:
Open 3D Engine (O3DE)
Lumberyard
MaxPlay GDS (Game Development System), OrigamiSky (VR Technology Showcase, PC and Mobile)
Past Games:
New World (PC)
Uncharted: The Nathan Drake Collection (PS4)
Gravity Rush: Remastered (PS4)
Titanfall (X360), Titanfall DLC (X360)
Starhawk (PS3), Starhawk DLC (PS3)
Warhawk, Warhawk DLC (expansions) (PS3)
Sword of the New World MMO
Gundam Online MMO
Neverwinter Nights 2
Double Agent
Rockstar Presents Table Tennis
The Warriors
GTA: San Andreas
Midnight Club 3
Red Dead Revolver
Bully
Manhunt
Max Payne 2
Star Trek: Elite Force 2
Blair Witch 3 – The Elly Kedward Tale
Twisted Metal: Black
Streak: Hoverboard Racing
Fighter Squadron: Screamin Demons Over Europe
A10 – Cuba!
A10 – Attack! V1.5
A10 – Attack!
Secrets of the Luxor
Virtual Dino Lab (An Epcot Center, edutainment kiosk)
**This is the list of titles I feel I have made significant contributions to while employed in various roles or assigned to departmental tasks, but may not have been properly credited for my contributions in each product release. That said, I feel that via my references and all contributions can be confirmed.
0 notes
Photo
Pre-Vis for OrigamiSky Pitch Deck
0 notes
Photo
Lighting / Shader Pre-Vis for Origami Sky.
- Realtime, HLSL Maya Viewport shaders (written by me)
1 note
·
View note
Video
This is a realtime Pre-Vis test render for OrigamiSky:
- HLSL viewport shaders in Maya (written by me), backlit paper with translucency
- Dragon is animated with a fancy vertex shader
0 notes
Text
I find it ODD that I have to manually enable Telnet in Windows 10
from a CMD:
dism /online /Enable-Feature /FeatureName:TelnetClient
That downloads, installs and activates it. I guess I have been maneuvered downward, er maybe have to poke the underworld more often.
0 notes
Video
youtube
This video demonstrates CPU performance comparisons for MaxPlay, Unreal and Unity game development engines using the same CPU heavy boid flocking simulation. There are two separate comparisons:
1. A fixed number of flocking objects at 5703 w/resulting FPS
2. Locked frame rate at ~90 FPS. with scaled objects to meet FPS
0 notes
Video
youtube
OrigamiSky is a MaxPlay technology demo for GDC2016; built to showcase our Forward+ rendering (LID - Lighting Index Deferred) and our high performance MaxCore multithreaded runtime.
I managed this project:
* Pitch and Pre-Vis
* Creative Direction & Producer
* Technical Art; pipeline , custom shaders, procedural vertex animation, modelling and texturing.
1 note
·
View note