Endless Roguelite Tower Defense Exploration and Gunfight

I Joined SEGA Amplitude Crew in 2022 as VFX Expert
First Working on internal unannounced production and then on Endless Dungeon production.

Using my expertise on VFXGraph, I Joined the production team, helping authoring VFX Assets for the game, and profiling on PC/Console and come up with optimization advice, strategies and tools.

Next-gen VFX Toolchain for Unity

I Joined Unity in 2015 in order to design the next-generation of tools for VFX Artists.
Taking inspiration from industry-leading software like Houdini, the goal was to create a scalable, node-based ecosystem of tools that can emancipate VFX Artists from the requirement of engineers for adding new features.

AAA Demo showcasing VFX Graph and HDRP

While developing Visual Effect Graph and the High Definition Render Pipeline, we needed a project that showcased common, yet cutting-edge visual effect production cases.

The project was developed with the original intent of releasing it publicly, as an educational production example, and guarantee its good performance on Playstation 4, PC and Mac. It has been released on GitHub and is still being used as part of the Quality process of VFX Graph and HD Render Pipeline

While working on various Unity projects (Spaceship, Fontainebleau, HD Simple Game,...) I have stumbled upon the same needs over and over. The Gameplay Ingredients Initiative came useful as I needed to reuse many code over all projects and I needed a reliable and stable codebase in order to accelerate all projects.

It contains tools that help structure a game: Managers, Level Scripting, Rigs, Counters, Timers, Variables, and a variety of Editor Tools that supercharges unity and eases the game production.

This framework is available open-source as GitHub and OpenUPM

Misc. tools for VFX Artists

On the side of the development of Visual Effect Graph, I started working on other tools dedicated to VFX and Tech Artists, these tools have been published as an Open-Source package for unity, known as VFX Toolbox. Among these tools are Image Sequencer : a tool that processes sequences of images in order to author and iterate on flipbook texture sheets. Other tools include exporters for Houdini that make the bridge with Visual Effect Graph in order to bake point caches or vector fields / signed distance fields.

Stylized and Photographic VFX

Working on Life is Strange was a really intense and rewarding challenge. The art direction was really different from Remember Me, yet, it was really interesting to bend the rules of realism in order to provide stylized effects and keep the lighting realistic. Also, working and researching on analog photography VFX was thrilling as it reminded me a lot from analog experiments when I was student. Finally, the production of an episodic game involved a totally different work organization, and planning ahead in order to make it efficient on a wide range of platforms (PS3/X360/PS4/XOne/PC) was a really interesting approach.

High Octane VFX

I spent really few time working on Strike Vector, as reinforcements with the team in order to enhance effects that were already in place and optimize them.

Dystopian, Glitch & Augmented Reality VFX

Working on Remember Me VFX was one of the most thrilling experiences, because of the balance between realistic and non-realistic effects. The art direction was oriented towards Augmented Reality UI, Glitches and visual corruption. I had a really good time working with the VFX Team and coming up with really crazy effects.

For many years, I have been commited to sharing some of my VFX and Workflow tools to the community.

Taking part of the open-source community work is a good way to make your own breakthroughs reach other people so they can benefit from them and keep on focusing the next step.

Because sharing is caring, we can keep our job better and better for the future.

Smouldering VFX

I am Alive was my very first experience in Visual Effects. First as a trainee, then as a full-time employee of Darkworks, I was highly challenged by the scope of the game and learned many both technical and artistic concepts. Surrounded by veterans of Game industry and very talented art directors, rendering engineers, I forged my first weapons in order to author, integrate and benchmark/debug my own work.

Other Project VFX / Particle Tool Design

After the cancellation of I Am Alive, I worked at Darkworks on many other game prototypes and vertical slices, first on Unreal Engine 3, then on PlayALL engine, which development was brought back to Darkworks. During that period, I designed and worked on the new particle editor of Play All engine, alongside prototype projects in order to battle test it in production conditions.