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Kelly Snapka
kelly@kellysnapka.com
www.kellysnapka.com

SKILLS SUMMARY:

  • Art Direction & Leadership
  • Technical Art/Animation: art tools & pipeline development, optimization, evangelizing technical opportunities
  • Art Outsourcing management and direction
  • Art Production of 3d (characters, vehicles, environments, & props), VFX, and Cinematics.

CORE APPLICATION EXPERTISE:

DCC: MotionBuilder, 3ds Max, Maya
Languages: Python, Maxscript, MEL
Platforms: PC, XBOX1/360/One, PS2/PS3/PS4, IOS

EMPLOYMENT HISTORY:

Present Principal Artist, DeepSilver Volition on unannounced project.

  • Primarily focused on Motion Builder and engine interoperability along with moving cinematic tools out of 3ds Max and into Maya/MotionBuilder and general technical animation support.
Aug 2013 Principal Artist, Saints Row IV, DeepSilver Volition

  • Assisted the team hitting content complete by taking on several outstanding VFX tasks. Also provided technical art support.
June 2013 Assistant Art Director, Koch Media\Deep Silver – Munich, Germany

  • Over the course of 3.5 months, I oversaw art direction on 5 projects already underway, freeing up Koch’s Art Director for other work.  Typical work involved directing external teams and freelancers via work negotiations, style guides, job sheets, and technical & aesthetic critique.

    Feb. 2012 Art Director of Outsourcing, “Insane”, Volition Inc.

    • Insane is expected to have the largest percentage of outsourced art in comparison to other Volition products and I’ve been tasked with heading up the art direction aspects of this.
    Aug. 2011 Art Director of Outsourcing, “Saints Row The Third”, Volition Inc.

    • I managed outsourcing of the following by providing art direction, tools, and technical support:
    • Player Outfits and Hair, supporting extensive customization
    • NPC’s, including story characters as well as pedestrians (some 130+ in total).
    • Vehicles updates from SR2 to conform with SR3’s optimization and constraints.
    • Cinematics – props, animatics, animation passes, and lighting
    • Additionally, I provided input on the project as an Art Director as well as filled holes when needed including modeling characters & props, maxscripts, documentation, screenshots, and critique.
    April 2010 Studio Art Director, Volition Inc.

    • Responsibilities included raising quality bar for studio, growing art culture, budgeting art dept., personnel management, recruiting, acting as central contact point for external studios & vendors, resource allocation, auditing of pipelines & workflows, guide Product Art Directors.
    • Key accomplishments include overseeing the growth of the art staff from 20 to 90, establishment of an Art Council, and presiding over transition to next-gen, including growth of staff, infrastructure, and technique.
    • Pursued agenda of live update, tool logging, and integrated bug tracking into daily processes.
    • Projects shipped under my leadership include:
    • Red Faction: Guerrilla
    • Saints Row 2
    • Saints Row 1
      • Developed “vPropShop3,” an asset browsing, placement, and management utility
    • The Punisher
      • Harnessed 3dsmax’s radiosity lighting tools by extending their functionality to vertex light baking and assorted management and iteration utilities. (e.g. vcTools, RenderVCs, and vALS)
    Sept. 2002 Summoner 2, Volition Inc.

    • Cinematic Artist – directed externally developed narrative cinematics and authored internal cinematics using similar processes to those on Summoner 1 with the exception that I began to learn maxscript during this period.  The application of maxscript vastly improved the performance of staff artists and myself through task efficiency, pipeline refinements, and tools improvements.
    • Environment Artist – built several levels starting at the concept stage carried through model\texture, light, vfx, and game implementation.
    Oct. 2000 Summoner, Volition Inc.

    • Cinematic Artist – responsibilities included cinematography, choreography, and rough animation (rough animation was passed off to character animators for clean up, tweaking, and lip-synch), lighting, effects, level modification, and breaking apart the 3dsmax cutscene files and reassembling them in the game through various exporters and scripting. Approximately 80minutes of cutscenes were completed in less than 5 months.
    • Environment Artist – duties included concepting, designing, lo-poly modeling, texturing, lighting, and other related tasks in order to create environments in 3dsmax.
    Sept. 1999 FreeSpace2, Volition Inc.

    • Cinematic Artist – tasked with creating story boards, animatics, modeling, texturing, lighting, animation, and post-production/compositing of pre-rendered cutscenes.  In addition to working on cutscenes, I modeled several realtime ships, modeled/textured various hi-res pilot heads, created in-game briefing animations, and was  involved in marketing artwork such as creating the artwork for the box and printed ads.
    Oct. 1998 Started at Volition Inc.

    EDUCATION:

    9/96-9/98 Associate in Specialized Technology Degree, majoring in Computer Animation, from The Art Institute of Pittsburgh
    8/95-6/96 Memphis College of Art, pursuing BFA majoring in Illustration