Matthew DiLallo

Software: Maya
Code: Python

Challenge

Player Packs are in app purchases in Vegas Infinite. They often contained themed content like props, avatar apparel and chips. The process to launch a new Player Pack in the Vegas Infinite store required a lot of tedious steps. Including, sourcing the art, creating the preview images and texture assets, rigging/animation, Unity front-end code integration and back-end setup (all steps I was responsible for). This whole process often took 1.5 days or longer, depending on the pack’s content or number of packs launching at the same time. Adding to the problem, packs were often a last minute requirement before a patch went out.

Solution

I developed this tool to quickly cut down on the more time consuming aspects of the Player Pack production. In one click, the tool generates the production ready rig including animation. This process used to take a few hours now only takes a few seconds.

What Does The Tool Do?

1) Create joints for all selected mesh objects
2) Merges mesh and skin cluster groups
3) Parent joints to a root joint
4) Adds key frame animations to joints
5) Renames joints and combines mesh
6) Clears construction history

I spent nearly four years working at LuckyVR as a Technical Artist. During my time at the company I wore many hats and was involved in coordinating with teams on a multitude of projects. Some of my responsibilities included but were not limited to the following:

1) Designing and integrating game features (full front-end development)

2) Tool and pipeline development

3) Rigging and animation (prop, apparel and interactions)

4) Optimization and performance monitoring (Unity Profiler, RenderDoc)

5) Coordinating and managing front-end system pipelines

6) Solving graphical issues on PC, Android and PlayStation platforms

This page contains a collection of work over the last four years on the Vegas Infinite - PokerStars VR project.

Project

Platform: Windows Surface Pro

Software: Maya, Unity, Vuforia, Illustrator

Don Mills AR was a project that I developed for the Urban Land Institute conference in Washington DC. IBI was hosting an event at the Samsung Solution Center during the conference to showcase some of their Design Technology initiatives to guests. At the time, we did not have any augmented reality examples to speak towards the tech pivot that the company had announced earlier that year. After speaking with the Physical Model team, we decided to combine AR technology with one of their models. The idea was to use the Science Center Station building model as a base and project AR information of the aboveground context and below ground subway structure.

What I did

I not only lead this project from beginning to delivery, this was the first project that I was the sole developer on. Programming all of the interactions, UI functionality, writing shaders to achieve certain looks and more. I was also involved in optimizing the existing model to perform efficiently on a mobile device, implementing art assets and animations.

Challenges

My main challenge was selecting the right AR tracking solution to ensure precise alignment with the physical model while considering real-world environmental factors.

Solution

Due to the time and budget constraints, the model makers and I decided that an additional foam core base with a tracking image would be the best option. I also planned the experience to be viewed from a limited angle. This ensured that the key tracking portion of the foam core addition was always in view and that the model wouldn’t occlude these features. This solution also worked well given the spatial constraints at the venue, where is was to be presented to guests.

Project

Platform: Oculus Rift

Software: Maya, Unity, Photoshop, After Effects

Insidious 3 combined 4D effects to create a terrifying VR experience to engage the fans of the Insidious franchise. Users walked into a trailer and into one of four rooms. As the experience played, 4D elements (rumble chairs, cold air blasts) would add a chilling effect to the user's virtual experience.

What I did

Insidious 3 VR was the first major VR project I had worked on. I was the main CG Artist for the project and it was up to me to design the VR scene itself. Based on the reference supplied by the clients, I constructed the scene layout and helped to plan the main points of focus and scares. 

Project

Platform: Android

Software: Unity, Maya, Photoshop

Athlon AR was a concept project for Athlon's re-branding. To complement their skills in merging design and technology, they were looking for an augmented reality piece that would represent their core values. 

What I did

I was responsible for modeling, rigging, animation, AR setup and integration.

Project

Platform: Samsung Gear VR, OptiTrack Motion Capture System

Software: Unity, Maya, Photoshop, Motive

Robot Wars is a two player, room-scale, VR experience for the Gear VR. The players piloted giant robots and would battle in the middle of a futuristic city. Gaining points by hitting their opponent with as many buildings as they could throw within the time limit. This game was featured at Consumer Electronics Show (CES), Mobile World Congress (MWC) in Barcelona and is a permanent feature at Samsung’s 837 Experience Center in Manhattan.

What I did

I was primarily in charge of the 3D assets and the visual look of the game. Modeling, texturing and lighting a seemingly endless cyberpunk city. I was also responsible for setting up the OptiTrack motion capture system which tracked the player's movement within the play space.

Optimizing with common techniques and mobile shaders, I condensed the cyberpunk city to under 25 draw calls, achieving nearly 60 FPS on a Samsung Galaxy device.

Project

Platform: Oculus Rift, OptiTrack

Software: Maya, Unity, Motive, Photoshop

IEEE (Institute of Electrical and Electronics Engineers) Universe Experience was a multiplayer, room scale, free roam VR museum. Showcasing 3 pieces of technology that IEEE and its members had helped influence and advance. Users would interact with real-world artifacts which would then change their virtual world. Narration would then educate the user about IEEE's contribution to the development of the technology.

What I did

My primary role on this project was design and development of all game environments and assets. This included the interactable objects, both digital and 3D printed. I was also responsible for the OptiTrack setup regarding the physicals game props.

Project

Platform: Oculus Rift, Vive, Samsung Gear VR
Software: Cinema 4D, Maya, After Effects, Illustrator, Photoshop

General Electric Dali Windfarm VR documentary was GE's vision to showcase their wind farm project in Dali, China. This documentary showcased GE's new turbine technology as well as the environmental and economic benefits brought to the region. The documentary was comprised of stereoscopic live action, drone, and computer graphic footage.

What I did

I was the lead CG Artist on this project. My responsibilities included art direction, look dev, modeling, rigging, animation and compositing.

Like many technical artists, I started my career in animation. In my case, I was a 2D character animator in broadcast for a number of years. I have credits on several shows, including multiple seasons of Total Drama Island, Jimmy Two Shoes, Grojband, and The Dating Guy.