I love sipping fine wine, long walks on the beach, and the most dynamic of particles...

Christopher "Berryman" Berry   ||   2022 January   ||   christopherberry813@gmail.com

TBA --  Deviation Games

July 2021 - Current

<<< Will Update Post Release >>>

Star Wars Jedi: Fallen Order --  Respawn Entertainment

October 2017 - July 2021

Large focus on tools, materials, and pipelines. Wrote the DCC side of the cinematics pipeline and worked with the team to help design how the data would flow from mocap to fully integrated cinematic.

Assassins Creed: Origins   --   Ubisoft Chengdu/Singapore 

October 2015 - July 2017

This is largely focused on VFX. I spent most of my time iterating on the Stone Circles puzzle to design and implement the visual effects and “reward vista shot” at the end of the puzzle. Beyond that I did some work to set up environments to use a proprietary procedural biome construction system, teaching artists how to properly construct their art to follow a PBR pipeline, and ensuring that the art meets the performance requirements for the game.

Uncharted 4: A Thief's End --   MINDWALK/Naughty Dog 

April 2014 - September 2015

Integrated the NaughtyDog toolset into the Mindwalk art setup. Tested new tools deliveries and worked with NaughtyDog to resolve any bugs. Designed supplementary tools to assist in the specific mandate.

Gears of War 4   --   MINDWALK/The Coalition 

February 2015 - August 2015

Ran point on engine maintenance from an outsourcing perspective; debugging issues and communicating them with the client if they cannot be fixed locally. Taught artists to use the engine and respect The Coalition's pipeline. Assisted the artists by writing debug shaders and scripted art tools to enforce the pipeline and make their lives as easy as possible.

Gears of War: Ultimate Edition  --   Mindwalk/The Coalition 

February 2014 - March 2015

Working on Gears of War has been multi-faceted, challenging, and enjoyable. I have done various aspects of development including Engine Installation & Maintenance as well as training the artists. From an outsourcing perspective I have worked with Blacktusk and the artists at Mindwalk to help iron out the most fluid and efficient Art/Tech/Engine Integration pipeline possible.

Star wars Battle Pod   --   MINDWALK STUDIOS/Bandai Namco

March 2014 - June 2014

Shaders are the name of the game here, plain and simple. I created the shaders to help simplify the asset development process on levels like Hoth and Endor that have generalizations such as snow and moss respectively. This was an interesting challenge because (in the case of hoth) it allowed me to develop a system that allowed our artists to focus on the assets and know that they will fit into the world properly no matter what angle they are being seen from.

TBA Unreal 4 TITLE   --   MINDWALK STUDIOS

December 2012 - January 2014

This project allowed me to learn many aspects of Unreal Engine 4 over a year before it was released to the public. I worked with the client's rigging team to rig and integrate many of the game's weapons. I also did engine maintenance and debugged issues to accelerate the resolution of any problems that come up. Lastly, I trained the artists in how to develop PBR assets and how to use Unreal 4. 

Army of Two: The Devil's Cartel   --   MINDWALK STUDIOS/EA Jawbreaker

October 2012 - December 2012

I worked directly with the Rigging team at EA Jawbreaker and with our artists here at Mindwalk to go straight from concept to integrated ready-to-animate guns. I was the sole rigger on our side and did this for roughly a third of the guns that shipped with the final game. Not only did I rig the guns but I also rigged many of the attachments for our guns and many of the guns that were previously integrated into the game. By the end of this project I was eating, drinking, sleeping, and dreaming about guns and Frostbite.

Tools & Data Infrastructure   --   Mindwalk Studios

July 2012 - September 2015

This is not really a project that ever ends and I have been working on it since the day I started at Mindwalk. It has been a slow build and has grown more and more sophisticated as the studios needs and my knowledge of art pipelines and python have grown. Starting with just a few isolated tools and how has grown into an substantial series of interconnected and easy to update tools and servers. Some highlights include a custom UV editor for maya, a set of tools used to make the normal baking process easier, and a web based digital asset viewing server.

Savannah College of Art and Design

September 2008 - June 2012

Bachelor of Fine Arts in Interactive Design and Game Development 

--  References Available Upon Request   --