Who is JP?

I have been in technology development for 22 years from 1997 to 2019, and have been in the game industry for about 10 years as a character designer and art director.
In 2002, I got a good chance and started my research as a technical artist at the core center of Samsung Group’s R & D Center. The institute is an organization where the best talents in Korea join and study only next-generation technology.
I belonged to a new technical research team for MP4 world patent rights and patent defense here, and my research projects included implementation of water rendering optimized for Voxel rendering ARM2.0 in VRML2.0.

And I have been an early member of EYA SOFT for several years since 2004, working as a general art center director until the company grew.
EYA SOFT started at 38 in 2002 and grew to 1500 employees in four years, but was taken over by Nexon, a Korean game company, after a steep decline in sales due to management mismanagement. Founded a small company.
We used 60% of our game engines and Gamebryo for the rest.


In 2011, I worked with the NVIDIA San Francisco headquarters development team to develop a tech demo for the global promotion of Tegra processors, the next generation of mobile GPUs at that time.
I used the Unity Engine 3.0 engine and at that time Unity rendering quality was so bad that I had to rewrite all the lighting models.
NVIDIA mobile hardware didn’t handle Depth-map Shadows in the early days, but I had to solve this.
2012 was a time when GPU performance was very poor and memory bandwidth was very small, so the pixels were too clearly visible by using Perspective projection shadows to box-filter shadows directly onto GL.Quad and shadowmaps drawn to 256 or 512 drawn. It was handled invisibly.
At this time, we have NDA with Unity Engine Team and participated in Unity 4.0 development.

2002年在三星集团R&D的核心部门第一次作为Technical artist ,开始了技术相关的探索工作。
我在这里一个隶属于为mp4 全球专利获得和专利保护而存在的一个新技术研究组里工作。 研究课题是:参与了针对 VRML2.0中的 Voxel rendering ARM2.0优化后的水体渲染实现等工作。

从2004年开始,作为EYA SOFT的初创成员参与了多年,担任美术中心的总负责人直到公司成长为止。

使用了Unity引擎 3.0 ,而且当时的 Unity渲染质量非常差,所以需要重新构建所有照明模型。
NVIDIA移动硬件最初无法处理Depth-map Shadow。
2012年GPU性能非常不好,内存带宽也非常低,所以用Perspective projection shadow方式直接在GL.Quad上画出阴影,以256或512绘制的shadowmap经过Box-filter处理,使它在视觉上像素不那么明显。
这时与unity引擎团队签订了NDA,参与过Unity 4.0版的开发。

Mother of myth mobile 이미지 검색결과

Playnery is a next-generation mobile game development company invested directly by Japanese conglomerate Soft-bank.
I worked here as a technical art director, contributed to the development of a proprietary engine, developed a mobile MMORPG game with that engine, signed a technical cooperation agreement with Qualcomm, and demonstrated it at the Qualcomm exhibition booth in GDC 2014.

알레고리드믹 이미지 검색결과

In 2014 I got a good chance to join Allegorithmic Adobe.
While working as a lead technical artist, he contributed to the development of Substance Designer and provided technical training and technical consulting for Substance Designer of various game developers.

I moved to China in May 2015 with a proposal from Chinese game company NetEase, and worked with the engine development team to develop and improve its own engine.

Tianyu Mobile Promotion Video by 2017.

Currently residing in China and focusing on analyzing and developing shaders for various game engines.


What People Say

The first thing I remember about JP Lee is that he has been a famous graphics engineer in the early 2000’s. One of the great resources regarding to DirectX programming was his web site. During the last decade, I have been in game server and backend engineering in game development, so that I had seldom visited his web site until recently. One day, I was surprised that his amazing works showing his engineering and art skills. I think his amazing skills come from his continuous research and studying without never satisfying to his own skill ever.

– Hyunjik Bae (Nettention)

Let’s develop something together.