From 1996 to 2020, I have been in computer graphics information production and technology development for more than 20 years, working in the game industry as a character designer and art director for more than 10 years and as a technical director for more than 10 years.
My professional work as a technical artist happened to me for the first time in 2002 at the Samsung Group R&D Center.
This is a specialized technology development research center under Samsung, a global company that studies only next-generation technologies by joining Korea’s top talents.
I was part of a new technology research team for MP4 world patent rights and patent defense, and in 2002, in the next generation technology research project, I did research on true 3D rendering processing technology on ARM2.0 hardware.
In 2003, I was involved in the development of extreme sports online games.
The Freeze on air project was a snowboard online game and was similar to SSX, but it is a full-fledged online network play type game and developed and produced its own engine.
Freeze on air項目是一個單板滑雪在線遊戲，與SSX相似，但是它是一款功能完善的在線網絡遊戲類型遊戲，並且開發並生產了自己的引擎。
And since 2004, I worked as an early member of EYA SOFT for several years, working as general director of the art center until the company grew.
Luna, where I set the initial development direction, ranked first in the game popularity rankings in Taiwan.
In 2004, most cute style games were popular.
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.
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。
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。
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.
In 2014 I got a good chance to join Allegorithmic Adobe.
While working as a lead technical artist, I have contributed to the development of Substance Designer and provided technical training and technical consulting for Substance Designer of various game developers.
Lead Technical Artist.
在擔任首席技術美術師期間，他為Substance Designer的開發做出了貢獻，並為各種遊戲開發商的Substance Designer提供了技術培訓和技術諮詢。
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 When I Joined Netease’s Pangu game studio(Now That studio has combined Thunder Fire game studio).
I was participated in the development of AAA-class mmorpg and led the development of AAA-class mobile mmorpg with the same IP.
Technical Art team manager as Senior Tech Expert(P6-3)
In 2018, I had a good opportunity at Seven Road in Shenzhen, so I retired from Netease and headed south of China.
However, due to various internal issues such as a problem with the project design and a change of producer on the way, I move to Giant Interactive in Shanghai.
I was in charge of a mobile game project where users can freely play on a large terrain without boundaries using Unity.
Technical Art team manager as Senior tech expert.
Side work support.
Xindong network IN CHINA SHANGHAI.
COMMON TECHNICAL RESEARCH CENTER TECHNICAL ART DIVISION LEADER.
Mainly researching voxel-based GI and advanced shader techniques about Time of day, SH probe techniques and etc.
Side Support to
When I participated in this project, I was in charge of managing the center of artistic expression.
Focused on developing the right shaders, improving material representation and workflow.
Colleagues who took the lead in development are always worthy of respect.
Now I am working for NETEASE Zen工作室 IN CHINA
Technical Art TEAM MANAGER AND SENIOR TECHNICAL EXPERT.
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)