Responsibilities#
On The Witch Queen, I was embedded with Destiny 2’s ‘Shared Art’ team, I worked in close collaboration with the world art, lighting, palette, skies, and graphics engineering teams that built Destiny 2’s Year 5 Content. This content included the new Throneworld destination, the reprised Mars destination, Savathun’s ship, and the Pyramid raid location, as well as the destinations in the seasonal content that followed.
As a Production Engineer, my primary concern was the productivity and velocity of the shared art teams in regards to how they interfaced with Bungie’s internal tools and processes. For this project, that mean pairing closely with the graphics engineering team to track down, reproduce, triage, and resolve stability and workflow issues related to Destiny 2’s proprietary ‘Tiger’ engine and the ‘Grognok’ editor. This work required being an expert in Grognok’s World Editor and our DCC Pipeline, as well as understanding the nuanced differences of how these tools were used by the specific teams.
Accomplishments#
Worked closely with the lighting and graphics engineering teams to reproduce, triage, and resolve critical and blocking workflow bugs related to the lighting workflow, specifically around seeing realtime updates of lighting changes in the client.
Partnered directly with content, build, test, and engineering teams to roll out the automated pre-checking testing requirement of art content, saving the project potential hours of downtime related to bad content check ins. This work included constant communication, documentation, training, and tools changes to make sure all teams were optimally supported.
Worked with subject matter experts and area leads throughout the world art and palette teams to restructure, update, and centralize documentation related to Bungie’s internal tools with a focus on the nuances of authoring world art content.
