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Destiny 2: The Witch Queen

As a Production Engineer working with Destiny’s Shared Art team I collaborated closely with artists and engineers to ensure tool and game stability.

Accomplishments
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  • 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-submit 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.

Responsibilities
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On The Witch Queen, I was embedded with Destiny 2’s ‘Shared Art’ team working in close collaboration with the world art, lighting, palette, skies, and graphics engineering teams that built Destiny 2’s Year 5 Content. This work involved supporting the creation of content including:

  • The new Throneworld destination
  • The deeply spooky Leviathan reprisal in Season of the Haunted
  • The Fallen pirate ships of Season of Plunder
  • The Bray space station ing Season of the Seraph
  • All Raid and Dungeon locations within the expansion and its seasons

As a Production Engineer, my primary concern was the productivity and velocity of the shared art teams, particularly in how they they interfaced with Bungie’s internal tools and processes. For this project, that meant 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 becoming 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 different teams within the Shared Art domain.

Jake 'Gilla' Gilfillan
Author
Jake ‘Gilla’ Gilfillan
My passion is in both making things work and helping people work better. I’ve spent the last 10 years working closely with people across disciplines and industries to sustainably ship effectively and on time.