Greg Connell Email & Phone Number

San Francisco, California, United States

I moved to Valdera in order to refocus my career on product development and engineering. In my short time at this early-stage start-up, I designed and delivered a fundamental piece of the data-architecture, which linked suppliers between the client-app, the data-pipeline, and Salesforce. I also rebuilt the admin frontend with caching, load-throttling, and.

Santa Monica, California, United States

At 160over90, I became Director the digital ad-production department. This position was the final achievement after more than 10+ years of success enabling teams with tools, apps, and systems to produce best-in-class banners at scale. The platforms I had built were stable and able to be maintained alongside my managerial responsibilities.In this role, I.

Santa Monica, California

This was a period of great change at the now-acquired RED agency. Our renowned digital capabilities were pared back to just Digital Production which was my area-of-focus. I continued in my role building workflows, but I also began growing into business development. I assumed full management of my team: Size, roles, compensation, and performance. I became.

Santa Monica, California, United States

ESPN's has many games per week in different sports - their ads very much needed a dynamic messaging and scheduling system, so they wouldn't have to re-traffic banners after every matchup.When I started at RED, our solution was to repurpose new Django backends for each campaign. This was onerous, and we set out to build a proprietary CMP which we called.

Santa Monica, California, United States

Through Netflix' retainer with RED/160, I MVP'ed an ad-authoring ecosystem. The goal was to enable Netflix' global agency partners to build dynamic HTML ads compatible with their in-house CMP.The project included a MERN app for coordinating workflows and a library of ad components, which were available as NPM modules and on the app as Google Web.

Santa Monica, California, United States

As Flash lost marketplace, I migrated all of our architecture to HTML5. Initially, this solution was a home-grown Javascript framework and compiler, but later I moved it into an open-source ES6/Webpack format that enabled the subsequent collaboration with Netflix. The open-source project is still in active development here.

Santa Monica, California, United States

For this Comicon booth project, I led development of a "Voice Over" application. This app allowed participants to select a Nickelodeon cartoon clip, read back the tele-prompt, and receive a final composite video of themselves performing the voice-over framed with Nickelodeon branding. The clip playback & recorder application was a Flash app. The backend.

Santa Monica, California, United States

RED Interactive (originally famous for their Flash websites for LEGO) had a booming banner business at this time. I was hired to help scale the tech-stack for a team of 20+ designers and developers. RED's banners were the most ambitious in industry, with CMS-driven dynamic states incorporating complex animation, video elements, and 3D.When I started.

Burbank, CA

Petrol was a boot camp where I became adept at delivering web products under intense time pressure with frequent pivots. In this era, there was a big appetite for ambitious gimmicks in marketing websites, regardless of their feasibility. As a developer, I would build everything: Frontends, backends, hosting, and handle deployments.

Silverlake, CA

Although I had the beginnings of a great career in 3D Effects, this "Internet phenomenon" was really happening. I got taken up in that tide, enticed by the possibilities and empowered by my technical capabilities. Heavenspot was a full-time engagement that I took after a several years learning web development and doing freelance projects.

Playa Del Rey, CA

The low-budget challenges of Karate Dog left me looking for something better. Rhythm and Hues (creators of the Coca-cola Polar Bear) were the champions of the early 3D effects industry, 2nd only to Industrial, Light, and Magic. I joined their staff and worked on 2 movies in my time there.

Santa Monica, CA

On Karate Dog, I got a taste of working on a movie that _does not_ become a cult classic. However, I did get a lot more experience working with Hair Rendering software, practical 3D production challenges, and compositing.

Culver City, CA

Following on the success of South Park, and having completed some of the famous scenes like Saddam Hussein's impalement & the bombing of the Baldwin Manor, I was hired onto another, smaller production. Little did we know that this movie would become a cult-classic that friends today consider "my greatest achievement".

Marina Del Rey, CA

At ArtCenter College of Design, I had the great fortune of learning Alias (a CAD-like 3D modeling & animation software) which later became the ubiquitous Maya. One of my teachers at school had been hired at South Park as a Technical Director, and she recruited some of the more adept students to work on the movie. I was having doubts about the expense of.

3D Graphics And Illustration

Education record