Nathan Lazur Email & Phone Number

- Football Heroes Series: Technical Director / Producer for all Football Heroes titles. Built using custom cross platform engine (runGEN). Successfully launched games across iOS, Android, Apple TV, Amazon Fire, Nintendo Switch, and PC platforms. Engine additionally supports PlayStation 4, PlayStation 5, Xbox One, Xbox Series X|S.- Virtual Reality Projects: Engineered unannounced VR experiences for Oculus Rift and Oculus Quest 2/3 using Unity and Unreal Engine 4, including multiplayer, adventure games, and metaverse games.- The Endless Mission: Responsible for working with the development team to bring genre-agnostic multiplayer capabilities to the game, create a multiplayer friendly API and blueprints for the in-game programmer, and flesh out client-based network services needed for in-game communication and matchmaking.- Beyond Blue: Ported to Apple Arcade (iOS, tvOS, macOS) and consoles (PlayStation 4, Xbox One) using Unity. Worked alongside development team while title was in-development, both in-person and remote. Released hotfixes post release.- Scavengers: Enhanced graphics and handled console integration on Xbox One, PlayStation 4, and PC using Unreal Engine 4. Modified engine and created a material render target system, alpha post process stack, automated performance pipeline, and optimized various materials such as the sky and terrain.- Unannounced Multiplayer Sports Game: Tech Director / Producer for a hero-based multiplayer sports game for PC, macOS, mobile, and consoles using Unreal Engine 5.- Unreleased Metaverse Game: Lead Programmer on cross platform metagame experience where users could create worlds using a built-in editor, share them with friends with a link.- Unreleased Mobile Soccer Game: Lead Programmer on top-down soccer game with touchscreen controls, built in Unity, for iOS / Android / Windows.- Administrative Duties: Payroll, HR, Insurance, Bookkeeping, Accounts Payable, Budget, IT

- Programmed majority of iPhone version of ntro from pre-production to release phase and beyond. Worked closely with product designer, artist, and server engineers implementing various interfaces and features.- Inherited rough prototype from previous contract programmer and re-engineered the application and pipelines to be production ready, which included migrating interfaces to be data driven using InterfaceBuilder and the creation of an automated build process using Hudson.- Integrated IAX2 and SIP protocol libraries for VoIP functionality.

Us

- Created stylized cell shader that contained different 1D look-up textures for specular and diffuse reflection. Worked closely with art director and artists to get the character looking as close as possible to concept.- Developed generic fog/cloud shader that scrolled patterns from color channel and mask from alpha channel with look-at and distance opacity attenuation.- Implemented various post process filters (health, death, pause, bloom, radial blur).- Developed artist-friendly atmospheric scattering which supported per-pixel sunlight scattering, height fog w/ distance attenuation, and linear depth fog. - Modified relevant parts of Gamebryo (MSAA support w/ post process, game-specific shader paths, bug fixes, optimizations).- Mentored junior graphics programmer.

Los Angeles, Ca, Us

- Responsible for working with artists and other programmers on various graphical techniques and system optimizations in order to realize the vision for the game. This often included all aspects of the development pipeline (design, tools, rendering, etc.).- Programmed the key visual feature of Saboteur, the "Will to Fight", which allowed for regions of the world to be black/white or color. The effect interpolated saturation, gamma, and basic lighting terms per-pixel using a screen-space mask generated from a dynamic world-space texture that the CPU wrote to. Volumetric sky dome blending, god rays, bloom, depth of field, and character rim lights were also controlled by the effect. Artists could tweak all parameters in real-time to achieve the desired look. Worked closely with the director, lead designer, art director, lead environment artist, and concept artists to fully realize the effect.- Developed and maintained most of the shaders used in the game (generic, cloth, skin, hair, metal, etc.). Collaborated intensely with lead artists to flesh out features and help them utilize the materials effectively. Continually optimized shaders based on ever-changing performance requirements. Worked closely with lead graphics programmer on making the shader system more versatile and modular.- Ported entire Xbox 360-centric code base to PlayStation 3 over a period of 4 months as a one-man hit squad so that development could progress without any hitches. Fixed almost every file in the project to compile/link and then implemented most low-level systems so the game could run. Additionally, many changes to the tools had to be made to accommodate being cross-platform (editor GUI, mesh/texture conversion, and shader infrastructure).- Supported external developer working on the PlayStation 3 port of the game. This included explaining systems, brainstorming solutions, and writing SPU code for the "Will to Fight" sky dome blending effect.

Gb

- Maintained: Materials, Render Targets, Mesh Conversion/Generation, Game Framework Library, Property System, Messaging System, Engine and Viewer Core, Editor, and Timers. This includes platform-specific versions of the classes/sub-systems for PlayStation 2, Xbox, and PC- Re-designed existing material architecture to allow multi-pass as well as multi-texture. Modified exporter material builder and artist interface to accommodate the new architecture. Also had to research and modify each platform's renderer to use the new material system.- Trained game programmers on game framework library, editor, and art pipeline. Wrote training documents for artists to create technically efficient assets for use on the PlayStation 2.- Created class which converts cross-platform mesh data into optimized PS2 DMA packets. Wrote to be as flexible as possible. This meant that the programmer could select out of multiple tri-stripping cores, as well as relevant unpacking modes for each vertex component.- Programmed entirety of "Bratz" for PlayStation and most of "Bear in the Big Blue House". Created and maintained PlayStation engine (dcEngine) which was used in "Bear in the Big Blue House", "Bratz", and "Cat in the Hat". - Ported "BeyBlade" for PlayStation from Japanese to PAL. Implemented overlay system to allow for language switching.- Created dcEngine port for GameCube. Developed various unreleased prototypes.