Taber Noble Email & Phone Number

Los Angeles, Ca, Us

Building large scale vistas and skybox compositions for 1047 Games

Culver City, California, United States

Working as a Scene Assembler/Environment Artist with the great team at Blur on a variety of animated features.

Montreal, Quebec, Canada

Working with the righteous Cinesite build team as a senior modeler for various films/TV shows- Road House (2023)- Blitz (2023)- Andor (Season 2, 2024)

Montreal, Quebec, Canada

MoonfallFoundationBullet TrainBorderlandsSonic the Hedgehog 2Extrapolations American Born ChineseDune 2

Building better worlds with the team at 343! Halo Infinite Multiplayer maps, specifically the big team battle kindMaps I contributed to include: BTB Deadlock, BTB Highpower, Bazaar

Montreal, Quebec, Canada

Free Guy, 2020 Lighting artist workWork put on hold due to the circumstances surrounding Covid-19

Montreal, Canada Area

Cats, 2019

Toronto, Canada Area

Star Trek Discovery, Season 2, 2019Midway, 2019The Mandalorian, 2019Goliath, Season 3, 2019Bloodshot, 2020

Toronto, Canada Area

Vikings,Hellboy, 2019

Greater Los Angeles Area

Bellevue, Washington

While holding the position of Associate World Artist at Bungie, I contributed extensively to the Destiny franchise's Skybox and World Art aesthetic with roles ranging from architecting to finishing work. I resolved numerous bug issues within player destinations, along with distributing large amounts of instanced-geometry to blend environments naturally together. I incorporated level designer feedback while undergoing pattern placement assignments to match high aesthetic quality with lively gameplay. I also modeled very large scale assets to fit epic Skybox vistas.

Montreal, Canada Area

I contributed a wide variety of 3D assets for Compulsion Games. Work ranged from 3D modeling to texturing, lighting, blockout creation, particle effects, and much more; all while fitting our aesthetics within a strict art-direction guideline and utilizing contemporary "Next-Gen" 3D techniques during production. I worked closely with the team to define best asset completion methods that fit comprehensively within the production schedule.I was brought on at a critical juncture of the project to help unblock production requirements and to help establish a first visual blueprint of how the world of We Happy Few was to look. I helped with the pre-visualization of art assets and worked in tandem with Compulsion's Level Designers and Art Director to create structural pieces for the environment. I also assisted with the creation of assets for some of the narrative scenes with the Narrative Director.

Burlington, Vermont Area

Recieved a Bachelor of Science Degree - Game Art and Animation