Danny B. Email & Phone Number

El Segundo, California, United States

I will be leveraging my existing experience across various unique game engines and film pipelines to Epic's Unreal Engine and assist in the development of a professional lighting pipeline for cinematic, ICG, and level lighting.

Burbank, California, United States

• As a lighting and post process pipeline liaison at Naughty Dog, I worked with tech art and engineering to establish this advanced process at the Visual Arts Service Group. After a successful testing phase, I played a key role in forming a new team to assist and execute game-play, IGC and cinematic lighting with the Naughty Dog team for The Last Of US II, The Last Of US I Remastered and The Last Of US II remastered.• Conducted weekly and individual training sessions on tools and techniques, and provided extensive art direction feedback to enhance productivity, quality, and artist engagement.• Worked directly with graphics engineers to refine and expedite existing tools which made them easier and faster to use and formulated road maps for future implementations of new tools and scripts.• I spearheaded a generative art initiative to identify potential applications in current projects and create a timeline with various stages of approval and objectives. I also utilized existing AI tools to showcase some aspects of this road map, such as how generative art can enhance a pitch deck visually or how style transfers can revitalize inactive game IP and how the marketing division could reduce thousands of hours of recreating large scale content.

Playa Del Rey, California, United States

• As the visual effects designer for the feature Book of Love, I coordinated several international vendors and ensured the delivery of all the sequences and shots in line with the director’s vision at the studio Cognition.• Following the success of the first game, I resumed my role as the cinematic lighting director for the follow-up PS4 title Knack II. I managed the budget, the production and the creative vision of over 60 minutes of cinematic lighting. I also once again recruited and supervised an international team of diverse vendors to accomplish this in a short time frame on site.• Created visual effects for the studio Resistance FX for several feature productions.

Burbank, California, United States

• As the cinematic lighting director for the PS4 launch title Knack for game director and lead console designer Mark Cerny produced by Japan Studio, I oversaw the budget, the production and the creative direction of over 50 minutes of cinematic offline and online rendered lighting. I selected and coordinated an international team of various vendors to achieve this in a tight deadline.• Crafted the visuals for a short documentary that won an award for showcasing the history, challenges and significance of black filmmakers throughout the years.• Facilitated the company’s shift from analogue to digital and created and delivered visual effects for various feature productions.

Burbank, California, United States

• I was hired as the On Set visual effects supervisor and captured the live action shoot for the PS3 version of the popular Twisted Metal title. I devised DYI gimbals that enabled high wire stunts and big crane moves within the smaller budget and the actors’ safety.• I continued to supervise the stereoscopic visuals and compositing for titles such as Resistance 3, Ratchet and Clank “All 4 One“ and Sly Cooper “Thieves In Time”.

Santa Monica, California, United States

• As an in-house and studio side visual effects supervisor, I oversaw the live action shoots on set, collected camera and set data, and assisted the team in delivery of finished shots and sequences for various high end commercials and features.• Acted as the second unit director for several commercials and feature visual effects plate photography.• I frequently was called upon to intervene, manage and guide other projects that faced challenges and ensure their timely delivery. I am very proud of this unique track record.• Collaborated to build the production pipeline and attract talent for the commercial department.

Ghent, Flemish Region, Belgium

• Rejoined the company I co-founded briefly to contribute to various commercial projects, share my acquired knowledge and expertise with their team, and optimize the post production pipeline.

Hollywood, California, United States

• Designed shots and sequences for different productions such as Star Trek Voyager and Star Trek Enterprise.

Santa Monica, California, United States

• Co-founded the studio with several colleagues from Digital Domain to create visual effects for high end commercials, branding and feature productions.• Was part of the small selected team that created internal visual simulations for the highly classified JSF Program through the Department of Defense in partnership with Boeing and Lockheed Martin.• Co-invented one of the first techniques to simulate car paint as layered digital shaders, attracting multiple major car companies such as Ford, GM, Toyota and Hyundai to collaborate with us on their commercial advertising campaigns and also got awarded the visuals for the Sony WEGA brand.• Was invited to design and supervise the opening cinematic for ACM Siggraph’s Electronic Theater in 2000.• Participated in the research and development team for the live-action production of The Incredible Mr Limpet, which intended to use one of the first quality facial captures for a general audience.• Served as the digital effects supervisor for the mixed live action cinematic for Microsoft’s Mech Warrior 4.

Santa Monica, California, United States

• Finished shots and composited sequences for multiple episodes of Star Trek Deep Space Nine.• Created a digital replica of a conventional ship model, enabling the realistic re-creation of other practicals.

Venice, California, United States

• Created visual effects for high end commercial and feature productions.• We pioneered the transition from proprietary and SGI systems to Windows workstations and standard software and hardware, enabling faster delivery and access to a broader pool of talent.

Ghent, Flemish Region, Belgium

• Co-founded the company and helped build the team, graphics infrastructure and nurtured the client base.• General visual effects for commercials, music videos, trailers, corporate videos and prime time graphics.• Established a fresh format to present music media on prime time television, This became very popular with other music labels as it boosted sales by significant margins. It’s framework was eventually copied globally.• Created the visuals for the interactive explorers exhibition in the Portuguese pavilion at the world fair.

Sketches, Etching, Lino And Litho Graphics

Law & History

High School Diploma, Lower Degree Math Type Ii, Science Type I And Ii Higher Degree Math Type Ii, Science Type I And Ii

High School Diploma, Lower Degree Math Type Ii, Science Type I And Ii