-  Here I create and maintain tools so artists can do and deliver their work.
-  I program in python for the different softwares of the studio (Maya, Houdini, Photoshop, Shotgrid,...)
-  Testing and debugging are some of my daily tasks for ensure the proper working of the tools.
-  And when code is ready for production I use jenkins for delivering it.
-  I'm always reading tickets and in communication with artists and production people in order to make the show go ahead.

- In Nimoria I was in charge of the technical side of every project --> Developer/Rigger/Technical Artist/...

- It was really fun doing **research and develompent** for interactive projects.
- I used also **Houdini** and **Maya** for creating **game fx** and **procedural art** for our projects.
- I **set up Unity projects** trying to make Jaime's artistic work more easy and **automating** the boring **tasks** for him.
- We didn't work just in Unity. I researched a lot of technologies like **8thWall, Spark AR, Snapchat Lens Studio, usdz for web AR, Three.js,...**

- It was a good opportunity for consolidating my previous knowledge of **augmented reality**.
- It allowed me to create a full AR experience in which user was able to visualize furnitures in *place, move, rotate, scale them and change their colours and materials.

- For them I created a level for a **zombies VR game** and improved existing level. I programmed new **mechanics**; created **3D art**; improved the **performance**, optimizing assets and lighting; and even created animatics.
- I also worked in different **AR projects**, includying the Music and Dealer app which had an interactive map, a guide for the event and allowed users to take funny pictures with instruments using Music And Dealers merchandising shirts.
- Here I learned how to deal with **shaders and camera setup** for creating different types of experiences like **AR portals**.

This allows me to continue consolidating my knowledge meanwhile I work.

Where I learned how to create **procedural 3D and 2D art and visual effects**. This course was very revealling for me, because It allowed me to **know geometry and volumes at low level**. I made my master's final practice with **Unreal Engine** ,of course, because It is a engine with a fantastic connectivity with Houdini and I was still interested in realtime. So it was a great oportunity for learning how to use **shadergraph** and create different **effects and procedural modelling tools** with houdini.

Where I learned how to **programm in Unity, create 3D and 2D content and develop entire videogames and applications**.

Currently working on it as Technical Director.
- Developing and maintaining tools for different softwares (Maya, Houdini, Shotgun, Photoshop, propietary software,...).
- Giving technical support and guidance to artistic departments.
- Debugging and testing.

I worked on it as Technical Assistant. Giving technical support to animation and layout departments.
- Scripting in maya for making some automatisms and tools.
- Scenes and assets debugging and fixing.
- Scenes optimization.

Videogame made in the 4 days before the exposition. It was connected with a Touch Designer application through sockets. Touch Designer application got emotions values from our final client's artificial intelligence. I was in charge of the entire development of the unity game and the connection between Touch Designer app and my game. 
- I received a pack of assets from the client and made them game ready.
- I used Houdini for making some fractures and game fx and setting up the assets, getting the wireframe style the client wanted.
- I programed the game with simple mechanics and focused on connecting the inputs and getting the expected visual result.
- Antialiasing was one of the biggest challenges on terms of visual result and it was unnexpected because I couldn't see the game in the final screen until the day previous to the expo. The screen was too big but with not a great resolution and we needed thin wireframes. I had to improve the antialiasing as much as possible even using the trick of rendering it in higher resolution and resizing to the screen.
- Communication with Touch Designer was an interesting challenge too. It was the first time I heard about that software and I felt in love with it.

Penhaligons was one of our bests clients as Nimoria Studio. We made multiple Augmented Reality applications for them. My main concerns with these proyects were:
- Getting a high quality visual result.
- Build augmented reality experiences intuitives and with a stable track.
- And finally but not less important, be able to get that with tight deadlines and adapt to client changes as fast as possible.

So in these proyects I focused my work on:
- Doing custom unity shaders (vertex and fragment) for portal effects, with vertex animation for simulating butterflies and flying bottles, ...
- Creating particle systems and animations for bringing to life the AR environments.
- Creating editor extensions and procedural tools for making changes as fast as possible. 
        For example:     
        - A procedural tool for building train rails directly in unity, so my teammate could build the scene in unity and make changes on it without having to switch between unity and a 3D modelling software.
        - An editor extension that set up the visibility of assets through the portal so assets were visible on editor but not in game (when clicking on play user only was able to see the assets if he was looking through the portal or after crossing it).
        - An editor extension for adding random initial pose and animation to some prefabs after they were dragged to the scene.