Chris Brown’s entrance into 3D work began, as many have, with video games. He developed a great love for cinematic driven games, and since he had nothing else he really wanted to do with his life, he looked into it. At age fifteen, he started mowing lawns and cleaning offices for spare cash, and he saved enough money to buy a student copy of Lightwave 7.5. As he would figure out some small piece of the puzzle, he would find twenty more dollars, and the thrill of that victory would keep him pushing through. Within a year, it became both wonderfully and terribly apparent to him that he would simply never be able to figure out everything about this field, that the problems would continue to present themselves, and worse still, that he was hopelessly addicted. While attending the University of Central Florida, he began trying his hand at the more specialized areas of rigging and technical effects, and he found that out of every aspect of the trade he had sampled, these more than any other held an overflowing font of problems. From the first time some poor animator came to him with the now well-worn tune of “the character is broke,” or a director simply said “just make this work,” he has had no end of interesting little disasters to remedy and solutions to joyfully devise.