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Quentin Papleux
Senior Lighting Artist / Level artist / Tech Artist

I was in charge of the lighting direction, from prototyping to release. I worked mainly on environment lighting, Boss lighting and some cinematic’s.  I put in place the tool strategy for lighting and workflow on the project (Fog actors control, GPU Lightmass, HUD Lighting, Lighting monitoring tool / Sanity check tool ect).

==  Senior lighting Artist ==

o Head of lighting team / Stakeholder
– Prototyping & Look dev, setup lighting in the project, planning tasks & work with production to fit deadlines, managing meetings.
o Lighting Environments / Bosses / Cinematic’s / HUD lighting & post-processing
–  including 62 levels (46 main levels + 16 voids) + some cinematic’s (Intro first level, Gerald intro, Zomzom intro, ect)
o Shading / Material balancing & polishing (Env assets, Characters materials, Final Sackboy material, Cloth shader, ect)
o Final texture & material cloth polish on main Sackboy skin.
o Environment polishing / placements
o Lighting optimization / VFX optimization / Memory optimization
o Point of contact for external cinematic lighting artists
o Designed tools required for lighting
o Technical documentation / Workflow
o Work directly with art director / tech director / design director & rest of senior team.

 

Metacritic:

PS5 Press: 80 | Player 92
PS4 Press: 81  | Player 91

 

Technical analysis:

https://www.youtube.com/watch?v=b4xm6wD3lfw


== Sumo Digital ==

o Supporting lighting / tech lighting for Sheffield & Newcastle studio (Spyder IOS / Hood PS5, PS4, XSX, XONE, PC / Other projects)

I provided lighting technical support at some point during their pre-production. I was appointed to create lighting documentation to help them to resolve lighting/performances issues and how to reach their render target (how to setup the lighting). I lit their HUB level as an example to reach their concept target render. Breakdown of all technical optimization possibles and how to do it. 

I provided lighting technical support on their project sporadically during their production, helping to resolve some bugs, showing different approaches for reaching their render target (how to setup the lighting), managing reflections, lightmaps, ect. I helped to light the snow train level. Monthly review with them to talk about lighting progresses. 

I was in charge of the environment creation (17 unique levels) (Level art & technical).

== Level Artist / Lighting artist / Tech Artist / Environment artist ==

o Modeling lowpoly, UVW, Texturing
o Shading / Material
o Environment level building
o Landscape modeling & painting
o Lighting (Environment / Game & Cinematic)
o Post-Process
o Rendering Optimizations (Draw / GPU / PC, X1, PS4)
o Visual Script (Kismet)
o Environment VFX & Gameplay VFX clean
o Final look / Clean
o Technical writing, back up.

Article about my work : https://80.lv/articles/building-environments-for-a-cartoon-game/

Metacritic:

PC 68 / Players 74 / Steam : 71
Consoles 67 / Players 68-77

Tristram is burning… Something is happening in the deepest dungeon of the city. The demons seem to be back, someone betrayed us…

I worked on this short unreal 4 movie during 10 day-ish. I was in charge of Concept, Story, Dressing, Shading, Lighting, Rendering. I took around 7-8 days for setting the story, cameras, lighting. And 2-3 days on writing the text, last polish/bugs/tweaks, voice actor/sound design direction. Mixe of Static lighting and dynamic lighting. 4k 60 FPS (i7 – 2x 1070 gtx)

Article about my work: https://80.lv/articles/fire-blood-creating-a-ue4-tribute-to-diablo-franchise/

You can find there some screenshots and the source without compression :

https://drive.google.com/drive/folders/15_MVsF9btXcKuEcNyRIinuVBG10_ZBUI?usp=sharing

Relighting of Cyberpunk Interior Environment Kitbash. I took two working days to work on it, lighting from scratch, balancing & reworking materials, creating few ambiant vfx, adding some props I made (long time ago) like the puppet Big daddy. Unreal 4 / Static lighting (lightmass) and dynamic lighting. 

Article about this work : https://80.lv/articles/bioshock-style-lighting-exercise-in-ue4/

Megascan scene slightly redressed and completely relighted to fit an Avatar (movie) mood. Around 7h of work (2-3h of lighting, the rest is dressing, creating some assets, finding some assets and looking for lighting references).
Unreal 4, Static lighting (Lightmass) + Dynamic light without shadows for Fog control. 

Article about this work: https://80.lv/articles/lighting-exercise-in-ue4-setup-in-the-avatar-style/

Quick scene dressed with multiple asset packs from Epic store plus my Robot as main actor. I created the lighting, did some dressing and vfx. One night work (around 5 hours).  Unreal 4 (Static/Dynamic lighting/Lightmass)

Megascan scene redressed with Epic store packs (Barn, mill). I realized the dressing and lighting of this scene in around 2 hours. Unreal 4 + Baked lightmaps (Lightmass)
The car has been modeled on 3 days with one of shading/uvs included. (Render Vray)

First of a robot modeling serie, I made the robot in around two days (Modeling, Texturing, Rendering).
Around one day of modeling and one of texturing. Render in Unreal 4 (Dynamic lights + Cubemap)

I created everything from modeling to UE4 integration. Around 2 days of work for the environment,
half day for modular mesh creation and the rest in integration/textures/shaders/VFX. All static lighting (lightmass)

Violin / Furniture models & render (Mental ray), around 2-3 days.

WoW Totem model + render (V-Ray), around 2-3 days.

Lighthouse model + render (Mental ray), around 2-3 days.