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