Just Cause 4
I was the Lead Lighting Artist for this project, joining the team with just under a year of production left. Responsible for all environment lighting/world look development (sun, sky, cloud tuning, light fixture placement, etc), all post effects (tonemapping, color correction, fog, etc), as well as leading/production for our 2 cinematic lighting artists. Below are some samples of my world look development found in the shipped title:
I was the Lead Lighting Artist for this project, joining the team with just under a year of production left. Responsible for all environment lighting/world look development (sun, sky, cloud tuning, light fixture placement, etc), all post effects (tonemapping, color correction, fog, etc), as well as leading/production for our 2 cinematic lighting artists. Below are some samples of my world look development found in the shipped title:
Personal Studies
I was responsible for all lighting, sky, world building and a majority of the shaders. Some meshes, textures, and shaders were provided by Epic Games and
CGMontreal (asset packs available on Epic Games Marketplace). Built using Unreal Engine 4.21.
Call of Duty: World War 2
Flak Tower; I was the primary lighting artist responsible for working with all departments on determining tone, adjusting/authoring materials, material composition, lighting all content found in map, authoring sunflare FX, and partial authoring of sky images alongside our vendors and concept art/matte painting teams. Credit to Shane Daley for lighting support, and the rest of the team for final production of map for its E3 playable debut.
Ardennes Forest; I was the primary lighting artist responsible for working with all departments on determining tone, material tuning support, material composition, lighting all content found in map, authoring sunflare FX, and partial authoring of sky images alongside our vendors and concept art/matte painting teams. Credit to Shane Daley for technical lighting support, Luka Romel for the initial lighting passes during development, and the rest of the multiplayer team for final push for this map's E3 debut.
Carentan; This map was a joint lighting effort between myself and Shane Daley. We shared the effort on initial look development, sky box authoring and position, as well as content/gameplay lighting. I handled the character visibility pass after partnering on initial lighting phases which includes material composition/adjustments, adding lights to high traffic combat locations with eSports in mind, and fog tuning for depth reads throughout the gameplay space.
USS Texas; I was the lead lighting artist during the production of this map. My work includes all lighting look development, capturing and touching up load screen images, capturing and painting skybox used (including flow map to animate the cloud cover), material authoring, post processing, sun flare VFX, and led scripting of the dynamic world objects. We animated the entire vista, including the skybox, to simulate rough seas.
I was responsible for much of the lighting present in our multiplayer reveal trailer. Between Shane Daley, and myself, we were a team of two on our lighting and rendering team for our entire Multiplayer mode. We did have lighting support from Luka Romel and Atushi Seo throughout development, they were of great help during early development and maintaining our lighting systems. Credit to Raven Studios for the help on our War map that debuted in the trailer and was playable on E3 show floor.