![]() ![]() When you develop an understanding of how light works and how it’s recorded using cameras, you develop a deeper artistic sense of how to create it. Learn proper exposure techniques, learn how light meters work, learn how to use a camera in Manual mode to understand the relationship between the settings. ![]() But from what I’ve learned during my time in the game industry so far, my takeaway for making images would be this: Study the principals of photography. You can get as philosophical or as technical as you like. The question about influential lighting is a tough one. The same art director at Raven gave me direction for both environments, and after some initial discussions and tests, we agreed that it would be best to approach the mood with a naturalistic documentary feel (not to call too much attention to “pretty” lighting and to present it in a matter-of-fact way). in-game cinematic lighting for brief character moments.the local lighting in the gameplay spaces to make interiors feel consistent with exteriors.So as a personal decision for the sake of presentation, I embellished the screenshots to make them feel more like stills from a movie.įor the two environments I worked on for WWII, my tasks were: ![]() There wasn’t much film grain visible during gameplay. I have to note that the shots on Artstation have been lightly tweaked from what appears in the shipped version of the game. I certainly had a blast collaborating with them to make sure that happened! The lighting team at Raven had leeway in interpreting our part of the contribution, but everything needed to be cohesive in the end. The brilliant minds at Sledgehammer Games established the core aesthetics of the film look you mentioned. Overall, I’d say I spent the last couple of years learning how to push the craft of game lighting even further, and I was fortunate enough to have learned new things with such an amazing team. ![]()
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