Early on, a good part of the cinematics direction of photography was to produce quick images and paintovers to act as Lighting references and intentions to the lighting artists that would work on the different sequences.  To do so, I had to act as a liaison between the game’s art director and the cinematics director in order to try and propose lighting setups that would feel cinematographic and at the same time match the references and concepts from the art dept.

I worked from screen captures from the engine with basic lighting setups from the level art department. These images captures were the best way to supply relevant visual references for each ssequences. Over 600+ paintovers were produced to cover key moments of all cinematics sequences and shots.

Below are exemples of the raw screen captures vs the paintovers done over them. Click arrows to switch state of images

Working with the Cinematics director from early on, I was asked multiple times to do technical breakdown of the cinematics scripts.  This task involved breakinnd down the scenes in sequences and shots.  After the sequences were approved, a thumbnailing process was done in collaboration with the Direcotr before moving on to storyboarding.  Although I had to supervise the two storyboard artists hired to create the bulk of the images, I frequently had to chip in to tackle specific sequence becaus of changes, rush needs or other.

Being versatile in style and details, I could easily adjust to the different demands that presented themselves

Because I have years of experience in pre-rendered medium and a Bachelor’s degrre in film animation, I was originally assigned to the cinematics dept. as the resident artist in order to fill all the artistic needs.  My experience was also helpfull in more technical aspects as well. I worked closely with the script writer and pipeline TDs to build the cinematics naming convention.  For this, and other tasks, I had to write technical documents and presentations.

Exemple of technical documents