An open room in the sewers multiplayer level. I handled all lighting on this level. In general, all lighting work I did on this project also included performance evaluation, profiling work, setting all post FX, color palettes.

Shot of the sewers multiplayer level. I handled all lighting. The largest map in the game - the Sewers required a lot of triggers and adjustments to maintain performance while still keeping a high level of shadow detail. Lights were triggered on and off to save space on the shadowmap.

An overview shot of the multiplayer map - Bayonne Docks.

I handled all lighting and final color on the multiplayer portion of Resistance: Burning Skies. I was also responsible for performance optimization on pre-release hardware (Vita) and tweaking art assets for better composition.

Staten Rooftops - one of the multiplayer levels was set on the rooftop of a large building. A challenging area when it came to final optimization as the draw distances showed a lot of meshes and spiked up the material/drawcalls.

The interiors of the rooftop sections were challenging to keep in performance wise. Because of the large draw distance, much optmization had to be done on my part - from material reductions and lighting tweaks in order to main a solid 30FPS

State Streets - set at the bottom of the building, this multiplayer level featured a smokey interior in contrast to the bright, sun bathed outside.

This was part of the single-player campaign that I ended up taking responsibilities for. I handled lighting for one of six missions - from cutscenes to encounters and special moments.

An interior of one of the areas in single player - the mines. The palette was kept fairly monochromatic with bursts of light leading the way.

Heading topside, the lighting and color palette was to be more depressing and direct. Small hints of color, from fire and certain objects helped give more variation and also would lead the way for the player.

Another shot of one of the outdoor areas - fairly desaturated with burts of lighting coming from the flaming barrels and burning rubble

One of the in-game cutscenes that I ended up taking responsibility for in lighting. Due to hardware limitations, much of the cutscene lighting had to be done via basic pointlights, and some creative placement was needed to soften the standard directional shadow on character faces.

Upon leaving the mines, you enter a sewer network - where the lighting was more clinical and green.

As you progressed from the bottom of the sewers to the top, the lighting grew warmer - eventually leading outside.

The final sewer tunnel leading outside - into a run down department store.

A good section of one of the campaign levels I ended up lighting takes place in a rustic, torn down hotel. Here the lighting was pushed to a warmer neutal color palette.

Another in-game cutscene that took place in a hotel, telling the player to leave through a window.

SRPA - one of the larger maps designed for teamplay. Two areas were seperated out by a large inner-atrium. The lighting was set to show a more idyllic, lazier sunrise.