Explain your role as if I have zero knowledge about it?
I always find it difficult to answer this question because there’s so many different facets to lighting, depending on what project you are working on but to me, a Lighting Artist is someone who is essentially in charge of setting the tone. Using a variety of tools including lighting, colour grading and post-processing – it’s their job to guide the player through a level, leave some narrative clues, evoke a certain mood, just make the environment look prettier or any mix of those.
The hard part is when all of those aspects come to together and cross-over. It’s about balancing the artistic side of lighting but staying within a pesky memory budget!
Breakdown your average day at work?
Without getting into too much detail, my day consists of cinematic and environment lighting.
My preferred workflow is flip from scene to scene where possible – I don’t like to stagnate as I find it easier to be creative when I have variety in the tasks I’m currently working on.
What was your educational and career journey into this role?
So, I studied Game (Art) Design at Sheffield Hallam University – focusing on Environment Art (lighting artists weren’t really a thing then). I learnt a lot about the fundamentals of game art, but most importantly I learnt how to manage my time effectively. I also came to the realisation that I’m not a fan of 3D modelling. I always found myself working on environments as fast as I could just to get to the lighting, so after I left university I decided to put all of my focus into studying it.
From there, I re-worked my portfolio and honed my skills with personal projects (with the advice of people in the industry – putting yourself out there online is incredibly useful) for around 2 years until I was lucky enough to land a Junior role at Supermassive Games and I’ve been here since!
Having spent time re-structuring my portfolio and developing my lighting skills independent of education, I found that portfolio is everything. In interviews I’ve had, their focus has always been on the quality of the work I could produce and how I would apply that in a professional setting as opposed to the labels attached to my qualifications.
However, there are still benefits to guided learning such as university or online courses as they can provide structure for those who find independent learning difficult, such as myself.
Explain your role as if I have zero knowledge about it?
I always find it difficult to answer this question because there’s so many different facets to lighting, depending on what project you are working on but to me, a Lighting Artist is someone who is essentially in charge of setting the tone. Using a variety of tools including lighting, colour grading and post-processing – it’s their job to guide the player through a level, leave some narrative clues, evoke a certain mood, just make the environment look prettier or any mix of those.
The hard part is when all of those aspects come to together and cross-over. It’s about balancing the artistic side of lighting but staying within a pesky memory budget!
Breakdown your average day at work?
Without getting into too much detail, my day consists of cinematic and environment lighting.
My preferred workflow is flip from scene to scene where possible – I don’t like to stagnate as I find it easier to be creative when I have variety in the tasks I’m currently working on.
What was your educational and career journey into this role?
So, I studied Game (Art) Design at Sheffield Hallam University – focusing on Environment Art (lighting artists weren’t really a thing then). I learnt a lot about the fundamentals of game art, but most importantly I learnt how to manage my time effectively. I also came to the realisation that I’m not a fan of 3D modelling. I always found myself working on environments as fast as I could just to get to the lighting, so after I left university I decided to put all of my focus into studying it.
From there, I re-worked my portfolio and honed my skills with personal projects (with the advice of people in the industry – putting yourself out there online is incredibly useful) for around 2 years until I was lucky enough to land a Junior role at Supermassive Games and I’ve been here since!
Having spent time re-structuring my portfolio and developing my lighting skills independent of education, I found that portfolio is everything. In interviews I’ve had, their focus has always been on the quality of the work I could produce and how I would apply that in a professional setting as opposed to the labels attached to my qualifications.
However, there are still benefits to guided learning such as university or online courses as they can provide structure for those who find independent learning difficult, such as myself.
How was your journey from a gender point of view or ethnical point of view?
For my personal journey I don’t feel I have much to say on diversity because I am a cis, straight white male – so I’m well aware I’m in a position of privilege in terms of opportunities in any industry. All I can say from my own view, is that the industry in general has a lot of work to do in terms of diversity and offering equal opportunities to people of all backgrounds and identities.
What is your most favourite thing with your role?
Since getting my role in the industry I’ve been more creatively fulfilled than ever before. It’s surreal to wake up every day and do something I’m passionate about. I’m aware not everyone has that privilege, and I am very grateful. Not to mention the amazing team that I work with every day, who are incredibly supportive and inspire me to deliver my best work.
What is the hardest part with your role?
It’s been a difficult experience adjusting to a new career during a global pandemic. I wasn’t in the studio long before lockdown, so the majority of my interactions with co-workers has been remote.
And of course, imposter syndrome. But such is the life of an artist, right?
What are the important skills to do your role?
I think the big one is just a general understanding of how light works. How much light is absorbed on certain surfaces/materials vs how much is bounced, how to balance exposure and contrast, colour theory etc. After a while, it becomes subconscious and you can tell at a glance what is/isn’t working in your scene.
While not essential, understanding cameras and photography is also a HUGE help (especially with the way they are set up in UE). Knowing how and when to use certain focal lengths, shutter speeds, aperture etc is incredibly useful.
If you could go back in time what would you do differently?
I don’t think I would change anything. It’s a cliché and generic answer but I literally wouldn’t be in the position I am today, if it wasn’t for everything that led me to this point.
If I had to change something it would be to try and find confidence in myself sooner. While I’m still not super confident in my own work, there were times during my two years of studying lighting where I was ready to call it a day and I don’t know where I would be now if I had taken that path. Probably still stuck in IT!
What are your recommended articles or videos to help someone get started with this role?
Tim Simpson’s Polygon Academy (Polygon Academy – YouTube) and William Faucher (William Faucher – YouTube) are the two main YouTube channels I keep up to date with. Beyond that I’d say sites like 80 Level and Experience Pointsare perfect for an insight into the creative side of the industry (especially with interviews etc, they really give you a look into the thought process of many talented artists).
Other than that, I think it’s worth mentioning the plethora of game dev Discord servers that are out there. Maria&LightBulbs, ExperiencePoints and The Club in particular. It’s an easy way to surround yourself with like-minded people to be inspired by, get feedback from and just make friends! I should practice what I preach really, as I’m not as active on discord as I should be. Thanks anxiety!
What is your most favourite thing with your role?
Since getting my role in the industry I’ve been more creatively fulfilled than ever before. It’s surreal to wake up every day and do something I’m passionate about. I’m aware not everyone has that privilege, and I am very grateful. Not to mention the amazing team that I work with every day, who are incredibly supportive and inspire me to deliver my best work.
What is the hardest part with your role?
It’s been a difficult experience adjusting to a new career during a global pandemic. I wasn’t in the studio long before lockdown, so the majority of my interactions with co-workers has been remote.
And of course, imposter syndrome. But such is the life of an artist, right?
What are the important skills to do your role?
I think the big one is just a general understanding of how light works. How much light is absorbed on certain surfaces/materials vs how much is bounced, how to balance exposure and contrast, colour theory etc. After a while, it becomes subconscious and you can tell at a glance what is/isn’t working in your scene.
While not essential, understanding cameras and photography is also a HUGE help (especially with the way they are set up in UE). Knowing how and when to use certain focal lengths, shutter speeds, aperture etc is incredibly useful.
If you could go back in time what would you do differently?
I don’t think I would change anything. It’s a cliché and generic answer but I literally wouldn’t be in the position I am today, if it wasn’t for everything that led me to this point.
If I had to change something it would be to try and find confidence in myself sooner. While I’m still not super confident in my own work, there were times during my two years of studying lighting where I was ready to call it a day and I don’t know where I would be now if I had taken that path. Probably still stuck in IT!
What are your recommended articles or videos to help someone get started with this role?
Tim Simpson’s Polygon Academy (Polygon Academy – YouTube) and William Faucher (William Faucher – YouTube) are the two main YouTube channels I keep up to date with. Beyond that I’d say sites like 80 Level and Experience Pointsare perfect for an insight into the creative side of the industry (especially with interviews etc, they really give you a look into the thought process of many talented artists).
Other than that, I think it’s worth mentioning the plethora of game dev Discord servers that are out there. Maria&LightBulbs, ExperiencePoints and The Club in particular. It’s an easy way to surround yourself with like-minded people to be inspired by, get feedback from and just make friends! I should practice what I preach really, as I’m not as active on discord as I should be. Thanks anxiety!
