The Casting of Frank Stone | Lighting

On Cedar hills this interior space was the main focus, we needed to achieve that dusty atmosphere while placing the sunlight in a position that would benefit the cutscenes. I worked along the ENV team to open up the holes and really craft those openings.

On Cedar hills this interior space was the main focus, we needed to achieve that dusty atmosphere while placing the sunlight in a position that would benefit the cutscenes. I worked along the ENV team to open up the holes and really craft those openings.

While the interior was the focus, i polished the exterior lighting, day light natural lighting was so fun to do on this level. Stranger things was a huge inspiration for this one.

While the interior was the focus, i polished the exterior lighting, day light natural lighting was so fun to do on this level. Stranger things was a huge inspiration for this one.

Yes, that is a color checker in the frame.

Yes, that is a color checker in the frame.

The original Texas Chainsaw Massacre was the main inspiration for this lighting scenario, the time period and story were the perfect opportunity for this homage.

The original Texas Chainsaw Massacre was the main inspiration for this lighting scenario, the time period and story were the perfect opportunity for this homage.

Natural night lighting is always tricky to get right especially in terms of contrast, this was a great team effort. Marco couldn't have achieved this without you buddy!

Natural night lighting is always tricky to get right especially in terms of contrast, this was a great team effort. Marco couldn't have achieved this without you buddy!

My main focus was to highlight the most important gameplay areas, we used hand place spotlights to mimic the moonlight while keeping it as naturalistic as possible.

My main focus was to highlight the most important gameplay areas, we used hand place spotlights to mimic the moonlight while keeping it as naturalistic as possible.

This was one of the HDR color grading experimentations, which allowed us to achieve film grading quality directly in-engine. 
This one also has a light in the background to achieve a perfect counterchange between dark and light.

This was one of the HDR color grading experimentations, which allowed us to achieve film grading quality directly in-engine.
This one also has a light in the background to achieve a perfect counterchange between dark and light.

All cinematic lighting was polished on a shot-per-shot basis, we always enhanced the environment lighting and used it as a motivation for our carefully placed character lights.

All cinematic lighting was polished on a shot-per-shot basis, we always enhanced the environment lighting and used it as a motivation for our carefully placed character lights.

This is still one of my favourite shots, in the early days we were experimenting with Black and White to honor film Noir

This is still one of my favourite shots, in the early days we were experimenting with Black and White to honor film Noir

This night lighting scenario was so fun, it was made to hint and boost up the story using the Traffic lights and atmosphere.

Huge shot out to the whole team!

Huge shot out to the whole team!

Some stills from my cinematic and environment lighting work on The Casting of Frank Stone during my time at Supermassive Games.
I was responsible for cutscene & level lighting, color grading, and optimization.
Also supported the development of In-engine HDR grading tools to facilitate film emulation, and improved lighting workflows alongside the super talented Marco and Mahira!
https://www.artstation.com/marcocarmo
https://www.artstation.com/mahira_zm
https://www.artstation.com/robertdrysdale
Created on Unreal Engine 5 with a physically based lighting workflow.