For Aluna I did all of the lighting that you see in the rooms and hallways found in the game. The only sequences in the entire game that I did not do the lighting for is the ending cut scene which is not pictured.
To create the lighting for Aluna we (the artists on the team) gave each room it’s own color palette which was used to help guide the creation of textures and materials. Then when I went to create the lighting I would both adjust the colors of the textures to make sure that they where all still working once placed next to each other and then I used colored lights to exaggerate the colors of each room in different ways to create a very surreal and fantastical look to the games world.
From a technical stand point I primarily used baked lighting to save on performance, with very few lights using real time rendering. I also researched and utilized unity plugins to give the game the look we where going for. The plug-ins that was used the most was Aura which allows you to use volumetric lighting in Unity.
Since I was in-charge of the lighting as well as implementing most of the art assets into Unity, I was also usually the last artist to see most of the art assets and the first person to see what all of it looked like once it was put together. As a result I tended to function as the final quality control for most of the games assets, making sure that everything was looking the way that we wanted and that all of the assets where working well together.
This primary consisted of color correction on textures so they wouldn’t blend together too much, creating things like ambient occlusion maps, normal maps, or emission maps, rearranging or resizing models, fixing and smoothing geometry, adjusting the settings for the post processing stack, etc.
