The Last Of Us: Part II...Hospital entry

This gallery is the first of a series that I shall be posting to showcase my work on The Last of Us: Part II.
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As well as being the vehicle specialist for the duration of the game, I also continued my role as a texture and shader artist with my usual level responsibilities.
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For this particular area, I worked in partnership with Edgar Martinez (modelling and layout) and Scott Greenway (Lighting) as well as the rest of the fantastic Naughty Dog team, without whose contributions none of these levels would be possible.
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My main responsibilities included the creation and adaptation of textures and shaders for application to the environments and contained assets. The levels ended up being so huge that I also did quite a bit of modelling and additional set dressing, working back and forth with Edgar, to continually push and improve each other's work. I also spent a lot of time in researching a new asset pipeline for which these levels became our testing ground.
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Working on The Last of Us: Part II has been an incredible experience and as always, it takes a monumental team effort in order to make such amazing games. Without the hard work and dedication of the entire team, across all departments, none of this would be possible.
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I would also like to take time to thank our incredible outsource studios who time and time again prove to be so vital to our development of these worlds, their contributions are incredible and I am incredibly grateful to have worked with them.
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Edgar Martinez portfolio, please check him out! https://www.artstation.com/edgar_a_martinez

Approaching in silence...

Approaching in silence...

Enable sound to hear the incredible details our sound team adds to these moments

Aftermath...

Aftermath...

I focus quite a lot of attention into my floor shaders and ground debris, since the floor occupies a lot of screen space in-game

I focus quite a lot of attention into my floor shaders and ground debris, since the floor occupies a lot of screen space in-game

Video shows my painting a single mesh with two shaders applied to it. You can see the seam between both shaders at the start of the video, but my cement 'transition blend' covers this before I proceed to add further details

An example of the 'base-colour' view mode, taken in engine. I like to try and keep my colour palettes controlled and in this case, using a water staining layer on everything that touched the water line

An example of the 'base-colour' view mode, taken in engine. I like to try and keep my colour palettes controlled and in this case, using a water staining layer on everything that touched the water line