Across my time at Parallel Studios I contributed environment art and lighting to multiple marketing trailers, announcement videos, and cinematic content for Colony, Sanctuary, and the broader Parallel universe. Cinematic production requires a different approach to environment art than game development — the camera is fixed, performance budgets are relaxed, and every frame is a composition to be art-directed rather than a space to be navigated.

Lighting for marketing content was built to prioritise visual impact over gameplay legibility — maximising contrast, atmosphere, and hero moments for the specific camera paths of each trailer. This often meant creating separate lighting setups from the game builds, pushing Lumen and post-process volumes to deliver cinematic quality that represented the visual ambition of each project at its best.