Gallery 3 — Tanguy Lemonnier

LORDS of The FALLEN II

VFX company : UNIT IMAGE (remote)

Role : Senior digital matte painter / 3D DMP

I joined the talented team at UNIT IMAGE as a Senior Digital Matte Painter, contributing concept development, digital matte paintings, and CGI paint-overs for the Lords of the Fallen II Announcement Trailer.

Working closely with the team, I helped design and deliver a variety of environments and skies across multiple sequences.

Combining creative exploration with efficient production workflows, my role involved both establishing the visual direction of key shots and ensuring that the final assets could support complex camera movements and evolving creative requirements throughout production.

I developed a projection-based workflow in Nuke that allowed a single digital matte painting to cover a large downward-to-upward camera movement. By establishing the technical foundation early in production, I was able to quickly iterate on different sky designs while maintaining consistency throughout the entire shot.

Once the projection setup and overscan coverage were established in Nuke, I focused on designing the sky and dramatics lights in Photoshop. The challenge was particularly interesting from a creative standpoint, as the environment was driven by multiple light sources that needed to coexist naturally within the same atmosphere.

By linking the Photoshop artwork directly back into the Nuke setup, I could rapidly review and present different creative directions through the full camera move, allowing for efficient feedback and iteration with the team.

Leveraging Nuke's projection space, I established a workflow that allowed a single Photoshop file to support multiple shots and camera angles throughout the sequence.

This approach ensured visual continuity while providing the flexibility required to accommodate creative adjustments during production.

In sequences like these, selecting the correct working resolution is a crucial part of the process. Identifying the closest camera angle to the sky element allowed me to define an appropriate base resolution for the matte painting while maintaining sufficient detail for the entire sequence.

Building the artwork at a higher resolution also provided the flexibility needed to support reframing, overscan requirements, and future creative revisions.

Another important step was identifying the key shot that would define the overall look and scale of the sky.

Establishing a hero view early in production helped guide both the artistic and technical decisions for the sequence.

Once the coverage and overscan requirements were validated, I could focus on developing the final sky design.

Working on highly stylized and imaginative environments like these is one of the aspects I enjoy most about game cinematics, where creativity and technical problem-solving constantly go hand in hand.

In addition to sky design and environment work, I also contributed several CGI paint-over tasks across the trailer. These included refining visual details, enhancing atmospheric depth, and helping shape the overall mood of selected shots.

On fully CG productions, this type of work is a common but highly creative responsibility for Digital Matte Painters, allowing us to bridge the gap between technical execution and artistic direction while elevating the final image