Paul Mukhamedzianov
Senior Lighting Artist
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Mafia: the Old Country (PS5/PC) Lighting

Owned the lighting for key missions, including HDRi skies and supporting assets while building tools and systems that streamlined the lighting team’s workflow.
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Mafia: the Old Country set in early 1900s Sicily, following the protagonist from the darkness of the sulphur mines to the glittering lights of the city. ​​​
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I’ve been part of the project since its earliest stages, collaborating closely with the Art Director and Lighting Lead to define and refine the game’s lighting language. My focus was on the levels (locations) lighting.

An early benchmark that set the standard for quality and consistency of lighting, holding up as a key reference until the very end

An early benchmark that set the standard for quality and consistency of lighting, holding up as a key reference until the very end

The player is emerging from the mines into the open air for the first time; I aimed to contrast the purity of the sky with the grim reality of the ground

The player is emerging from the mines into the open air for the first time; I aimed to contrast the purity of the sky with the grim reality of the ground

Aimed to create a slightly surreal atmosphere in the crypt, a fitting finale to the long combat and chase sequence

Aimed to create a slightly surreal atmosphere in the crypt, a fitting finale to the long combat and chase sequence

Lumen global Illumination alone wasn’t enough, so a variety of techniques were required to create believable daytime interior lighting.

Lumen global Illumination alone wasn’t enough, so a variety of techniques were required to create believable daytime interior lighting.

Carefully selected sun angle and localised volumetric dust used, along with other techniques, to convey the speed and excitement of the early car race

Carefully selected sun angle and localised volumetric dust used, along with other techniques, to convey the speed and excitement of the early car race

This mission served as a benchmark for our nighttime lighting; I focused on playability and used aerial perspective to separate shapes

This mission served as a benchmark for our nighttime lighting; I focused on playability and used aerial perspective to separate shapes

Created this sky as a part of a set featuring smooth time of day transition

Created this sky as a part of a set featuring smooth time of day transition

Closed to the public, this space relies on restrained lighting to set the tone and emphasise the obstacle ahead

Closed to the public, this space relies on restrained lighting to set the tone and emphasise the obstacle ahead

Rendered a postcard‑like Sicilian sky, exaggerating the blue fog to evoke the freshness of sea air and the feeling of a perfect day

Rendered a postcard‑like Sicilian sky, exaggerating the blue fog to evoke the freshness of sea air and the feeling of a perfect day

This area developed over several iterations in collaboration with the environment team to make this lighting setup possible

This area developed over several iterations in collaboration with the environment team to make this lighting setup possible

After multiple iterations, this weather was refined to preserve contrast within a softly diffuse lighting setup

After multiple iterations, this weather was refined to preserve contrast within a softly diffuse lighting setup

Used careful light placement and volumetric fog to guide the player through this visually complex area, setting up a contrast with the foggy daylight outside

Used careful light placement and volumetric fog to guide the player through this visually complex area, setting up a contrast with the foggy daylight outside

In Mafia: the Old Country I focused on gameplay lighting: guiding players, maintaining clarity in complex scenarios and taming Lumen noise with bespoke solutions. Huge thanks to my lighting lead, peers, the environment team at Hangar 13 Brighton.

In Mafia: the Old Country I focused on gameplay lighting: guiding players, maintaining clarity in complex scenarios and taming Lumen noise with bespoke solutions.

Huge thanks to my lighting lead, peers, the environment team at Hangar 13 Brighton.

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