Before receiving his post graduate diploma in sound design at the Utrecht School of Arts, Lucas van Tol was hired as a sound designer at Guerrilla Games, then in the early stages of the Playstation 3 shooter “Killzone 2“. After four AAA Playstation titles, Lucas moved from sound design to music supervision. He worked as music supervisor on “Horizon Zero Dawn” (PS4) and as principal music supervisor on the much anticipated sequel “Horizon Forbidden West” (PS5).
As the Principal Music Supervisor I was in charge of coming up with the music vision of the game. I did this in collaboration with the Audio Lead and the Game Director. Composer briefing and feedbacking also went through me. The implementation of the adaptive music was a collaboration between Bastiaan van Bentum and myself. I was also part of the team that designed the music tool and the music systems.
Although I still worked on a couple of sound design assets, I started focusing more on the music process from this DLC onwards working with the same team as Horizon Zero Dawn doing similar work.
I was part of the main in-house Horizon Zero Dawn sound team together with three other sound designers. About half of my time was dedicated to the music supervising process, the other half was dedicated to sound design. The music supervision included, but was not limited to setting and maintaining the music vision, defining music implementation rules, finding the composers, giving the composers feedback and information and creating custom music tracks for the game and its marketing assets.
I was part of the main in-house Guerrilla Games sound team together with three other sound designers. About half of my time was dedicated to the music supervising process, the other half was dedicated to sound design. In the role of senior sound designer i, amongst other things, contributed to the environmental sounds, UI sounds, pickup sounds, bird research and asset creation, foley, festival walla and music integration.
I was part of the main in-house Guerrilla Games sound team together with three other sound designers. In the role of senior sound designer i, amongst other things, contributed to the foley, weapon handling sounds, environmental sounds, cutscenes and sequences, music integration and Arduino-based prototypes.
I was part of the main in-house Guerrilla Games sound team together with two other sound designers. In the role of sound designer i, amongst other things, contributed to foley, vehicles and automata, weapon handling sounds, environmental sounds, cutscenes and sequences and music briefing and integration.
I was part of the main in-house Guerrilla Games sound team together with two other sound designers. In the role of junior sound designer i, amongst other things, contributed to foley, vehicles and automata, weapon handling sounds, environmental sounds, cutscenes and sequences, music briefing, music integration and worked on switching our game to the newer Sony proprietary SCREAM engine.
I did foley and sound design for this short movie, directed by André Bergs as part of his graduation project (and it was part of mine as well). It was picked up by Il Luster Productions and won several prices on film festivals, including “Best Animation Film” at the Festival International du Film d’Aubagne 2006 in France and a nomination for Best Debut Film at the Netherlands Film Festival 2005. Music by Alex Debicki.
During the last few years of my study i worked on several smaller projects. Games, animations, short movies, interactive museum installations. I even managed a project for the province of Flevoland that included recording on location, animation, voice overs and interviews, which was done one day before i started at Guerrilla Games. But in the end, all these little projects don’t add a lot to this resume, so i won’t include the details. Please feel free to ask about them if you want to know more.
Master of Arts with honors
Post Graduate Diploma (PgDip)