Multiple positions open at Epic
polycounter lvl 20
http://www.epicgames.com/epic_jobs.html for full details, contact email is jobs@epicgames.com
Art positions listed in brief below
CONCEPT ARTIST/UI - HUD
FX ARTIST
HIGH-RES MODELER
TEXTURE/CONCEPT ARTISTS
Art positions listed in brief below
CONCEPT ARTIST/UI - HUD
FX ARTIST
HIGH-RES MODELER
TEXTURE/CONCEPT ARTISTS
Replies
I am curious. How does epic devide up the work load on the art side? Where I am, it's as fallows:
1. Concept Artist
2. Environmental Artist
3. Then EA's send there work to the LD's "Level Designers".
4. Level is completed By LD's then CODE and Content lock.
ALl programers and animators in our company are considered tech side. They provide what we need to play the game. Duuuuuh...:)
How does it work with Epic?
This is why people here routinely tell you to watch your attitude.
This is Carl Kidwell - aka Slaine in the old days from Quake 1 - Skins Tutorial on PlanetQuake I'm sure you remember me (if not what have you been drinking and where can I get some)...
So do I fall into the "dont bother applying" category too? Or should I send in a resume?
Carl - aka - melkior - aka slaine
I don't see any hi poly in your resume, you should bear in mind ( and in fact everyone applying should ) that Epic has moved onto Hi poly normal mapped technology so low poly skills won't impress.
That said we are still looking for texture artists that can work with Normal maps, Specular Maps, Diffuse maps etc.
It is hard to judge how a regular texture artists will cope with changing their technique to completly avoiding shading depth and shadow on a texture without seeing practical examples.
I'd advise anyone looking to apply, not to rush an application with their current resume. It is best to make a couple of Unreal Universe tailored creations to demonstrate both willingness and ability within the world which you would work here.
We are very interested in Environment artists capable of building or texturing incredibly detailed assets.
As is usually the case, there are always more people looking to do the characters than the environments. With Hi poly though, theres a lot more freedom and variety in building level assets than there used to be.
I had texture artist in mind anyways high poly characters is not my speciality at the moment - so building a tree, a rock,a wall, some pipes, or alandscape and texturing it, UVW, normal maps etc is exactly what I think Id be best at right now.
So I think Ill send one along for that then!
Thanks for the reply.
I see now I jumped the gun a bit - you said you recommend folks get some more experience with the new next gen technology before applying - and I've gone and sent off my resume already.
I figure that not too many have had their hands in this yet- I'm no worse off than 6 dozen others who havent had a chance to work with it yet and who are going to be working on it soon.
I have great texture skills and they should translate so Ill hope management sees that and gives me a ring - otherwise I'm working on some console/portable platform games so I'm not upset if they dont either!
The main thing is that you show skill in what you do and that you are not a 1 trick pony.
There are essentially 4 stages to be an artist with the new tech.
1. Hi poly
2. Low Poly & Process Normal Maps
3. Creation of Textures
4. Creation of Materials / Effects
IF you can do any 2 of these well, then apply. Don't rule yourself out simply because you are not a hi poly monster.
Keep those vacancies open for another 2 years, please... Actually, by then we'll all be wearing VR helmets and sculpting in Zbrush 5.5 with glove-manipulators. Or something.
*hurries his degree along*
UT2k3/4 are so varied in the kinds of levels presented I guess it's probably all over the place concept wise, but any direction you could provide for protfolio presentation would be greatly appreciated.
thanks,
robert clapp
robert.clapp@gmail.com
I'd pretty much ignore UT2k3 as a point of reference.
http://www.unrealtournament.com/ is a good reference point to trawl through for ref of UT4.
I think it will always be a safe bet to include some of the standard heavy metal scifi stuff that has always been a staple of the franchise.
Here's some concept art from Unreal2 that might push you in the right direction...
http://www.gamened.com/Wallpapers/Unreal_2_WP_2/Unreal_2_Wallpaper_2.JPG
http://www.computerandvideogames.com/screenshots_library/dir_60/vortal_pic_30338.jpg
I found these 2 doing a google on Unreal2 , I expect you could find more if you took some time.
I made some skins myself back then mostly for Swedish clans, dunno if you remember me (okkun_Swemob).
Anyways, have you considered outsourcing? I've got an art house in Seattle and we've got some great talent here.
Don't want to send you a bunch of stuff if you're only considering hiring people but it's just something to consider.
I know most companies are reluctant to hand off critical assets but we've had very good experiences creating entire environments clients(along with animations, chars and props).
Regards,
Joakim Wejdemar
-robert
Yeah, you did Swemob's Mobster skin in QW with dark pinstriped trousers and whiteshirt around '97 right?
I wouldn't be the one to make the final call on outsourcing but I would not rule out the possibility if you are capable with the new Normal Mapping tech and the new skillset it requires for texturing.
Feel free to send stuff to kevin.johnstone@epicgames.com and I will forward it along to the LA & AD, or just send it to the job addy.
Robioto: Nah, not a 'complete' wanker
You could also check out www.yemyam.com as he still has the Epic Art Test he did on his site and its a good style guide as well as inspiring eyecandy.
Thank you also for the partial wanker pardon, now I can look at myself in the mirror when I shave
In addition to artwork, I also have programming skills. I know Visual Basic and C# very well and understand C++ but have less experience in it. Though a career in programming is not what I'm looking for, programming and creating art for my own game projects has taught me how the engine code works with the art resources, granting me an understanding of game engines and ways to create art that will work more efficiently with them.
I'm currently enrolled at the School of Communication Arts in Raleigh, North Carolina, and will Graduate in June. I will have my portfolio site done long before that (probably in a couple weeks) and I will post a link.
I realize a job with epic is a long shot. Though I have alot of experience with my own games projects/ mods. I don't have any proffesional experience in game development. However its an opportunity I can't ignore.
Those extra 'technical' skills are worth their weight in gold also as theres a host of extra techy challenges involved in making games with our technology so if a college guy could come in armed with knowledge of our techs shaders and particles and be focussed on environments they would stand a very good chance of a job.
Moose is pretty much a poster boy for what we are looking for here at Epic. Although his resume was composed of characters mostly ( like everyones...), he took the suggestion to do some environment map textures to heart and knocked out an impressive enough set to get hired as a junior artist pretty much straight out of college.
When he arrived, he quickly showed that he was also technically savvy and had spent some time on learning the shader system to a higher degree than many artists.
Within 2 months he was promoted to a full artist.
Moose can do pretty much every art task there is but he has worked mostly on the UI and HUD for UnrealChampionship2 and made one of the most amazingly pretty and interactive Hud's I've seen in a game for a while.
We're looking for more people like Moose, people who can do a variety of things but are willing to do what we have a need for.
Right now we really need environment artists.
Theres been a few people applying as character artists and every one of them that applies we suggest the environment artist position politely.
There is noone on this board good enough for the character positions other than perhaps Daz who would still need to prove himself in an arttest to show he could do work significantly more detailed and in the unreal style.
http://www.unrealtechnology.com/screens/character_creation1.jpg
The above was made a couple of years ago now, if you are trying for a character position, you would need to be a lot better than everyone else here to bully your way into a slot that is not open atm.
I hope I am not coming across as arrogant here, I'm trying hard to reinforce the facts and avoid wasting peoples time.
Everyone wants to do characters. We need environment artists.
Doing environment art here is a lot of fun, look at YemYam's art test, these are the sorts of things you get to build.
It's not like working on GTA where you make low poly buildings and street signs, there is a wide variety of highly technical concepts to follow and articulate in 3d to cinematic quality for ingame assets.
We have not hired an artist here in 10months because everyone who is at the novice level at hipoly and applying wants to do characters and we already have very experience high poly people.
Thats as clear as I can make it folks.
I'd be thrilled to come work for Epic doing environment stuff, and have years of industry experience, but like lots of people I've mainly done character stuff when doing portfolio pieces (not entirely, but mostly). Do you have any advice on either how to pitch myself as an environment artist although my portfolio makes it seem like I'm mainly a character artist? Also, are there any recent concept pieces around online that would make good "Epic envirnment building" practice? I assume even with experience it would be super helpfull to do a piece or 2 with an Epic look.
You will hear from me again soon once my work is prepared.
This is a very informative thread, it's much appreciated.
The opportunity to work at Epic would certainly be wonderful. Ever since I got involved with UT community I have been interested in a possible career at Epic in the near future.
I would like to take this chance to introduce myself,
I've been developing art assets for games for almost 3 years. A year and a half ago I got evolved with Red Orchestra as a junior environment artist and worked my way up from there. From March of last year up until November I have held the post of Art Director at RO with great success.
Currently I am enrolled in the Vancouver Film School majoring in 3d Animation and Visual effects. (I have since passed my responsibilities at RO to Bill Monk and stepped down to a position that demands less of my time!)
I will be graduating in August. My demo reel is geared towards high rez organic (Characters) and hard surface (Environment/props/etc) modeling as well as Character Setup (TD), Lighting and Texturing. I am proficient with a variety of 3d and 2d packages, including but not limited to 3ds max, Maya, XSI, Photoshop and Painter. I also have a solid foundation in traditional arts, such as sculpting, classical animation, storyboarding, character design; film editing, art direction and etc.
I am not sure whether it would be shrewd of me to apply at this point, seeing that in the best of scenarios I would not be able to relocate until graduation; however I am really looking forward to future discussions with Epic, and will work hard to secure a position at Epic.
Cheers.
Coming from a Film school background is much more applicable to getting into Epic than most game development houses though over time I expect your backgrounds demand will grow throughout the games industry as a whole.
Owing to the fact that game technology is now rivalling the movie industry technology, more and more companies are, and will be looking to recruit people from the movie industry or with more of a solid footing in those industry specific skills.
Simply put, we have the technology to make games look like cinema so we need more people capable of producing cinema quality assets.
We're still looking; as yet, no positions have been filled.
My name's Erik Turner. I have just put up a personal webpage displaying samples of my work. You can check it out here: web page. I have no experience in the game industry and am trying to break in.
I read your earlier post about character modelling being a tough door to open but I think I have the drive, skill, and potential to excel in this field.
I have only been modelling for less than two years but am producing solid high poly character models. I have a lifetime of drawing as a foundation as well. I am not at the skill level Daz is but again, my passion and potential are there. To be honest, I don't believe my high poly modelling is exactly representative of my sculpting skills. In essence this is just a matter of time and experience with digital sculpting.
Please take a look and let me know what you think. Character modelling is really my diehard passion, so if you don't think I cut it, then I won't waste your/my time any further. I'm not expecting to be swooped up and entrenched in a permanent position obviously, so an internship or contract work are definitely of interest to me.
Thanks
-Erik (email: erik@ent3d.com )
Your work is not better than all the other character model people here already. We are looking for environment modellers and texturers so the first thing that you would be asked if you applied and people liked your work enough, is, are you willing to do an environment test and are you interested in an environment artist position.
I think you can see yourself that your work is not superior to or near the detai level of http://www.unrealtechnology.com/screens/character_creation1.jpg
which was created 2 years ago.
As far as characters go, this is the standard you would be judged against; I don't make the rules around here but I am aware enough of them to be reiterating once again that theres no character positions open here.
The link to the image doesn't work in my browser. Could you maybe send it to me in an email or direct me to a different url? Im excited to see the image.
Anyway, just thought I'd give it a shot. I was not implying that I was superior to the current modelers, just that I believe I have the potential to do very high quality work for you guys. But its not a big deal. Thanks for the reply.
-Erik
We are looking for people that have done more than a handful of kick ass hi poly models, we are not looking for someone who is going to blossom over time, we are ( as most companies are) looking for people we can drop into a position right now and have them up our performance, quality and speed.
If we were looking for a junior character artist , in that situation your potential would benificial. This is not that situation however!
I said earlier in this thread that we are not looking for character artists at all and that the ONLY way a character artist could possibly get in here right now would be if they were better than the other character artists we have here as then they could bully their way into our current character artists positions
http://www.unrealtechnology.com/ - if you check out this link and look at the quality of the assets shown in the screenshots from a couple of years ago you will see why I am dismissive of character artists with potential applying here when we need environment artists.
A production cycle has different demands at different stages and its good to have someone that can do a different task when theres a lack of need for environments for example.
r.
How are you creating your environments? We've got some experience using the old Unreal tools and we're definetly used to working with very high res environments in Max but it would be good to know what kind of skillsets your looking for so we we can send some examples of stuff that applies.
Thanks
oKKun
I would love to include samples of my work as well. I hope you don't mind if I include work produced in school, as it covers a variety of disciplines in modeling and is the most recent. If you would like to see something specific please feel free to tell me and Ill see what I can do. (Do you care to look at low poly work as well? It is mainly for Red Orchestra)
Thanks for you time, I'll be in touch soon.
Serguei K.
[ QUOTE ]
Shadow: If you feel uncomfortable with rushing a full blown application here, you have the option of sending some work / questions to me personally.
Coming from a Film school background is much more applicable to getting into Epic than most game development houses though over time I expect your backgrounds demand will grow throughout the games industry as a whole.
Owing to the fact that game technology is now rivalling the movie industry technology, more and more companies are, and will be looking to recruit people from the movie industry or with more of a solid footing in those industry specific skills.
Simply put, we have the technology to make games look like cinema so we need more people capable of producing cinema quality assets.
[/ QUOTE ]
Something like a standard L shaped support beam in the Liandri setting, I would model at around 2million polys so I can articulate everything down to the nuts and bolts and text in some case on the model for a clean normal map. The Low poly would be around 300-600 polys and it has to be capped everywhere, there can be no open faces or the lighting information with not work ingame.
The Normal map is then heavily worked over in Photoshop with the Nvidia tools to process material relief on the metal, detail out things like flaking paint, dents and gnarly erosion around bolts, scratchs and so on.
Next up, the diffuse map which has to be VERY milky or it will kill the normal map ingame. The Specular is where almost as much magic occurs as in the Normal as its really the specular that pulls out the angles being faked by the normal map, where you choose; likewise it is the specular that really articulates the material of the surface.
This is perhaps more information than necessary but I thought this might help others out. Certainly, I have been giving some thought to making a normal mapping tutorial that is specific to our technology in the hopes of sowing seeds that will take root and grow new employees for us
ShadowM8 : Environment stuff is what I want to see, its good to see you're full skillset but environments are the 'thing' atm.
I found the workflow description to be pretty interesting. With such a huge amount of work required for such a simple piece, how long does production of a level takes? Im also assuming that preproduction of map props becomes very important!?!
On a related note, for the environments, Im in the process of finishing a set, however it is made with movies in mind, and therefore parts that would not be seen from the one camera shot are not modeled. Would that be a problem for you? Would you like me to include a few parts of the set that are modeled all around as well?
Thanks!
Thats really all that normal mapping is. I'd say it takes twice as long as it used to. I've been doing normal mapping for close to 5months now and I'm finding I'm getting closer to my old speeds in 2d but I'm not there yet!
It's a problem if a scene only looks good from one shot yes as that would never be useful in a game. We have to model near cinematic quality assets that are props for the level designers to use as, well props, or like lego sets to piece together recurring shapes in a level.
I figured that it would be the case. I will therefore model (all around) a few props or Lego piece of my set for you as an example.
Thanks.
P.S. does normal mapping allow you to cut back on the details you would normally put in the color map? That is, leaving behind high lights, shadows and fine details.
Rorshach, an epic specific tutorial would be great, it sounds like there are some particulars to consider with your new tech. I hope you can find time even if it's just a brief overview.
Some things I'm personally curious about, working with 2 million polys in max on my workstation (if I can call it a workstation hah!) would be practically impossible, I'm assuming you're using Zbrush to up res a max block in, but if that's not the case I'd like to know more about how your pipeline works.
I assume you guys are working with top spec equipment, maybe that makes a big difference with the amount of polys you can have on an object in max, I'm using a single pentium 4 2.26ghz system with 1 gig of ram and a quadro fx 1100, and max chugs at around 60k on one object. It seems to be more a limitation of max as I can go quite a bit higher in Zbrush and XSI.
Oh and not every model is 2million. Theres plenty of cases when half a mil are used.It's best to seperate your model into as many pieces as possible to avoid that slow down.
It'd give all of us who want to work with normal maps, an idea of what the guidelines for the industry will be, and therefore we can tailor our work to match that...
http://www.unrealtechnology.com/html/technology/ue30.shtml
I don't think they have many (if any) wireframe shots of environment models there, though...
Hard edged models still have subdivides so that a subtle curve is defined on the lips and rims of shapes as this allows the normal map to pick up light properly.
Hard, simplistic chamfered edges produce an on or off option for lighting on the normal map, this is why we make even hard edges have a slightly soft curve. Sometimes beveled splines with the 'smooth across' option tagged is enough to produce the same result, but it depends on the shape.
Anyway, deadlines to meet here; after GDC I'll make a video tutorial.