The new expressway into the industry
polycounter lvl 18
It used to be Environment Artist but now I think its Effects Artist!
I cant believe how hard it is to find people who are skilled (have experience) or even interested in doing particle effects. There has come a time in every project Ive been on when someone says oh shit what are we going to do about particle and shader effects? Most production artists simply dont have time to invest on all the effects needed in a game. There has to be a dedicated guy whose primary focus is all the bells and whistle of effects. Weve had a job posted for a long time now for an effects artist but have had no luck finding people with effects in their portfolio. So I started thinking that this would be one of those positions that could easily get people into the industry.
Back at Ritual we ended up having a dedicated guy on effects and it was great! What was even cooler was that this guy started out as a tester and brought it upon himself to learn our effects system. He quickly turned a temporary testing job into an extremely valued position within the company.
Whenever someone ask me for advice for breaking into the industry I usually suggest becoming and environment artist (the need for good environment artist is extremely high) but from here out Im going to suggest grabbing the Unreal tools and learn the ends and outs of particles.
- BoBo
I cant believe how hard it is to find people who are skilled (have experience) or even interested in doing particle effects. There has come a time in every project Ive been on when someone says oh shit what are we going to do about particle and shader effects? Most production artists simply dont have time to invest on all the effects needed in a game. There has to be a dedicated guy whose primary focus is all the bells and whistle of effects. Weve had a job posted for a long time now for an effects artist but have had no luck finding people with effects in their portfolio. So I started thinking that this would be one of those positions that could easily get people into the industry.
Back at Ritual we ended up having a dedicated guy on effects and it was great! What was even cooler was that this guy started out as a tester and brought it upon himself to learn our effects system. He quickly turned a temporary testing job into an extremely valued position within the company.
Whenever someone ask me for advice for breaking into the industry I usually suggest becoming and environment artist (the need for good environment artist is extremely high) but from here out Im going to suggest grabbing the Unreal tools and learn the ends and outs of particles.
- BoBo
Replies
I would imagine it would fall under the job of a texture artist to some degree ? I for some reason imagine an AD saying " Hey texture guy we need a muzzle flare get to painting " . I guess I would probebly be wrong though ? Come to think of it I have never seen one demo reel or portfolio website that had effects as apart of the persons demonstrated portfolio ..hmm wierd
So you suggest the Unreal tools for learning effects ? Like for your game how would say someone learn to make a fireball spell effect and then apply it in a way that would be meaningful to you in a portfolio . It's just one of those fields people don't talk much about :-/ It seems to me that people use Adobe affter effects and others programs like cumbustion for stuff like that ?
edit** I was looking at the Tiatn Quest video on the official site and it looks like you guys already have tons of effects in the game so who did all those ? Why would you not just make who ever did those there full time job
As with any position, all you have to do is show your competence in that area. It doesn't really matter what engine or tools you use. As long as you show that you understand how to create the subject matter and do it well the prospected employer will train you how to use their proprietary tools.
We have our own particle editor but if someone presents us a demo of particles we are less worried about what they made them in and are more concerned with them looking good. Hell particles are simply textures with alpha channels rendered on geometry (poly planes) spawned over time (rudimentary description). You could easily replicate them by hand if need be within any 3d package.
I guess my biggest point is if you want to break in bad enough look for the things that people arent doing and use that to your advantage. Right now we need more people willing to do effects as their primary duty. There is the opening. Whos going to be the first one through?
- BoBo
I would be impressed if I saw someone pimping a cheap, good looking fire effect.
We're all oldschool on this board, more or less and underestimate these areas which are often seen as a drag to take on board. We view the task of HUD or UI creation or particles as something we fob off onto the junior guy...
These attitudes don't cut it with today's tech.
We just scored an amazing UI/HUD/Marketting Art guy who will do all that stuff for GOW and UT7 and it took us 2 years to find him.
While most of us groan at the thought of doing HUD graphics, this guy is excited and hyped and his opinion is that its clear in most games how the HUD has been created by someone with a throwaway attitude toward it.
Most games HUD's are something we need to put up with, battle with and so on, just to get to the good stuff, whereas in his opinion they should can can be as fun as the game.
You know what, he's right. We're way behind DVD HUD's interactive qualities in general.
Even texture artists are dying out, we've been looking for 1 for 2 years, still no sign.
Again, its attitude, everyone gets half good at something and straight away they want to be the character guy, everyone wants to hit a home run everytime and be the hero!
I can say this with impunity as I traded in being the character guy to be the environment guy when I can trade body blows with 90% of the character guys out there in 2d or 3d.
I may be drifting a little, but I think the point of your post might have been to spell out to all the people on boards like this that are all doing character art rather than practising other areas where they could get a job quicker and at better companies and retain more job security.
As an environment guy, I'm secure as houses. We've only found 2 other environment guys in 3 years here that are good enough. Still no sign of more of them though we get tons of applicants for character slots that are filled already
I think the situation in general displays how immature we are in this industry, I'm not simply talking about how immature our industry is here.
Compare it to the movie industry, how many films would get done if all the actors didn't want to take a job unless they were the star, if noone wanted to be the costar... thats essentially the situation we have right now when it comes to artist positions.
Yup, artists... we're a bunch of catty bitches!
r.
Tell HR to be honest in thier postings about the needs of the company and MAYBE getting someone won't be so hard. Since you are pretty much relaying on the 10% of people who don't have the creditials but still apply anyway and then SOMEHOW made it past HR.
Also for most of the grunt work/pipeline smoothing tasks that is almost always a studio specific thing unless you happen to luck out and a studio licenced its engine. Even then one studio's hit boxes, particle effects, tween animation process might be diff from anothers so some amount of training is needed. But studios really are not willing to do that, even if you are a proven quick learner, or pick it up while they explain it in the interview they "think" it will take too much time. Well no one can walk in the door and know the in's and out's of something the studio created 3 mo ago and has been keeping under wraps.
I can see the value in learning the big engines and thier particle systems but I think that should be in addition to envromental art and or character art.
I still think the fast track is knowing the right people at the right time. The details happen to work themselves out if you know who to talk to and when.
We asked our particle guy on Age3 to do FX for some prerendered cinematics. He didn't know particle flow but he was making awesome looking FX in no time.
Bobo's right ofcourse, being at Ritual and seeing this firsthand is really awesome, every company should have dedicated people in each area, fx included. And to anyone thinking this is some sort of a junior or a sub par position, think again, our fx guy is an art lead on the project.
I can see the value in learning the big engines and thier particle systems but I think that should be in addition to envromental art and or character art.
I still think the fast track is knowing the right people at the right time. The details happen to work themselves out if you know who to talk to and when.
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I couldn't disagree with either of those sentences any more Vig. To your first point, I think you're doing the fx guy a disservice. The job is an awful lot more than simply 'knowing the particles system'. The game were wrapping up features I swear the best console VFX I have EVER seen in a game and I'm not exaggerating. This movie doesn't do it justice but you get the idea
The smoke in game actually feels volumetric. The fire looks amazing. The reason for this is that there are 2 entirely dedicated extremely talented FX guys on the project. And they do an amazing range of tasks. It's really a lot more than you'd think. They do smoke, fire, particles, water, fake caustics, fake volumetric light, fog, sparks, breaking glass, anything else that breaks, weather, screen fx, all sorts of interesting stuff. It's a highly technical AND skilled job. Don't be a jack of all trades, be a master of one. I'm afraid that like it or not, this is where the industry is headed. Hardcore specialization. To be a good FX guy you should know 2D and 3D and particles systems of course, but to build up a character and env. Art portfolio alongside it too? Nah, don't even bother. If you're interested in being an FX guy, APPLY yourself to it. Good fx guys are currently very hard to find and these will be much sought after people soon I assure you. If we don't change how we think as games artists or potential games artists, all the film guys will come in and take those jobs. It's allready happening.
And no, it isn't about who you know! It's about talent and being able to back it up. THEN, it's about who you know.
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this is where the industry is headed. Hardcore specialization
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Before we make this a set rule of law. It really depends on what company you work for, and how big they are. You wanna work "bigtime" yea, specialize. You wanna work indie and startup, specialization will be counter productive.
The only thing 'that depends' in relation to game companies in terms of specialization, is how long a company can survice now without doing it and thus avoid going under.
It's the aversion to truth being displayed by some in this thread, being rife also in the corporate level of our industry, that is responsible for so many companies going the way of the dodo.
Daz: Glad you nipped the FX guy = grunt notion in the bud.
The effects guy sitting across from me here can model hi poly better than 95% of the people on this board, its not that he's a grunt at all.
He models, textures, unwraps, animates and codes to a certain extent, FX positions marry the older, more well defined job roles and it tends to be the smarter artists
that are capable of it.
I'm never going to be capable of an FX position, its a lot tougher than a character or environment or vehicles artist position (2d or 3d).
r.
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oxy: why even argue with Daz, he's one of the most experienced professionals on this board... do you just think that experience is unimportant or something?
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A friend in the industry and common sense once told me that looking from the inside out sometimes gives a wider perspective than working in the trenches. The are of course different perspectives. They do however have access to information unique from the other. (Like a soldier working on the front line isnt going to be able to see battle plans, while a general can only see in numbers versus people)
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The only thing 'that depends' in relation to game companies in terms of specialization, is how long a company can survice now without doing it and thus avoid going under.
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Do you have any contact with small small developers (2-10 people?)? Ones that possible may be even limited to 2D (cellphone tech). So they are all specialized?
Another example. Arenanet. I once spoke to a woman there and said (now this was before Guildwars mind you) that most of them had to wear different hats to keep the show going. They werent big enough to do otherwise.
So yes, I can quite strongly argue that specialize does depend on the circumstance, and what a person wants out of the industry.
2. I've worked in a company where there were less than 10 people yes.
You didn't answer my question, do you think experience is unimportant?
I think its worth listening to our olders in this industry, whenever daz or paul or chad make comments I tend to consider that greater experience than my own might be something of benifit to me if I listen.
r.
2. Great, and as I asked did you specilize to the degree you do now, and if so, did everyone else in the company do as well (again specialize to the degree being discussed). Did you have a Technical Artist? A FX person? Is that all they did?
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You didn't answer my question, do you think experience is unimportant?
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Sorry, my bad. No it is not unimportant. But again, as I said with the general vs soldier viewpoints. (And before you go into thinking Im being egotiscal about thinking im sorta general, Im not, Im more like that confident/reporter they both talk to). Daz experience has given him his POV. But Daz is also working with a certain viewpoint gained from his personal experience. Im sure most people here agree with him. I won't disagree on that. However, how many of you want to work with smaller developers versus large ones? Who would choose to stay as it is the "lower" end of the spectrum/income? Thats when you will find the disagreement on specialization to the nth degree.
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think its worth listening to our olders in this industry, whenever daz or paul or chad make comments I tend to consider that greater experience than my own might be something of benifit to me if I listen.
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Absolutely, however again there are varying opinions if people put their ear to the ground.
To restate all Im saying specialization ad Daz describes is correct. For large publishes/developers. Economically speaking, its simple unfeasable for small developers working in other mediums than console or PC.
r.
Check.
r.
There is a guy who works for our company who has more than 30 years experience in our industry(photography & printing), and I(and many others here) outclass him in every respect, from talent, ability, knowledge, etc.
All he is now is old & outdated. He has "contacts" and thats pretty much the extent of his usefulness these days.
So, while I don't think experience isn't useful, I in NO WAY equate age or experience with ability.
I suppose what Im saying is you have to have done more than "survived this long" to earn my respect.
As for what Daz said, I totally agree...for now. I think that as the tools mature and become more & more flexible & easy to use, I think we'll see a swing back towards more generalization. More & More it'll be about style & vision & the artistic sensibilities of one artist I feel.
I know it's a hard concept for some to grasp, but really you just have to be good. That's about all there is to it. You can have various tips and techniques and tricks to *help* you on your way, but it boils down to ability and having a good attitude (to work with, to make a good impression at an interview, to network well).
You can take BoBo's advice and start learning particle editors, but if your fire and smoke and magic look like crap, you'll probably find just as hard of a time landing a job at a place you actually want to work at, as you would in the other fields. Less competition is a good thing to be sure, but don't underestimate the hard work and passion it requires reguardless of the area you go into.
I'll say it again to be crystal clear. The bottom line is you just need to be GOOD at what you do, and that's 90% of the way there, and 90% of most peoples problem finding a job.
Also, I'd just like to say I agree with Oxynary (Hell called, it's cold there, right?) I think there is still room for generalist at small developers, and not all small developers are going to dissapear if they dont' specialize. There is room for small houses of tallented multi hat people, and there always will be. If you really enjoy dipping your toe in a ton of ponds, go for it, as long as you show a good proficiency at what you do.
*ninja edit* Was just thinking, I don't think it's that there is a lack of good particle editors or environment artists to go around, I think it's a lack of good artists in general to go around. Almost every good artist I know whose work I enjoy, could switch over to particles full time, and most likely get some good looking effects. They could switch to environments from characters, or vice versa, and still make good art. I have very rarely seen someone who is mediocre in one field of art and then switches to a new one and all of a sudden their proficiency sky rockets. It takes hard work and practice reguardless of your field of interest.
- BoBo
I'm never going to be capable of an FX position, its a lot tougher than a character or environment or vehicles artist position (2d or 3d).
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Well to me that pretty much sums up why there are so few good FX people . Not many artists are going to sign up for a position that basically requires them to also be a technical wizard . I guess if your artistically gifted and very smart then you got a future with big $$$$ in it .
edit** Bobo that's wierd you say enviro guys are rare cause I would think just the opposite ! I look at CGtalk finished 3D section and 80% of the posts are fairly decent enviroments . I just looked now and the first page is almost all enviroment art shots . The rare thing I see on any board is a super good character artist . Someone who can do good high res/low res normal mapped models is even harder to find . I also noticed that even the good enviroments posted on CGtalk get almost no comments or feedback . There is NO glory and practically no respect at all in doing enviroments it would seem . Ha looking at that CgTalk board I could find 20 good enviro guys just scrolling through a few pages but I don't see even one good character post ... crazy
All I'm really saying is, that if becoming a dedicated games FX artist is interesting to you, and you applied yourself to that goal, there will, at some point soon once major development for next gen consoles gets underway, be jobs to fill in that specific role. I would bet large sums of $ on it.
But you still have to be bloody good at whatever it is you do to impress a potential employer!
As for my theory on industry specializaton, yes you're right, its just my perspective and my experience that's that's the way it will go. For next gen console dev. at least. I never said there wasn't room for generalists, but I certainly don't see those roles in the larger dev. houses, and I don't personally believe given the how much skill and knowledge is required for each discipline now, that you can be as good as you can be as a generalist. I'm never gonna be a kickass animator. I just can't devote the time to it. I have to accept that.
- BoBo
One engine I've worked with, this was all done with Notepad and Photoshop. The whole system had it's basic code, which was usually as easy as changing a few numbers around for the desired effect, but could get really in depth if you wanted. I'd paint up particles, blood splats, panning, spinning, etc, and test in game. It took a lot of testing and a bit of math, of course that could be said about a lot of facets of game development.
On another occasion, we had everything implemented in to a Maya plug-in, so instead of directly modifying code, it was more assigning materials, adjusting scroll bars, and putting in numbers. Again, still painting them all up in Photoshop, but we had a nice preview system that made things test smoother.
The main difference with creating FX is having the patience to sit and test over and over. Unlike painting a texture or modeling a character, you never know what it's going to look like until you see it working in game. When it works perfectly in game, there is a great sense of accomplishment.
In Maya you need dedcated rig builders, as well as particle folks. It's getting to the point where I may expect to sit down at my station, read the email that tells me which directory the models is in, copy it locally and animate and digest it, check it in, and move on to the next animation, and doing no more modelling or texturing, or even High poly modelling, Simply because we don't have enough animators.
Bobo is right. If there is someone with pyromaniac tendencies, and a talent for math , and some art observation skills, they would make a great technical artist. I can't do it, because I fail at math, and am easily frustrated so I can't do bug checks very well either.
Scott
Although there is some crossover of course. To me a technical artist is an artist with a programming language behind him. The link between Art and Code. The pipeline guy really. An FX artist is well, the guy that creates FX content for the game
I know that different studios have different roles and classify and quantify them differently. But I think we are about to see a big migration from film. I know that in California, A LOT of movie guys are starting to be attracted to games by next gen. Attracted by the sudden leap in hardware capability, comparitive job stability and even $. In northern and southern CA at the bigger games studios, I see a migration happening. And by 'see' I don't mean as in predict the future but actually witness it happening around me by the resumes and people that come in. With that migration comes the same structures and specializations from film, because senior people are coming in, so roles are gradually beginning to reflect that.
I couldn't disagree with either of those sentences any more Vig. To your first point, I think you're doing the fx guy a disservice.
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First off I always value the posts from Daz, Ror, Scott and even sometimes Ben when he isn't hopped up on pixel sticks. I am convinced that specialization will be pretty key in the coming months years. Its a trend that has started and will continue to keep going. I in no way am trying to poo-poo on anyone's experience nor am I trying to talk down to anyone as if I have the only magic 8-ball. But I do feel like I need to explain myself so I don't sound like a crack head who spoke without thinking.
I base my recomendation to "major" in Evniro/char modeling, and "minor" in FX design, based on the job listings. When I see more FX positions posted than enviro/char positions then I will gladly conceed that FX is the fast track. But with "FX" being so vauge it would be hard for anyone to nail down a tool/skill set that could be used as a marker of success in a portfolio(outside of a shipped title). I think it could however push you over the top if you know enviro/char "AND" FX. I don't think knowing just FX without knowing the others would really land you much of anything right now? I mostly say that because I just don't see any place for an FX only guy to apply, where are the listings?
I could be wrong but it might not be wise to tell someone just starting out, trying to get a skill set, that the fastest way to get in is to ignore programing, 3d/2d art and specialize in FX/partical design? Maybe I am out of touch with what the industry needs or maybe the industry isn't posting the FX positions like it should?
Maybe they are pulling aside some of the guys that apply for 2D/3D positions that might make good FX guys and offer them the jobs without ever posting for FX positions. If that is the case then this could very well be the swanky new way into the industry but you still have to have an impressive enough portfolio to get an interview...
To get your foot in the door you need to be bang up awesome at whatever they are looking to hire you for. When you are starting out I think it hurts you to specialize in making only trash cans when the employer might need garbage trucks. I think a newbies portfolio needs to have enough good stuff from a few schools of work to hopefully land him/her a job in one of those positions. Then they can set about specializing.
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The job is an awful lot more than simply 'knowing the particles system'.
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I kind of naturally assume that if you are applying for any kind of art position you have some tallent and creativity. So then it's just a matter of learning the steps to be creative within the bounds of the project. I agree that someone might "know" the particle system but not be creative/savy enough to use it effectively, but then again those types shouldn't be in art positions.
About knowing who to talk to and when, that is always assuming you have the tallent to back it up, you are totally right. Otherwise it will be a short talk =P
1) Being a really good FX guy DOES entail knowing 2D/3D and technical stuff also. It's all part of it. The position entails a whole gamut of disciplines. Animation, modeling, texturing all enter into creating FX. Read my list of tasks that the FX guy on our team does. Particle elements can be textured 3D models. Our FX guys are artists first and foremost. They use a particle based system of course, but they need to build 2D and 3D assets to work with it! But building character models for your reel If you decide you wanna be an FX guy?! NO! What the hells the point? I don't put FX in my reel, cos I know all I wanna do is sculpt characters! Doesn't make any sense to me spending time doing anything else, since that's my chosen area of expertise. Your argument seems to be that FX simply isn't an area of expertise in its own right yet. Well my argument and prediction is that it IS now in several bigger studios, and will be more so as we move forward into more studios developing next gen titles with bigger, more specialized teams.
2) "It might not be wise to tell some starting out........" ? I'll repeat what i said to Oxy. Advice is free and you don't have to act on it. If you're accusing me of not being wise, that may or may not be true. I'm simply discussing how I see the larger studios going based on my experience of working in the bizz in northern and southern Cali. It's just my perspective, that's all. i think that in the near future we will start to see a lot more dedicated FX positions yeah. I could be wrong. It's happened. But in this case I'm confident.
There's no real point in arguing about this! Several experienced industry professionals in this thread are prediciting the rise of the FX artist as a much needed role. You disagree, no problem!
That said, I don't particularly want to be an FX guy. Particles are fun enough, yeah, and I don't mind doing them, but it's really not what I enjoy the most and feel I'm best at... so I guess I'll just have to keep up practising high-poly modelling until I'm good enough
I am not calling you a fool, in fact I count you out among some of the more wise around here. Your track record at being the majic 8-ball is almost spot on.
I don't see how being a newbie FX guy can be a straight shot into the industry. It sounds from Daz's discription you need to be a well battle hardened 2D/3D guy before you can earn your FX stripes? How is that going to get a newbie in the door faster? Other than there just not being that much competition like Ben brought up. It sounds like just being the only guy to show up isn't going to cut it. (like always).
I don't see myself landing a job at a big studio. I don't think specializing will help my chances. I see the only way for me to get in is to start out at a small place and build up from there. I don't think I have what it takes to walk in, blow the doors off of any studio and demand a speicalist job. Personally I am well suited for the "jack of all trades" position. If thats a shrinking field then maybe its best I keep turning down industry jobs.
I also feel like a kindergardener being told to pick his major between astrophysics and nuclear engineering. How the hell an I going to know what I want to do without first doing it. Hobbiest tools and mucking around on your own will only get you so far. Without first having that under the gun, in the industry, under pressure experience you really don't know what you would want to specialize in before you get there.
What if someone specializes in something and that specailization is no longer needed due to tech or pipeline advancements? But that has always been a threat in the industry so I guess it shouldn't stop now just because "next gen" is here. This however is where showing tallent in more than one area is going to help.
So I guess we are kind of arguing the same point?
If you are in the industry and have experience like yourself, it might be good to specialize. It should make you more of a hot commodity.
If you are outside it might be wise to show you have tallent in more than one area. In hopes that you might apply for one job and land something else.
Scott
a job here by doing that.
Not that I'm saying here is where you should be trying to get to, I'm just presenting an example of what points both Daz and myself are trying to make lead to.
Also, from where I am, I have a clear enough view of whats ahead that I can safely say that what we are talking about in terms of new job types... is not
going to change anytime soon, this technology is how its going to be for a long time, its just going to get fancier with more polys.
Also, its very worthwhile to start messing with the UE3 tech because of some key reasons.
1. ID's toolset has always been weak and unsupported, Carmack has made it clear on every occasions (except his last speech) that they 'don't' do tools.
2. The other main rival to our tech might have been Middleware in the past, but once EA bought that, then pulled the plug on support for it, noones going to use that either.
3. In case you haven't been keeping up (well you dont need to) with the Epic Engine news the last year or so, everyone is buying our tech, we are the official Sony Middleware provider.
I could go on, but our tech is here to stay and a worthwhile tech for anyone reading this thread to start learning about custom material systems or shaders or particles or other such stuff.
r.
I don't see how being a newbie FX guy can be a straight shot into the industry. It sounds from Daz's discription you need to be a well battle hardened 2D/3D guy before you can earn your FX stripes? How is that going to get a newbie in the door faster? Other than there just not being that much competition like Ben brought up. It sounds like just being the only guy to show up isn't going to cut it. (like always).
Hobbiest tools and mucking around on your own will only get you so far.
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The best dedicated VFX guy in our studio has a background in printing. Personally I have no formal training in computer graphics, 3D modeling nor any aspects of making video games. Although I do have a traditional Art background, It was from tinkering around as a hobbiest that I got in.
I cant answer all your questions Vig, but I do understand your frustrations. This industry is a strange beast. Sometimes it seems incredibly hard to break in, yet every day I see people who have no business being here.
A kickass portfolio in whatever is a pretty sound start, then comes the networking.
hmmmmm.
I'm first a coder and seen more that a few of these types of job openings. This may be a good route for persons like me that are 'ok' in everything yet master of none.
FX artists will have to play a big catch-up to match the quality of the other art. Even in that U3 vid the effects were on par with the old tech while the models/env. was light years ahead.
Did anyone notice the paper and trash swirling around in the MGS4 vid?
I base my recomendation to "major" in Evniro/char modeling, and "minor" in FX design, based on the job listings. When I see more FX positions posted than enviro/char positions then I will gladly conceed that FX is the fast track.
I mostly say that because I just don't see any place for an FX only guy to apply, where are the listings?
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From our website http://www.ironlore.com:
Particle/Visual Effects Artist
Summary
Responsible for design, creation and implementation of amazing special effects.
Responsibilities
* Create particle effects that simulate explosions, smoke, fire, steam, fog, flowing water, etc.
* Create organic/fantasy magic effects that combine particles and 3D mesh animations.
* Create concept art, story boards and written descriptions
* Work closely with effects system programmers
* Work in a dynamic team environment where individual effort is critical to a successful project.
Requirements
* Applicable BA/BFA in Art related field (Computer Animation, 3D modeling, Film/Video) and/or a minimum 4 years creating realistic and fantastical special effects for video games.
* Strong traditional art/animation skills.
* Expert-level skills in Photoshop or Painter
* Expert-level skills in 3D graphics, particle system, dynamic, shaders, etc
* Excellent working knowledge of game development tools (3D Studio Max, Maya)
* Ability to quickly master proprietary tools and development processes
* Excellent communication, interpersonal and organization skills
* Strong work ethic, self-direction, and artistic vision.
Now before people start bellyaching about job postings that have experience and education listed, most of that stuff is usually BS filler in order to insure only serious inquiries. Often, requirements are actually listed to discourage people from submitting. I have never seen someone get turned down if they can demonstrate quality competent work. Good art comes first, bullet points on your resume come second. Now with that said, those things do start coming more important as you start looking for higher positions (Sr. artist for example). Hell, dont even wait for a company to post an open position. Send in your work anyway. Chances are if youre good they will find a spot for you or will put your portfolio/resume on file for when a position does come open. Its your life. Take control of it. If your goal is to work on games then by all means look for the best angle to get in (like fx or environment art). Once youre in then think about what it would take for you to get to the next area youd like to be.
- BoBo
:::| FX ARTIST |:::
Do you have experience with particle editing in a 3D package or in a 3D engine? Are you ready to bring that ability to execute outstanding FX to our game? Strong sense of dramatic FX and understanding of how to recreate them in a particle editor required. Ability to create all art needed for the FX. Abilities in a secondary area such as modeling, skinning, animation, or lighting. Must have texturing skills.
Qualifications:
reel showing previously executed Particle FX work
ability to bring dramatic Effects to life with flair
desire and knowledge of how to push our effects and editing tools further
game industry experience a plus
Preference to applicants with:
shipped-title experience
experience working within console memory limitations
familiarity with Unreal technology art pipeline
http://www.epicgames.com/epic_jobs.html
I bet theres lots of other sites springing up asking for the same.
r.
Course, being a bona fide genuius I managed, but not everywhere is lucky to have a me working there.
Anyway, the point is that many places work in this way, and you get shoddy particles. A place I know just employed 2 fulltime particle guys, both of whom are stunning artists in other disciplines.
I did have a higher grade at maths than all of them, too.
Did technical artist for a year with Criterion.
Now I am lead.
You know what, he's right. We're way behind DVD HUD's interactive qualities in general.
[/ QUOTE ]
Mr. President, weeeeeee, cannot allowwwwwww, a HUD gap!
Frank the Avenger
"those are two postings from two top studios, out of 100+ industry listings I have looked over in the last 3 months those are the first two to mention FX positions."
I'm sure it's a tend of things to come and Bobo, Daz and Ror are spot on. I have no reason to think otherwise. I know I will be brushing up on my FX know how. I'm sure the burning need for FX guys is just starting to hit the HR dept's and they will be posting more FX spots as the months/days go on. But again I have to say "speaking as a newblet" the smart money apears to be on showing tallent in 2-3 key areas not just one.
For me showing tallent in more than one area can back up an interview claim of "I can do anything you need me to do its just a matter of telling me what you need done". Much more than showing strong skills in only one area. It's worked for me two times now but I turned them both down, for health and money reasons. If I was out of work I would have taken them. I feel like I have a formula that works for me and adding some FX know how might help that, but I'm not going to scrap all my stuff and push for an FX position. I'll think about adding FX to my bag of tricks sure, this thread has shown me that much.
And this was served me very well. At more than one company, I've been hired or interviewed to do one thing and then ended up doing something else once I got into production. And I was kept longer than many of my coworkers at one company that laid everyone off after the game finished, and at another where the game got cancelled. Many of these other coworkers had been there longer, but I was a valuable asset because I could fill multiple positions.
And like Daz has said, FX artists need to wear many hats. Personally, I kind of lump FX, Technical, and Cinematic artists under the same umbrella of a guy that can step in wherever needed and be productive. He may not be as good or as fast as someone who specializes, but he can be counted on to deliver the goods when required.
In my six months or so at GPG, I've modeled and textured high poly characters and environments, created special effects, made maxScript tools to aid in rigging, modeling, and rendering; and lit, rendered and composited most of our Dungeon Siege 2 cinematics. A big reason that I was hired was because I have such a varied skill set. They knew they needed someone, but didn't have one specific position to fill.
So my long meandering point is, whether to generalize or specialize is kind of a personal choice. A person's personality and priorities will usually dictate which path he goes down. And I believe both are valid and necessary in any company.