Breaking into the Games Industry - Poll/Survey
Hello, Polycount!
I come to you as a humble student, currently working myself through the last year of my animation bachelor with vigour and high spirits, and trying to get and understanding of the intriguing, myth-enshrouded realm that is the games industry, and my future in it.
As part of one of my modules, and for my own personal gain, I am researching my options after graduation on how to maximize my chances of getting work.
As a student, I face the common, and difficult challenge that I have no work experience, in an industry where work experience is, in most cases, an absolute requirement. Fortunately, there are some ways in which fresh meat like myself can get a chance, like mods and competitions, and social networking.
What I hope to discover with this poll is what sort of experience employers, and possible co-workers value the highest of the different paths and options I know of, when work experience is not on the menu.
I have also included a little survey at the end of this post that I encourage anyone and everyone who works in the industry to fill out, if only in part, and if they feel they have time!
With this survey I hope to get an impression of how different people from different types of companies got their first break. I also want to get an impression of how valuable for me it would be to go on to take a Masters (in games art) after my Bachelor, as opposed to just working on my portfolio 'til I get my break. I know it helps with getting work in more countries, but maybe a Bachelor is sufficient is the portfolio is good?
I don't expect anyone to answer this if they don't feel they have the time, and I encourage people to only fill out the questions they want to. Any answers at all is of great value to my research! Random comments/opinions on subject are also appreciated.
Now, there has been written books, articles, and lengthy discussions on this subject before, and it is all very valuable, and goes a long way to answer my questions. What I want to do with this poll/survey, however, is to get the opinions of polycount as a community of professionals from a broad range of companies, from industry behemoths to freelancers and indy companies.
I will present my research in class, but I will also be writing an article about how it is to look out at the games industry as a student looking to start a career in games art. I hope that this research will be of value and interest to both people who are in my position, and the employers and educational institutions we hope to be a part of.
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Survey:
Where do you work?
What is your position?
Do you have a degree?
If so, what is it?
Does your workplace require a degree for new positions?
How did you get your foot in the door?
Do you think this is still a viable method of getting a job in games?
Any tips?
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Please be aware that I might quote your answers in my article, in which case I will notify you. If you don't want your answers included in my research, please say so.
Also, I hope I'm not out of bounds with posting this here. I know I'm but a student, and a new face in this forum, but I know from researching this subject that it is of interest to a great many people, and though there is a lot of great material on it (like in the PC wiki), there is still demand for a lot more reading and research on the subject!
Again, thanks a lot for any help, advice and opinions you can give!
I come to you as a humble student, currently working myself through the last year of my animation bachelor with vigour and high spirits, and trying to get and understanding of the intriguing, myth-enshrouded realm that is the games industry, and my future in it.
As part of one of my modules, and for my own personal gain, I am researching my options after graduation on how to maximize my chances of getting work.
As a student, I face the common, and difficult challenge that I have no work experience, in an industry where work experience is, in most cases, an absolute requirement. Fortunately, there are some ways in which fresh meat like myself can get a chance, like mods and competitions, and social networking.
What I hope to discover with this poll is what sort of experience employers, and possible co-workers value the highest of the different paths and options I know of, when work experience is not on the menu.
I have also included a little survey at the end of this post that I encourage anyone and everyone who works in the industry to fill out, if only in part, and if they feel they have time!
With this survey I hope to get an impression of how different people from different types of companies got their first break. I also want to get an impression of how valuable for me it would be to go on to take a Masters (in games art) after my Bachelor, as opposed to just working on my portfolio 'til I get my break. I know it helps with getting work in more countries, but maybe a Bachelor is sufficient is the portfolio is good?
I don't expect anyone to answer this if they don't feel they have the time, and I encourage people to only fill out the questions they want to. Any answers at all is of great value to my research! Random comments/opinions on subject are also appreciated.
Now, there has been written books, articles, and lengthy discussions on this subject before, and it is all very valuable, and goes a long way to answer my questions. What I want to do with this poll/survey, however, is to get the opinions of polycount as a community of professionals from a broad range of companies, from industry behemoths to freelancers and indy companies.
I will present my research in class, but I will also be writing an article about how it is to look out at the games industry as a student looking to start a career in games art. I hope that this research will be of value and interest to both people who are in my position, and the employers and educational institutions we hope to be a part of.
---
Survey:
Where do you work?
What is your position?
Do you have a degree?
If so, what is it?
Does your workplace require a degree for new positions?
How did you get your foot in the door?
Do you think this is still a viable method of getting a job in games?
Any tips?
---
Please be aware that I might quote your answers in my article, in which case I will notify you. If you don't want your answers included in my research, please say so.
Also, I hope I'm not out of bounds with posting this here. I know I'm but a student, and a new face in this forum, but I know from researching this subject that it is of interest to a great many people, and though there is a lot of great material on it (like in the PC wiki), there is still demand for a lot more reading and research on the subject!
Again, thanks a lot for any help, advice and opinions you can give!
Replies
Runner/Tester -> maybe for non GFX positions?
Degree -> HR hiring decision makers might care - Art hiring decision makers don't, except maybe for TAs
Strong folio - HECK YEAH!
Reputation -> might tell something about how approachable someone might be or how they generally come across - but you'll eventually find out at a face-to-face interview when the folio is right.
attention to detail -> I hate shoddy work, shoddy resumes, shoddy cover letters, no quality control. If you don't care polishing what you submit, how can I expect better from the art you deliver? but often this shows in the folio anyway.
for the record, I work as lead tech artist for virtuos games and sometimes look at folios for TA positions. I have a degree (I had talent but zero zero zero clue about art when I started to study in '98. also it really helps finding work overseas ). to get into the industry...I had to make a gazillion phone calls and spend lots of postage sending out VHS reels
I could wall-of-text this topic but suffice to say, every single thing on your list will help you break in, and no one of them is more important than the other.
For example, I got my break for a variety of reasons, one of which was a reference from a guy I met at college. So while my degree didn't directly get me my break, I wouldn't have broken in without going to school and meeting that guy. You can probably flag this as "networking" these days, but the point is that you don't know which one of those will lead to a break, so do them all.
And on the flip side my experience as a game tester paid off much later in my career when it helped me land a position as a Creative Manager and eventually Producer.
AFTER the obvious 'needs to do good work', networking is huge, but I personally am interested in self motivated individuals, and people that have participated in online competitions or have done mods certainly fit the bill
1. Do your research. Keep up to date on the latest technology and practices. What companies are hiring, the projects that are in the works and the movers and shakers of the industry.
2. Network with everyone, you never know who can help you out. Always be curteous and never bad talk a game company or a game-dev. If on an interview make sure you thank everyone and treat everyone you meet as you'd hope would be done to you, including janitors, etc. Word spreads, and a bad reputation is hard to overcome. On the flip-side a good reputation of being easy to work with, fun and hardworking is invaluable. Check in with your networks every now and then, but DON'T harass them or ask for favors.
3. Be an active part of your game-dev community. Go to local meet-ups, conferences, and forums such as Polycount. Again they are a great place to network and get your work out there. You can also gain a wealth of knowledge in these locations that would otherwise be unavailable and receive critiques on your work from professionals. Be sure to talk to everyone you can at conferences and meet-ups because you never know who is who (as a side note, make sure you can hold a conversation with someone... don't be ridiculously nervous, game devs in the industry are just normal people and get weirded out when you can't hold a simple conversation.)
4. Do fantastic work. Look at what's being done by games being released today... a year from now... two years from now... now your work. If it isn't as good or better than what you just saw, you have some more work to do. Companies just aren't that willing to take in people with limited experience and train them up like they did in the 90s. You have to be ready to jump right into the pipeline and start producing and that means having a fantastic portfolio to show off your skills. At the very least a company will see what you're capable of doing and may give you a chance at an entry level position.
5. Don't ignore your traditional art skills. It's amazing how many more possibilities open up for you in this industry if you brush up on your traditional art every now and then. You don't have to focus on it, but practicing your traditional skills will often make you a better artist overall.
6. Apply to a lot of places. Don't pigeonhole yourself by only going for companies that produce AAA titles. If you have 0 experience your chances of netting a position there are probably pretty slim even if you do have an awesome portfolio. Remember there is a growing market for handhelds, iphones, etc. and those are great places to start to gain relevant experience. Just make sure you keep developing your skills on the side. (note, aim high for that big Buck but don't be so narrow sited that you miss the respectabley sized one to the right).
7. Join mod teams, indepenent devlopers etc. Experience is experience... ever realize how a ton of Valve games actually started as mods?
8. Be resilient. If you really want to do this for a living don't give up. There are plenty of people who do and they miss out on fullfilling their dream. Do you want to be looking back in 10 years and saying what if? Even if you don't find something right away and have to take something outside of this field, keep working at it. I've known people who have made the switch after working years as electricians, law clerks, plumbers and more.
9. If you get an art test... do everything in your power to make that the best thing you've ever done. If you have to go sleepless for 2 nights, miss your eye exam, and post-pone grocery shopping to finish a kick-ass piece of art for a test. Do it. Without hesitation. If you nail the art-test you'll get an interview, at which point refer to #1. Research the company, questions they'll ask you and questions you should ask.
10. Do what you love and love what you do. If you can't work 8+ hours a day on your portfolio, on projects you decided yourself... you're going down the wrong path. People in this industry are fueled by passion, and you will NEVER compete with someone who lives their craft (at least coming out of school... the person who dedicated themselves 100% to it will get the job).
Ever hear of James Benson? http://www.bensonanimations.com/
He taught himself animation in 8 months, then made it into the industry. His work has recently been seen on plenty of websites and he is only 21 years of age and already has a shipped title on his belt (fable 3).
I myself work with several people fresh out of school who are absolutley phenomenal artists, well beyond their years in skill because they eat, breathe and sleep it. These are the people you are competing with to get a job. Not to mention the X amount of people who got layed-off or had their contract expire. Competition is fierce, but remember it is a friendly community willing to lend a helping hand. If you treat her well and prove yourself you'll find success.
I'm sure I'm missing something.... oh yeah your survey.
Where do you work? 38 studios
What is your position? Environment Artist
Do you have a degree? Yes
If so, what is it? Bachelors in Computer Graphics Animation, with minors in Art and Design and Management.
Does your workplace require a degree for new positions? Some, but not all
How did you get your foot in the door? Networked at GDC by displaying my porfolio and took a few art-tests afterwords. Then did a few interviews and wallah!
Do you think this is still a viable method of getting a job in games? Absolutley.
Any tips? Uh the above. :poly124:
Edit: I just wanted to add... I gave these tips to a good friend of mine about 7 months ago. He redid his entire portfolio and is now happily employed as of a month ago. Just goes to show if you put in the hardwork and effort it does pay off.
Be patient. Sometimes, just being patient and coming up with a plan to execute is all you need. Then you execute that plan and don't look back. Believe in it, which in turn means your believing in yourself even when you have those days where you just don't. It takes time and for someone like me who struggles with being patient it's a huge help to just keep plugging along.
Survey time:
Where do You Work: Sony's Bend Games Studio
What is your position: Contract Environment Artist
Do you have a degree: Yes
If so, what is it: Bachelors in Computer Graphics Animation, minor in Art and Design
Does your workplace require a degree for new positions: Can't say, probably a mixed bag. Art maybe not, programming probably
How did I get your foot in the door: I used gamedev map and found the site for this studio (and hundreds more). Sent an email to the Production Manager (given via the website) and was offered an art test. After a phone interview I was hired.
Do you think this is still a viable method of getting a job in games: Kind of. Instead emailing HR, I emailed a staff member directly. Not all sites/studios do this.
Any Tips? Use everything you have at your disposal. Linkedin, blog, Twitter, anything to let people know you exist. If you can find a connection somewhere, why not try? What's the worst that could happen, they say no?
And Portfolio x100. And bust your balls.
I think that this poll lack a clearer vision of cause and consequence. The only reason you get a job is by making your potential employer sure that you can pull off everything he has to throw at you. And the only reliable(more or less) way of doing so is through presenting a great portfolio.
In short - you don't get a job without a great portfolio.
Everything else is just away to get your name out there, but your name's worth only as much as your art. So technically
- Mods/Online competitions (Dominance War, etc)
would end up as great portfolio pieces. If not, then then fact that it was a contest or whatever is pretty much irrelevant
- Game Testing/Runners
If you're applying for an artist position, how will your testing skills make your art better? You're just getting your name really close to the ones making hiring decisions, but hey, if they get an applicant from outside the company that is better, what incentive they have hire you?
-Degree
You can have three, but if you can't prove that you can make great art, why should anyone hire you?
Reputation/Networking (Facebook, LinkedIN, art forums, etc)
Your reputation doesn't materialize from thin air. You earn it with your art.
You can do all of those things and not get a job because your portfolio sucks, and you can do none of them and still get a job, so don't confuse your priorities.
I mean, get your name out there every way possible, but when you have something to back up this name with.
To get my first job I had to apply 3 times to the same company, do 2 art tests and write the dumbest cover letter ever, that I later found out was read out loud in the studio.) It was sorta hilarious, so people just started to plea for me to be hired.) But nevertheless if my art wasn't up to par I would never been hired. So yeah, getting noticed is nice, but after that everyone will still look at your portfolio.
With the poll, I wasn't really trying to find a single thing that was the key to success, but rather if there were one or two things that were valued higher than the others in the eyes of both potential co-workers and empaleyers.
For example, I imagine that even though a strong portfolio is the most important bit, teamwork is equally(?) important, and the only way of really showing those kind of skills with no work experience is by joining mod communities/indy games and such.
Kwramm: Do you think a Bachelor Degree will help with getting work overseas, or does it have to be a Masters? Currently, I don't feel like getting a masters next year, as I feel I learn what I need on my own, but I want to broaden my prospective jobs as much as possible!
For the record, I'm Norwegian, and I moved to the UK two months ago to finish my Degree.
vcortis: Thanks a lot! That's a very comprehensive and insightful list! I actually find it very comforting, because I find that I am willing and eager to do all those things. This topic sometimes makes me feel a bit desperate, and the future seems a bit bleak, but I'm beginning to realize that most of the stuff I need to do are things I enjoy doing, and to just keep being passionate about it.
Rurouni Strife: Thanks:) I'm actually not quite sure I'm doing what I'm supposed to for my school assignment. The module is called Studio Practice and Business, and the topic of the assignment is "How is the industry changing, and what are the implications for the future?". We can apply it to any field, and any industry. I've decided to use it as an excuse to just research what I will do next year, and make a plan for how I will get a job. As part of this though, I do need to figure out if the methods of getting work ten years ago are still viable today, and wether they will continue to be so in the future. I hope that will answer my assignment:P
I've always been under the impression that a lot of people got hired in the 90's because of modding experience, and "dabbling" with games engines, or from traditional art skills, and then getting CG training in-house. That's why I included those things in the poll.
d1ver: I see your point. I imagine an employer is mostly interested in seeing what you can do, and therefore, when no work experience is possible, portfolio might be everything that matters. But I am also curious about co-workers. If you got a new co-worker straight out of school, would you be happy with a troglodyte with an awesome portfolio, or would you value teamwork skills higher?
My thinking with the tester/runner position is that I know that at least in the film and animation industry, it is still today a viable way of getting noticed, as when people know that you are a teamplayer, a cool person, they might be more inclined to give your art work a look, and move you up if it's good. You also have the benefit of already knowing the workplace and the people in it, so you can maybe get settled in quicker? I don't know if this works in the games industry though.
Also, does anyone have any opinions on specialization? I know that bigger companies generally need specialists, and smaller companies need generalists. My plan is to specialize in character art, even though I know it is hardest to get into, because it's what I feel I have the most talent for, and I like it best. But my father was saying that I shouldn't specialize before I even have a job, as it might be better to get a generalist, or related position, and then specialize along the way.
To me, this doesn't seem to apply to the games industry. Being a generalist is a specialization in itself, as you need a great understanding of all fields, to be able to produce quality work in all of them. So I feel like I can either specialize in environments/props/characters, or I can become a generalist, in which case I also need to become a lot more proficient at rigging, lighting, and rendering.
In short, I have to learn a lot and become better anyway, so I might as well start specializing now, in what I want to do, right?
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EDIT: I want to clear up what I meant with my poll a bit more.
What experience do you value in new employees and co-workers, if previous work experience is not an option?
My thoughts behind the options are as follows:
Mods/indy games/competitions: A good portfolio is no guarantee of someones teamwork skills, so maybe a history with producing quality mods as a team, is better than a portfolio full of strong personal work?
Testers/Runners: You already know the person, and know that he's a good guy.
Degree: You know that the person is used to working to deadlines, and has gone through at least some sort of quality control. The person might also be better at evaluating and presenting their work and ideas, as it is often required in school. Might also be easier to import them from overseas.
Strong portfolio: It shows they can do the work.
Reputation: What I mean by this is wether you would prefer to work with someone you know, or someone that a co-worker has vouched for, and not just that the person has a linkedIN account.
Nowadays, at least over here in the states, with the economy still attempting to recover and so many people out of work, a really strong portfolio and shipped title experience is going hand in hand 50/50.
If your portfolio is strong, you live in the area, and have experience, you got a good shot at a position. If you don't live in the area, you most likely will get overlooked. I've had several job opportunities I was passed up on because I didn't live in the local studio area.
If you have no experience, GET SOME. Mods are good, but a shipped title is a must. Working on freelance work will help, but shipped title goes a long way. It doesn't have to be AAA, but if you can get on board with something that is pushing to be AAA, you will have a good shot at someone saying "hey, I played that game and it was pretty good!"
Shipped title proves you can make it through the last push to ship, and that is essential. Last thing a company wants is their investment (the employee; you) to crumble like an over baked cookie when the crunch becomes too much. You'd be hurting everyone, especially your team who would have to pick up the slack.
Most importantly though, portfolio. If you don't show that you can do the work, they won't hire you. If you don't show that you look to always improve your skill outside of the reams of a production artist, you might get overlooked.
If you are not pushing to be better than the rest, you won't get hired. Not nowadays anyway. The competition is too fierce.
If it's just for immigration, I wouldn't go for a masters - but if there's something you really love to study, for whatever reasons, go for it.
about teamwork - for most art positions this is pretty low on my priority list, as long as you can take direction and criticism well. Usually you work pretty much alone, then hand your stuff over to the next person int he pipeline, who continues working alone (with their headphones on all the time
Teamwork and people skills are more important in roles where you have to interact with other people and direct them (e.g. senior, team lead) or find out what they want (e.g. TA) or communicate artistic stuff to them. I remember as regular production artist there were days I didn't really have to interact with anyone if I didn't want to as long as I delivered assets...
Her Interactive
What is your position?
Lead Character Animator
Do you have a degree?
Nope
If so, what is it?
Does your workplace require a degree for new positions?
Nope
How did you get your foot in the door?
Slowly transitioned my hobby of making mods, maps and models into a job search while I worked really hard on a portfolio. I landed a job at Cave Dog making models for the second expansion to TA Kingdoms... that never shipped. I started the same week it was shut down. Because of my technical background they offered me a job in tech support, there I stayed working on my portfolio until I landed a Env Art position at HI.
Do you think this is still a viable method of getting a job in games?
Yes, its only ever about the portfolio. Unlike other industries its not about the paper qualifications saying you sat in a chair for X hrs. Its about what you create and how.
Any tips?
Never relay on school projects to get you a job, no matter what their spin is. If its the 1st or 2nd time doing something its going to suck, its the 4th or 5th model that MIGHT be good enough to show on a message board, and the 5th or 7th that MIGHT be good enough to put into a portfolio.
You wouldn't apply for an artist position with drawings you did in kindergarten, so you shouldn't expect that the first 3D model you crap out will be of any use to you other than a starting point.
Compare what you create not to your peers or think its great because the teacher rubber stamped it with an A+, but compare to what the industry will be doing 2-5 years from now not games you see now, or past releases but shoot for future title quality. That's the job they are going to hire you for, their next release, that's what you need to shoot for.
Whatever you do don't fall in love with what you're making, but view it with a critical eye and always assume there are ways you can improve.