Entry Level
Texture Artist: As an entry-level career into the VFX industry, texture artists working in CG are responsible for creating textures and shaders which bring an otherwise grey model to a photorealistic render. Also, texture artists are responsible for creating high-resolution details onto a mesh with the use of baked maps and ‘painted’ details. Necessary requirements for texture artists are a good eye for colour, lighting, and artistic practices, as well as proficiency using the various software needed to create high-quality renders. Also required are the abilities to work as part of a pipeline for other artists in a studio.
Texture artists can work in several different capacities, working as a freelancer, or in a VFX company. The amount of workload in a studio environment can vary depending on the size of the team. As a texture artist, it’s also beneficial to have modelling and lighting skills when developing assets for a studio, as some smaller studios may combine the roles of modelling and texturing into one, effectively doubling the required skillset.
After gaining a general understanding of working with 3D and the workflows involved in each specialization, I found myself most drawn towards a specialist role in texturing and lighting. My reasoning being that I find most scenes can be infinitely changed by even the most subtle of differences in tones and shading, and by developing a specialists eye for colour grading and correction, this area of visual effects intrigues me the most. Another aspect for my desired specialism is due to my knowledge of using 3D software such as Maya, Zbrush, and the Substance suite, which almost naturally drew me towards this specialist pathway.
Environment Artist: Another entry-level career in the VFX industry, environment artists are tasked with creating high-quality landscapes and complex terrain. Generally, environment artists work closely with 3D modellers, texture artists, and concept artists to create what the client desires. An environment artist may create many different types of environments, from war-torn cities to sprawling lunar landscapes, and everything in between. Key attributes to developing believable environments are a knowledge of architectural design, an eye for space and lighting, a keen sense for layout and structural design, and an artistic point of view.
Similarly to other entry-level VFX careers, an environment artist can work as an aspiring freelancer, or a role in a VFX studio’s pipeline. In a studio environment however, the artist must keep in mind their role, as the 3D modelling and texture artists must be able to perform their jobs without running into issues with the landscape, and the artist should be able to resolve such issues in the pipeline. As is the case with texture artists in small studios, an environment artist may also be tasked with texturing and 3D asset development as a whole, so an expanded skillset can be extremely beneficial.
My reasons for researching a specialist role in environmental design are due to my previous works with creating post-apocalyptic and horror scenes, an interest in hard surface modelling and panel design, and a strong interest in creating photorealistic assets and believable environmental spaces. To this effect I have a fairly strong understanding of the environment creation tools in Unreal Engine, as well as creating landscape materials and tilable textures in several 3D software kits, as well as a general kowledge for kitbashing assets.
Senior Level
VFX Artist for Games: As a VFX artist working in the game industry, this role require extensive knowledge of project composition, lighting and colour-grading, particle simulations, real-world effects of weather and atmosphere, and a strong eye for bringing these elements together in a strong and cohesive display. VFX artists are often said to be responsible for bridging the gap between the technical aspects and visual elements of any composition. In game development, a further requirement for successful production are a sense of polycounts, texture lookups, and other potential hurdles and limitations when coming to sucessful deployment of a finished product. This ensures that the computing requirements for any delivered product can be matched by consumer hardware, making the final piece readily available to the gaming market.
As are the entry level roles, the ability to work within a team in a pipeline of development is crucial, as well as fulfilling what the client may require towards a deadline. Other requirements are the abilities to keep to schedule and working to a established budget, minimizing costs. Also necessary for this role is the ability to keep up-to-date with the latest software packages and learning how to employ new advances in industry pipelines.
VFX artists in the field of game development tend to work within a studio, especially in senior-level CG roles where a knowledge for each area of design is key in bringing the composition together. This may require working with several different branches of a production studio, as VFX artists typically work closely with concept artists, 3D modellers and texture artists, environment artists, and level creators.
With a strong sense of each role and they’re contributions to any given project, VFX artists should be able to communicate clearly in a team, and have an understanding of the limitations of each role, and the capability of each software package being used in a pipeline. Freelancing as an entry-level VFX artist may be more typical, but in a senior level compositing role the opportunity to develop ones career in an established VFX studio may prove more beneficial than freelance work, and can net a strong list of industry contacts.
My reasons for aspiring to this role are due to a long history of gaming, a habit of researching game content and behind the scenes development diaries, and keeping as up-to-date as possible on the latest developments of game creation tools such as Leadwerks, Unreal Engine, and 3D creation software. Having been engrossed in the technology of games’ such as Doom, Quake, and Unreal Tournament in early 90’s and 2000’s PC gaming, as well as modding for later 3D engines running games such as CounterStrike: Source, working with games has always been my primary focus when entering this field. The tools for successful development have only become more accessible since computing capability has exponentially grown since early game production, and the requirements of knowledge have also increased alongside these developments. Understancing the creative and technical process behind several art styles and elements of gameplay design are workflows which I aim to be successful at, as well as working cohesively within a studio of capable artists.