[Zephyros]

I'm new here and don't do alot of 2d stuff, my main interest is in 3d modeling, I know Dhabih is thinking about starting a new forum for this. My question is for some of you guys in the biz that work with both sides of it (conceptual to 3d output). I've seen some awesome stuff here, great work guys/gals! But, what do they in the industry wanna see (for a 3d artist)? Conceptual scetches and a 3d work (of course)? I guess what I'm saying aren't they sick of reels and reels of super heros? What do they wanna see?? (cough,cough Loki's other dudes?)

[synj]

I think the question which would suit you more is what DON'T they want to see. I know quite a few people who were/are the person that would reject or accept the people applying.

They don't want to see something they've seen all day long. No spaceships, no UFOs, no reused ideas. If you're speaking of animation, they want to see reactions, balance, timing. If you're speaking of modelling, they want to see modelled objects that they don't see ALL freakin day - futuristic shiney bs, rolling cubes. Don't get me wrong though, they do appreciate the basics and knowing that you have a well rounded art background is good. but don't make it the center.

The key to presenting this is the order. Of course they'll still want to know you can model humans or whatnot, but don't emphasize it in your piece. Start the reel or presentation with your 2nd favorite, and end it with your 1st favorite so it can linger in their heads. Most of the interviewers I have spoken with remember the start and finish the most.

I instruct 3D now, and I work with rockwell automation through contract. I can definately say these tactics have indeed worked.

Hope that helps,


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-synj
http://www.synj.net
Ridiculously good stuff.

[Zephyros]

Thanks for your insight, my thoughts exactly. Now were's the script?

Jesse

[synj]

Shake their hand first and you're likely to win. Confidence!

[Zephyros]

Not even a storyboard???, You got it donka.

[synj]

Storyboards, of course. Well, depends where you are applying at really. You sound like you don't need any advice to me I think you'll do just fine. One last thing you might not have taken into consideration.. try to add a bit of humor in a piece - they'll remember that for sure!

[Zephyros]

ha! thats good.

[Loki]

Synj - I beg to differ:

When a spaceship looks really good and shows the artists potential we'd be stupid not to take him/her. And spaceships are being done quite a lot ...
Everything that shows that the person has the talent they're looking for applies IMHO. To reject someone because you just don't like spaceships is very shortsighted - you wouldn't want to work for a person/company like that anyway (except it's a company that exclusively does hmm doughboy commercials, or whatever).
It's about production experience, talent and developeable potential ...

Take the pieces you like best and give it a try! Photorealism always work - no matter what subject (no "Oh, I'll do a photoreal darkroom with the door closed!" comments please )

[Zephyros]

Never though of that, a photorealistic darkroom when taking the film out. Hmm, seen the aftermath of the film, but never the result of having the door half open and the reaction. I can relate it sound, it sounds somthing like this, "Oh,Shit,Dammit!!". That sux. Off the subject but, both of you have great points, I love that the industry still embraces the "developmental potiontional of starting artists". (and starving ) thanks.

[Zephyros]

BTW, I understand your analogy Loki.

[synj]

Loki, point taken. I was exagurating(sp?) to give a better view of what I was tryin to say. If they are well modelled, of course. But as far as the subject matter goes that is rather run of the mill.

Still, I believe choosing a better subject than spaceships and big monsters eating the city might be best left alone unless there's something rather unique to the artist's particular approach.

[movietd]

I'm a 3d person myself who's just started to dabble in with digital paint. My current job is procedural shading and texturing (so I don't actually paint texture maps, we have real artists for that).

Having had to watch demo reels for an afternoon at Siggraph, I can tell you my personal guidelines for demo reels.

Disclaimer: This is just my opinion!

1. Put your best stuff first.
First impressions are important. If the first shot is mediocre or bad, you run the risk of having your tape ejected right there. Companies get lots of submissions, and lots of times there's an initial weeding out process before your tape goes to the next level where it receives more and better informed scrutiny.

2. Keep it short
2 to 3 minutes. Have mercy on the poor soul who has to sit and watch tapes for hours. It may sound strange, but even 5 minutes can seem long when you're reviewing tapes.

3. Focus your material on the position you're applying for.
If you're applying for a modeling position, show models and lots of them. It's kind of pointless if you end up showing how well you can composite. I'm not saying you'd do that, but I thought I'd say it because it happened on one of the tapes that I reviewed.

If you aren't good at lighting or texturing, it's almost better to stick with a really basic setup than to try something that could actually detract from your presentation. If you aren't an animator, then stick with a simple turntable animation and maybe some detail shots of your model.

Of course, if you're trying to present yourself as someone who can do it all, then of course you should put it all in there!

4. Don't waste time on elaborate packaging.
The contents of the reel are more important than the box it comes in. I once watched a reel that came in a fancy snap case with a 4-color glossy cover. But the reel was very amateurish. They would have done better spending their time on improving their 3d skills.

That's it in a nutshell. I could probably ramble on a lot more about reels.

Just so you're aware, at bigger studios the concept artists and the 3d artists are usually not the same group of people. In other words, you don't usually get to build your own designs. You either design or you build. Maybe at smaller studios or game studios it's different, but I'm not sure.

Mike

[Francis]

I'm a conceptual designer at Presto Studios, a medium sized game company. As movietd said, design and modelling at our company are done by different people, although there is some overlap. The reels that have gotten our attention are those that show technical ability as well as an "eye" for art and design. I guess that's a little vague, but basically regardless of what the subject matter is, the execution is what gets noticed.
My two cents.
Francis

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