Q: Many of our readers want to become 3D artists. What you would recommend to them? What should they do first? (Buy many tutorials, finish school of CG, choose the right software or join many competitions)
A: I’ve asked countless studios what they are looking for. Without fail, they have all said the same thing: A good attitude. You’re going to be working long hours. You’re going to be faced with crazy deadlines. You’re going to have to fight to come up with solutions to tough production problems. In an environment like that, you want to make sure that the person next to you has a positive attitude, is a good team player, and can keep their sense of humor about them. Otherwise, the workplace becomes miserable. This industry is small. If word gets out that you have a bad attitude, getting your next job is going to be tough.
Beyond attitude, you need to hone your problem solving skills. Those who are looking for a magic button to solve their production problems might as well look for a different job. I’ve used Maya, Max and LightWave. They each have their own strengths and weaknesses. Being a good problem solver allows you to work around the inherent problems in the software you are using. And that’s what makes you a valuable employee.
Lastly, develop your critical eye. The ability to look at your own work and identify what’s wrong is invaluable. Seek critiques from other artists online. Ask for honest opinions and don’t get offended when someone doesn’t like your work. Take that as an opportunity to make the work better. This is especially important for artists who want to work in the industry, as directors and producers change their minds on a regular basis. So divorce yourself from the personal investment in your work. Love the process. Be open to change. And constantly strive to develop a critical eye towards your own work.
Q: Working in the CG industry often means permanent education. Is additional education also necessary for such experienced artists like you? How this education looks like?
A: I’ve been working as a professional 3D artist for over 20 years. And yet I still feel like I’m only scratching the surface of my understanding of this field. So yes. Absolutely. Continuing education is a necessity! Twenty years ago, you could learn a single 3D package. Today, mixed pipelines are the norm. That means you have to keep up with the latest developments in a wide range of software applications, not just one. And you have to continually press yourself to develop new techniques as you work. But learning is the fun part for me (and I suspect many others).
I stay up to date the way most people do. I get the latest software releases and dive into the new features. I try to figure out where they fit into my workflow. Some tools I immediate adopt because I can see a use for them. Others I do not. On occasion, I will grab a book or video to help with the learning, but these days that’s rare. I find that I understand software better if I dive in, experience problems, then work to find resolutions on my own.
Q: Do you still remember your first model? What was it and which software did you use?
A: I don’t remember the first model, but the software was Aegis Modeler (written by Stuart Ferguson). Modeler was a dedicated 3D modeling application for the Amiga computer. You needed a separate application for animation and rendering. That was (typically) done in Aegis Videoscape (written by Allen Hastings).
Both Modeler and Videoscape were picked up by NewTek in the late 1980s and eventually released as LightWave 3D in the early ‘90s. About a decade later, Stuart and Allen (along with a large chunk of the LightWave development team) left NewTek and went on to create Modo. I’ve tried Modo, but still prefer Modeler (and have co-authored several books on LightWave). It’s one of the fastest and easiest applications out there. The level of control you have is simply amazing.
Q: What are your next plans for the future? / What are your next steps?
A: I continue to work as a freelance 3D artist in my spare time. And on occasion, I put out tutorials. I recently did a print/web tutorial for Pixologic on how to enhance your demo reel using the power of ZBrush 4.
In terms of the school, I’m continuing to refine the existing curriculum and develop new programs to better meet the needs of the 3D/VFX industry. I am dead set on building one of the most highly regarded visual effects schools in the world, so almost all of my time and energy is spent pursuing that goal. I have a grand vision of the future. It’s going to be amazing!