Confusion about Environments in Film and Video Game Industry?

#1

Hi, everyone, I know the topic above is a bit broad so let me elaborate. I have been looking at becoming an environmental artist or 3d modeler, however, all my research and looking has left me with a few questions on those two fields.

My first question is that I have seen a lot more environmental artist jobs for game studios than I have 3d modelers for film. Is there just a different title for film? Are there not as many jobs doing 3d modeling and environment work for film or is it called something else entirely?

My second question is for environment creation in film what would be the best way of going about creating those environments? by that I mean how does the process differ from say doing environments for video games?

My final question is how on earth do you even get started? I’ve seen so many things on how to do environments for video games, but almost nothing for how to do so for film. Should I just work on a bunch of high detail models and work to be a 3d modeler or is there something else I need to be doing and focusing on.

Thank you for reading all my questions and I can’t wait to hopefully have some of them answered and a lot of the confusion cleared up. Thank you again and have a great rest of your day!

#2

There diffrent kinds of Environment Artists.
Are we talking about an Artist that does modeling work of the assets and terrain or someone that does only place premade Assets. Cause in some pipelines the Env artists dont model/texture at all.

#3

For film a lot of ‘Environments’ are handled with Digital Matte Paintings. And usually only have to work for one camera and one shot. Then all assembled in comp. The exceptions are rare like for say an all digital world like Tron for example. But these matte painting can be quite complex and detailed so stilll a lot of work.
For example you are often asked to ‘extend sets’ so blend virtual set expansion with stuff that was filmed on location making it more ‘epic’ or changing some details, even getting rid of modern buildings say in a period film, and so on.

You need more ‘Environment’ or Layout work in feature animation too where you might have an entire sequence or multiple sequences in the same ‘set’ . So maybe ‘more’ like games but not as limited for real time.

Games Environments are immersive-so basically a map the a character can walk through at the will of the player optimization for real time via LOD , etc is still s ‘thing’. Amount of textures too are a thing. And so on. And unlike the two above the notion of compositing isn’t really a factor…

So different rules apply to all three and crossing over isn’t plug and play.

#4

So then for the VFX pipeline would it be the 3D Modeler who does all the 3D assets for a shot. Which then the Digital Matte Painter uses to help make the shot, which is then assembled in comp?

Is there any mixture between Matte Painters and 3D Modelers? What I mean by that is, is it beneficial to know how to do both or for the most part are you going to be doing just your specific role as a Matte Painter or as a 3D Modeler?

Another question I have that might sound dumb is that for a lot of these positions would you say there are more Matte Painter jobs or 3D Modeler jobs for film?

Thank you guys again for all the help and replies they are helping fill me in on a lot that I did not know previously!

#5

Usually Matte painters need to be able to do their own 3d or the workflow is too disconnected.
They might get handed some scan data to utilize sometimes but they would likely do all their own finalling for context.

#6

Gnomon has some MP stuff.
https://www.thegnomonworkshop.com/tutorials/camera-projection-techniques-in-maya

#7

There is one great talk from tippet about there terrain pipeline.

#8

Here an other one from WhiskyTree.

#9

And do a search for speed level desing unreal.
There are tons of videos.

#10

I am an environment artist for film. The breakdown of responsibilities differs per studio.

Environment pipelines in VFX are trending towards an amalgamation of the matte painter and the 3d generalist, into the Environment TD. The reason being that more and more shots are possible in full 3d (see Lion King), so its beneficial to have the matte painters and 3d artists all in the same room.

MPC, ILM, DNEG, and Digital Domain use this method and essentially the environment artist would have 2-3 main strengths, but have a good grasp of modeling, texturing, lookdev, lighting, layout, rendering, and matte painting. I have worked with some senior artists who can do the entire shot themselves up until comp.

From my own experience, artists with lookdev, lighting, and matte painting experience have an inside track on these positions. I came at it from modeling and texturing, but had to add other skills until I was consistently able to land environment gigs.

Modeling and texturing are valuable skills, but its more centered around terrains, architecture, foliage, set dressing and organic sculpting (cliffs, rocks, bark, grounds etc etc). Procedural texturing is super important. Being able to quickly texture large sections of terrain, cities , foliage etc etc. So if hero assets are your thing, then you might want to reconsider.

Environment work for film can be very creative, often you are given very little concept art and are expected figure a lot out for yourself. You need to have a good understanding of composition to ensure your shot looks good for the entire camera move. It has given me a whole new respect for layout artists. If your more technically minded there is a place for you too as often there is a need to automate certain tasks through scripting.

You need to be motivated by the big picture. You are not going to noodle on one model for months and months. Its all about team work and seeing everyone’s contribution come together at the end to form an epic environment. Or you are a ninja and able to do a smaller shot entirely on your own.

Oh and you need to learn lots of software:
maya, or houdini, or max,
mari,
substance tools,
worldmachine, or terragen,
katana, or clarisse,
and nuke.

Hope this helps!

#11

Wow, you guys have helped so much this clears up so much confusion. I honestly never knew that film worked this way and I am more intrigued now than ever.

Thank you for all your responses and help with all of my questions. You all have helped me know more now the direction I need to head and work towards in order to be an environment artist for film. I really appreciate all the help and guidance.

Thank you, everyone!