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Sigma last won the day on December 31 2020

Sigma had the most liked content!

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About Sigma

  • Birthday February 25

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  1. I know I am no longer active here, but I just wanted to report in that I have accepted my first full time position with Lost Boys Interactive as a VFX Artist. So even if you're struggling and its been years, know that it can still happen when you least expect it.
  2. A beam effect I worked on for https://revenantsgame.com/. Just moved so still unpacking boxes before I get back into my work with them.
  3. Beautiful renders there, @Vorontsov . Testing out a new software (EmberGen by JangaFX) below. Just the initial 20 minutes result.
  4. After working on my cave scene so much, I decided a few months ago to parry away from environment art permanently, and instead have chosen the VFX route. Below are a couple I have worked through. I am on the fast track for learning Houdini as well.
  5. Hey Pau, I agree with Mike that there seems to be a little bit of confusion between your stated role (Environment/Props) and your reel and portfolio. Why is there a character head if you're doing props and environments? If you do not need movement to show the nature of your work then stick with still shots. Recruiters and managers do not have time to watch unless they are specifically looking at motion (animation/vfx). They're literally going to do a "has chair, has table, good material definition, has talent" type of check. So I would start there. The second thing I would mention, and you have gotten much better, is to really spend some time on environments and/or props. Give them a lot of character. Go back in and really define a prop's story or the environment. Environmental storytelling is key and it takes a lot to get right. Look at some of the twitter threads by Ryan Benno (Insomniac Games) as he covers this in detail and really pushes for it, particularly with juniors. Right now, I see basics in your full environments, but not storytelling. Same with the props. Go back in and really refine where the rust shows on that airship and how large it is, etc. On this note as well, remove your weakest works from your portfolio. The bomb, futuristic pistol, and ShogunX (not the photogrammetry one, although remove the character face). My last note, remove the "(training)" from everything. You are a Environment Artist. Period. I hope that helps.
  6. It's both clunkier and also less clunky due to the modifier stack. Regardless, looks like you have a good start there. Depending on how detailed you want to get, you could probably get away with a lot of it just showing as texture work using tiling textures. Also, FFD (or lattice deformer in Maya) is an awesome tool. I use it all the time.
  7. Took a break from the bridge and hopped back onto the vfx work for this scene. Made a new, smaller scene so that I can work, refine, and compare versions of the effects (namely the waterfalls with light shafts and mist and fire work).
  8. I think you'd be surprised how difficult it is to get everyone on board. Bare in mind that City Management is not just "do we pay police officers, firefighters, or clean the water", it's very much "where do we build that park, if so who is impacted directly, indirectly, who pays, what amenities do we provide as part of that park, is part of it rental or not, do we have partners helping to pay for it, etc. . ." (I'm using a park as an easy example) and you need community and stakeholder buy-ins (local residents, non-residents, neighborhoods that may compete with each other for attention and/or visions of the City's future, businesses, other impacted local governments, and more) and a strong vision for the future to succeed. I view it as being very similar in nature - competing visions and interests with limited resources - and it takes a strong individual or group that are willing to assert leadership and their vision (while being receptive to alterations) to succeed. The timelines for work are not necessarily dissimilar either (it can take literal years to fully build out a project). Cutting through bullshit is a major part of it. City management had to grow up a long time ago in terms of approach to long-term projects and long-term success, which any business wants; I think there are a great many lessons that could be imparted on the video games industry in terms of management and approach from other industries, and a reluctance to look at other industries is detrimental to the effectiveness of those leaders and their organizations. Btw, I completely agree that the drive to reach financial sustainability and solvency is more important than hitting that "awesome big company" gig, particularly given how high demand the industry is and will increasingly become for the foreseeable future.
  9. @Castle: This is what concerns me the most about approaching the industry to join it and it is something I have been trying to argue against for the last year. I come from the land of City Management as a professional; we have literal lives on the line when we make decisions so it disturbs me when leaders are ineffective and/or incapable of decision making. It helps that we have a very well understood organization hierarchy and that decisions are made early and often (reassessed depending on changing environment). It drives me nuts hearing about decision paralysis so deep into a project as being prevalent throughout the industry. It is why I have become a strict adherent to a mantra of "under promise and over deliver." I hope one day I get to bring my professional expertise on organization management to a video games company. As for the burnout and lack of information concerning mass layoffs (and by extension project release dates) I created videogamelayoffs.com (don't look if you are touchy about the subject). Hopefully that becomes a helpful point in tracking the relationship between hits, the general economic outlook on sales, and layoffs/burnouts.
  10. When splines break causing your bridge to break. :/
  11. Hi gang. Last year I started putting together my own personal wiki due to finding others lacking in areas (such as dead links or out of date information). After a couple of migrations and a lot of additions and edits, I made it available publicly in November. Since then I have continued working on it. I don't know if anyone here will find it useful as I am not treading any new ground - but thought I would share it. It covers a wide range of topics centered around 3D art for games. It is a work in progress so there are areas that are clearly lacking (e.g., the Unity section). Please let me know what you think. Thanks! - John
  12. Finished up this pistol as far as I want to take it. There is more that could be done, but considering it was only ever intended to be a 3rd person piece that would barely be seen with detail, I'm happy. Artstation for full
  13. I read up on this level's creation last year. It was not as difficult as you might think. It basically boiled down to creating two (mirrored essentially) levels that were consistently offset from one another. The time travel mechanic merely offsets the player, maintaining orientation and velocity, between the two play areas. The scripting may have been a little more complex, but because so much of it is triggered through proximity, I doubt it was horrendous. This is one of those levels that will always be memorable to me, and I hope to create an awesome experience using it as inspiration at some point.
  14. I keep trying to come up with an answer @blackdog, all I can think of is "The Big Lebowski". But that just doesn't seem right....
  15. Working on a fully working (with internals) 1847 Colt paddington style revolver. Currently going through and fixing the major areas where mistakes were made before moving onto all the internals (which are far easier... mostly screws/springs). Booleans are my friend! :
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