“I’m expected to ask questions and make mistakes. “Being able to speak up, express yourself, and listen to other people is crucial in this industry,” says Kris. She’s also quickly learned how much communication and teamwork are required in the video game industry, especially when working from home. With the level of detail in each environment, it can be easy to miss something that needs to be addressed by her or her team, so this tactic helps keep Kris on track. Then once she’s finished with it, she’ll put a tick mark on it. One helpful trick she’s learned is to lay out all of the notes and pictures of the task. “It’s about following the schedule and making sure everything works.” “It’s not about ‘try your best’ or ‘create the best art ever’,” says Kris. Time management is essential for artists on her team, and finishing tasks on time is the base standard for success. So what’s a typical day like for a new environment artist working on the Diablo IV team? According to Kris Yu, her general routine begins with signing into the system, syncing the game development engine, and then starting work on the environment tasked to her. Kris Yu – Associate Environment Artist, Blizzard Entertainment If you are interested in transferable skills, potential gaps, and the day-to-days of different 3D positions, this one's for you. Recently, we talked with a few 3D artists about how they are handling the transition from school to new jobs in game development, VFX, and immersive media. Do you have the right skills? Is the technology you've studied going to have any use in the job you land? It's enough to keep you awake at night. We all know how daunting it feels to go from school to the workplace, regardless of what field you're in.
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