We proudly announce a release of our new series of articles and interviews about the CG industry. This way we show you background of this industry with people and companies that are essential for it. Whole series start with an interview with the Executive Director of The DAVE School and renowned 3D Artist, Steve Warner. In this interview he uncovers what makes the biggest progress in the CG industry according to him or what we can expected in the future and many others interesting information. We would like to thank again Steve for his time on this interview and for more information about DAVE School visit their website: DAVE School
Q: You are the executive director of one of the best CG school. How does one become a director of a prestigious school like DAVE school? How long you are the leading person/you stay in front of DAVE school?
A: I came to the DAVE School in late 2008 to work as the 3D Modeling instructor. About a year in, the founder of the school, Jeff Scheetz, sold the school. He stayed on for a year during the transition of ownership, and then left in October of 2010. Jeff knew that I have a strong background in both 3D and education (having authored books, written magazine articles and created training videos to help aspiring artists), so he recommended me as his replacement. Based on his recommendation, I was able to land the job. I’ve been in the role for about a year now. In that time, I’ve revamped the school’s curriculum, redesigned the school’s website, launched an international ad campaign to boost awareness, and established strategic alliances with studios and organizations like the Visual Effects Society.
Q: What inspires you by your work?
A: I don’t really consider myself to be a fine artist – I’m a commercial artist – so my work tends to reflect the Art Director’s needs more than my personal preference. That said, my background in advertising probably has the biggest influence on my work. I tend to view everything from a product presentation standpoint. That’s different than many artists (especially comic or film artists) who tend to think in terms of scenes and stories. I’m constantly thinking about how the final work is being presented and what it’s communicating.
Q: You have a lot of experience from the world of CG. Where do you see the biggest difference between the CG industry when you started and now?
A: That’s a good question. I created my first computer animation in 1980 and my first videogame in 1981. The graphics were primitive by today’s standards, so one of the largest changes I’ve seen is the quality of computer graphics as a whole. Another major change has been the democratization of graphics hardware and software. I distinctly remember when a high-end graphics “workstation” referred to a $250,000 machine. Now it refers to a $2,500 machine. Similarly, software like Wavefront was only available on expensive workstations. Now, you can put a full featured program like Blender on your laptop for free. The industry has changed as well. Twenty years ago, artists did almost everything “in camera.” Today, everything comes out in passes and is assembled in a dedicated compositing program. And of course, the expectations have changed as well.
If I had to narrow it down to one thing, I’d say the expectations have changed the most. In 1993, the dinosaurs in Jurassic Park awed audiences around the world. It took roughly 3 years to make that film. Now, people expect that same level of quality in episodic television shows. Producers and directors and even the audience themselves are no longer dazzled by the mere presence of computer graphics. They expect it. And they expect it on shorter deadlines and lower budgets.
Q: And what is the biggest difference you see in styles and techniques of modeling and animation? In what you see the biggest progress?
A: In terms of modeling, ZBrush completely changed the industry. ZBrush’s “organic” modeling capabilities changed the entire look of 3D models and it made modeling fun. ZBrush allowed traditional artists to leap into the digital environment. And it freed us from the polygonal boundaries of traditional programs like Maya, Max and LightWave.
In terms of animation, not much has changed because the fundamental principles of animation set forth by the original Disney animators haven’t changed. The tools are a bit different, but the techniques for giving life to an inanimate object are largely the same.
There have been a lot of improvement lately in the area of rigging and motion capture. A site like Mixamo.com and its ability to auto-rig a character is mind blowing. I also think the Microsoft Kinect has the potential to change the way low-budget motion capture is done.
Q: Growing number of 3D movies and 3D effects also increase the demand for 3D artists. What can we expect in the closest future?
A: The demand for 3D and VFX is greater than ever. Unfortunately, the deadlines and budgets are not keeping pace with demand. And so we’re seeing a lot of jobs in the U.S. go overseas. While I fully embrace the open market, outsourcing jobs to India and China does not solve the core problem – namely that of expectations. Moreover, it has spread the problem to other countries. (Those who want a better understanding of the issues can read the Visual Effects Society’s open letter to the entertainment industry at http://www.visualeffectssociety.com/system/files/15/files/open-letter-vfx-industry-may-2011-final.pdf )
While the demand for 3D is increasing, the market is actually shrinking. The global economy has weakened and many long-time animation and VFX studios have closed their doors. It’s harder these days to get a job as a 3D artist. That’s not to say the jobs aren’t out there. But the market is more competitive. Artists wanting to find work in the entertainment industry these days require more than just skills.
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!