December 3, 2024 • 8 mins
This podcast explores the advantages and disadvantages of working as a 3D artist in either a large or small game or film studio. It contrasts the benefits of large studios, including stability, advanced technology, and collaboration opportunities, with their potential drawbacks like limited creative freedom, rigid structures, and intense competition. Conversely, the text highlights the creative freedom, close-knit teams, and direct impact offered by smaller studios while acknowledging their potential shortcomings in terms of limited resources, stability, and career advancement opportunities. Ultimately, the text suggests that the best choice depends on an individual's priorities and career aspirations.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Okay, so you want to be a 3D artist, huh?
(00:02):
Well, congrats on picking an awesome career path.
But let's be real, one of the first big hurdles
you're gonna face is deciding
where you actually want to work.
Big studio or small studio?
It's a tough choice.
Kind of like, I don't know, picking your Hogwarts house,
but for your art career.
I love that analogy, and it's so true.
(00:23):
It's a decision that has a huge impact,
and it really does go beyond just thinking
about what style of art you like.
It's more about understanding how you like to work.
What kind of environment gets your creative juices flowing?
What are your actual career goals long term?
Yeah, totally, and I think,
especially for people just starting out,
it's easy to get kind of starstruck
(00:43):
by the idea of working at a big studio.
All that stability, those resources,
I mean, we saw in the research, right?
Benefits, the tech, it's a big deal.
Oh, absolutely, especially when you're fresh out of school,
maybe feeling a little unsure of yourself,
knowing that you've got a steady paycheck coming in,
good health insurance, that can be huge-y-y.
Plus, there's just something about knowing
(01:04):
you've got access to all the latest software, the best tech.
I mean, let's be real, for a lot of us,
that's a major perk.
Oh, for sure.
Imagine, like, you walk in on your first day, and boom,
there's a whole motion capture setup just, like,
waiting for you, or, like, the latest VR sculpting tools,
all ready to go, dreamy.
Right, and it's not just the tech.
We saw in a lot of these articles, too,
(01:25):
that one of the big draws of these larger studios
is the sheer variety of projects they have going on.
Totally, I mean, one day you could be creating this,
like, hyper-realistic, gritty, sci-fi environment,
and then the next year, switching gears completely,
working on stylized characters for some big animated film.
Talk about range.
And that kind of project diversity, it can be amazing,
(01:46):
but, and this is important to keep in mind,
sometimes that variety comes at a cost, you know?
Sometimes it means less creative freedom for you,
as an individual artist, which I don't want to present
as a bad thing, necessarily.
It's more about, I don't know,
maybe a different kind of learning.
Oh, yeah, for sure, like, more specialized, right?
Exactly, like, in a big studio,
you might find that you become, say,
(02:09):
the absolute master of hard surface modeling for spaceships.
You become, like, the spaceship whisperer.
Exactly, ha-ha, you become this, like,
vital part of a larger creative machine,
which can be incredibly rewarding in its own way, right?
Totally, totally, though it does make me think
of my buddy, super talented animator,
landed their dream job at this massive studio.
(02:30):
The stuff they get to work on, mind-blowing.
But man, they practically live there.
Seems like those long hours are just part
of the deal in that world.
Yeah, unfortunately, that is something we see
pretty consistently with these larger studios.
Big name projects, tight deadlines,
it often means, well, longer hours.
Yeah, definitely something to factor in.
So we've talked about those big studios,
but now I'm curious, what about the other end
(02:51):
of the spectrum, what about those smaller,
maybe more independent studios?
They always have this cool, almost like indie band vibe.
Right, and that's where things get even more interesting.
It's like trading in the Hollywood blockbuster set
for something smaller, something with a little more
of that raw creative energy, like we're hanging out
in a band's garage studio.
Totally, and speaking of creative energy,
(03:12):
that's one thing that really jumped out from the research,
how much those smaller studios value creative freedom,
which, for a lot of artists, that's like the dream.
Oh, for sure.
To be able to really make your mark on a project,
like right from the start, I imagine that's
gotta be pretty appealing.
It definitely is, and it's not just about
having your own ideas, it's the whole vibe, you know?
(03:33):
It's more collaborative, things move faster,
you're not just a tiny cog in some massive machine.
You actually get to be a real voice
in a small, dedicated team.
And that actually reminds me of something else
we kept seeing in the articles,
how agile and adaptable those smaller studios can be.
They can pivot on a dime, whether it's trying
(03:53):
new technology, taking feedback,
or even just rolling with the punches
when a project takes an unexpected turn.
Right, keeps you on your toes.
No kidding, I can see how that'd be super exciting.
Though, I gotta say, reading about the whole
wearing many hats thing, I don't know,
made me feel a little overwhelmed.
Is that variety ultimately a good thing for artists,
or just, I don't know, exhausting?
(04:15):
I think it's probably a little of both, to be honest.
A lot of it depends on your personality as an artist.
Some people, they thrive on that constant variety,
bouncing between modeling, texturing,
maybe even some animation.
But then other people might find that absolutely overwhelming,
especially when you're just starting your career.
The thing to remember is, in a smaller team,
(04:36):
everything you do matters more.
Like, you really see the results of your work.
You know, you put in the hours,
you solve those creative problems, and boom,
you see it all come together in the final product,
whether it's a game or a film.
That makes a lot of sense.
There's something really satisfying about that, you know?
Knowing you played a part in the whole thing,
not just one tiny piece.
Though, I do think we gotta talk about the,
(04:58):
what do they call it, the elephant in the room?
The budget.
Exactly.
Limited resources.
I mean, it kinda comes with the territory, right?
Smaller studios, smaller budgets.
How much of an obstacle is that for 3D artists?
It's true that, yeah, you might not walk in
and find every single fancy software package ready to go.
Or like a render farm that could, I don't know,
(05:18):
power a small city.
Uh-huh.
But you know what?
Sometimes those limitations can actually spark
some really cool innovation.
Look at the indie game dev scene.
I mean, some of the most visually stunning games out there,
the ones that push boundaries,
they come from studios working with limited resources.
That's a good point.
They have to get creative, you know?
(05:39):
Use open source tools,
really squeeze everything they can out of their pipeline.
It's amazing what you can do
when you have to work smarter,
not just throw money at the problem.
Yeah.
And those problem-solving skills,
those are valuable no matter where you end up.
100%.
All comes down to resourcefulness.
Oh, right?
Right, ingenuity.
(05:59):
Having a deep understanding of your tools.
Totally.
So we've looked at both sides now.
The big studios with all their structure,
those amazing resources.
And then those smaller studios,
which are maybe a little scrappier, a little more.
More free-flowing.
Yeah, exactly.
And I guess what I'm taking away from all this
is there's no magic answer.
It's more about finding what fits you best, right?
(06:20):
It really is.
It's more about figuring out, like you said,
which environment,
which one's gonna be the best fit for your personality,
how you work, even those big career goals, right?
Exactly, exactly.
It's like, think about it this way.
A studio, right?
Whether it's this huge place with a million offices,
or it's like five people crammed into a tiny room,
it's not just about the work.
(06:42):
It's the whole environment where you, as an artist,
you're gonna learn, you're gonna grow.
Hopefully you're gonna have some fun along the way, right?
Love that, your creative ecosystem.
So, okay, let's say you're listening to this.
You're trying to make this decision.
What advice, what wisdom can we impart
from all of this amazing research we've done?
Okay, so here's a thought experiment.
Imagine, just for a second, your dream project.
(07:03):
Like really picture it.
The art style, how big it is, the impact it has.
Got it.
Got it.
Now ask yourself this.
What kind of studio do you see yourself in
when you imagine bringing that project to life?
Ooh, that's good, I like that.
Right, it can be really revealing.
Yeah, it's almost like, I don't know,
you hold up these different studios like filters
(07:23):
and you see which one makes your dream project
really come into focus.
Yes, exactly.
It's all about tuning into that gut feeling, you know?
What feels right to you.
That inner compass.
Oh man, this has been awesome.
I feel like we've really covered a lot of ground here.
You really have.
We dove deep into those big studios,
all those resources, all that structure.
(07:44):
But then we also explored what it's like
to be part of a smaller team.
A little scrappier maybe, a little more, you know,
freedom to experiment.
And I think the big takeaway is
there's no right or wrong answer here.
It's all about finding what works best for you.
Your style, your goals, like you said,
your creative ecosystem.
100%.
And don't be afraid to really think about it.
(08:06):
Look back at your own work, the stuff that excites you,
the stuff you're really proud of.
And ask yourself, where was that work created?
What kind of environment helped those ideas flourish?
So good.
This is your journey, right?
Your adventure.
Yeah.
Choose the path that makes the most sense for you.
All right, everybody, that's it for our deep dive this week.
Huge thanks to our amazing expert for joining us
(08:27):
and to all of you for listening.
We'll be back next week with a whole new topic.
So until then, happy creating.
Okay, so you want to be a 3D artist, huh?
(00:02):
Well, congrats on picking an awesome career path.
But let's be real, one of the first big hurdles
you're gonna face is deciding
where you actually want to work.
Big studio or small studio?
It's a tough choice.
Kind of like, I don't know, picking your Hogwarts house,
but for your art career.
I love that analogy, and it's so true.
(00:23):
It's a decision that has a huge impact,
and it really does go beyond just thinking
about what style of art you like.
It's more about understanding how you like to work.
What kind of environment gets your creative juices flowing?
What are your actual career goals long term?
Yeah, totally, and I think,
especially for people just starting out,
it's easy to get kind of starstruck
(00:43):
by the idea of working at a big studio.
All that stability, those resources,
I mean, we saw in the research, right?
Benefits, the tech, it's a big deal.
Oh, absolutely, especially when you're fresh out of school,
maybe feeling a little unsure of yourself,
knowing that you've got a steady paycheck coming in,
good health insurance, that can be huge-y-y.
Plus, there's just something about knowing
(01:04):
you've got access to all the latest software, the best tech.
I mean, let's be real, for a lot of us,
that's a major perk.
Oh, for sure.
Imagine, like, you walk in on your first day, and boom,
there's a whole motion capture setup just, like,
waiting for you, or, like, the latest VR sculpting tools,
all ready to go, dreamy.
Right, and it's not just the tech.
We saw in a lot of these articles, too,
(01:25):
that one of the big draws of these larger studios
is the sheer variety of projects they have going on.
Totally, I mean, one day you could be creating this,
like, hyper-realistic, gritty, sci-fi environment,
and then the next year, switching gears completely,
working on stylized characters for some big animated film.
Talk about range.
And that kind of project diversity, it can be amazing,
(01:46):
but, and this is important to keep in mind,
sometimes that variety comes at a cost, you know?
Sometimes it means less creative freedom for you,
as an individual artist, which I don't want to present
as a bad thing, necessarily.
It's more about, I don't know,
maybe a different kind of learning.
Oh, yeah, for sure, like, more specialized, right?
Exactly, like, in a big studio,
you might find that you become, say,
(02:09):
the absolute master of hard surface modeling for spaceships.
You become, like, the spaceship whisperer.
Exactly, ha-ha, you become this, like,
vital part of a larger creative machine,
which can be incredibly rewarding in its own way, right?
Totally, totally, though it does make me think
of my buddy, super talented animator,
landed their dream job at this massive studio.
(02:30):
The stuff they get to work on, mind-blowing.
But man, they practically live there.
Seems like those long hours are just part
of the deal in that world.
Yeah, unfortunately, that is something we see
pretty consistently with these larger studios.
Big name projects, tight deadlines,
it often means, well, longer hours.
Yeah, definitely something to factor in.
So we've talked about those big studios,
but now I'm curious, what about the other end
(02:51):
of the spectrum, what about those smaller,
maybe more independent studios?
They always have this cool, almost like indie band vibe.
Right, and that's where things get even more interesting.
It's like trading in the Hollywood blockbuster set
for something smaller, something with a little more
of that raw creative energy, like we're hanging out
in a band's garage studio.
Totally, and speaking of creative energy,
(03:12):
that's one thing that really jumped out from the research,
how much those smaller studios value creative freedom,
which, for a lot of artists, that's like the dream.
Oh, for sure.
To be able to really make your mark on a project,
like right from the start, I imagine that's
gotta be pretty appealing.
It definitely is, and it's not just about
having your own ideas, it's the whole vibe, you know?
(03:33):
It's more collaborative, things move faster,
you're not just a tiny cog in some massive machine.
You actually get to be a real voice
in a small, dedicated team.
And that actually reminds me of something else
we kept seeing in the articles,
how agile and adaptable those smaller studios can be.
They can pivot on a dime, whether it's trying
(03:53):
new technology, taking feedback,
or even just rolling with the punches
when a project takes an unexpected turn.
Right, keeps you on your toes.
No kidding, I can see how that'd be super exciting.
Though, I gotta say, reading about the whole
wearing many hats thing, I don't know,
made me feel a little overwhelmed.
Is that variety ultimately a good thing for artists,
or just, I don't know, exhausting?
(04:15):
I think it's probably a little of both, to be honest.
A lot of it depends on your personality as an artist.
Some people, they thrive on that constant variety,
bouncing between modeling, texturing,
maybe even some animation.
But then other people might find that absolutely overwhelming,
especially when you're just starting your career.
The thing to remember is, in a smaller team,
(04:36):
everything you do matters more.
Like, you really see the results of your work.
You know, you put in the hours,
you solve those creative problems, and boom,
you see it all come together in the final product,
whether it's a game or a film.
That makes a lot of sense.
There's something really satisfying about that, you know?
Knowing you played a part in the whole thing,
not just one tiny piece.
Though, I do think we gotta talk about the,
(04:58):
what do they call it, the elephant in the room?
The budget.
Exactly.
Limited resources.
I mean, it kinda comes with the territory, right?
Smaller studios, smaller budgets.
How much of an obstacle is that for 3D artists?
It's true that, yeah, you might not walk in
and find every single fancy software package ready to go.
Or like a render farm that could, I don't know,
(05:18):
power a small city.
Uh-huh.
But you know what?
Sometimes those limitations can actually spark
some really cool innovation.
Look at the indie game dev scene.
I mean, some of the most visually stunning games out there,
the ones that push boundaries,
they come from studios working with limited resources.
That's a good point.
They have to get creative, you know?
(05:39):
Use open source tools,
really squeeze everything they can out of their pipeline.
It's amazing what you can do
when you have to work smarter,
not just throw money at the problem.
Yeah.
And those problem-solving skills,
those are valuable no matter where you end up.
100%.
All comes down to resourcefulness.
Oh, right?
Right, ingenuity.
(05:59):
Having a deep understanding of your tools.
Totally.
So we've looked at both sides now.
The big studios with all their structure,
those amazing resources.
And then those smaller studios,
which are maybe a little scrappier, a little more.
More free-flowing.
Yeah, exactly.
And I guess what I'm taking away from all this
is there's no magic answer.
It's more about finding what fits you best, right?
(06:20):
It really is.
It's more about figuring out, like you said,
which environment,
which one's gonna be the best fit for your personality,
how you work, even those big career goals, right?
Exactly, exactly.
It's like, think about it this way.
A studio, right?
Whether it's this huge place with a million offices,
or it's like five people crammed into a tiny room,
it's not just about the work.
(06:42):
It's the whole environment where you, as an artist,
you're gonna learn, you're gonna grow.
Hopefully you're gonna have some fun along the way, right?
Love that, your creative ecosystem.
So, okay, let's say you're listening to this.
You're trying to make this decision.
What advice, what wisdom can we impart
from all of this amazing research we've done?
Okay, so here's a thought experiment.
Imagine, just for a second, your dream project.
(07:03):
Like really picture it.
The art style, how big it is, the impact it has.
Got it.
Got it.
Now ask yourself this.
What kind of studio do you see yourself in
when you imagine bringing that project to life?
Ooh, that's good, I like that.
Right, it can be really revealing.
Yeah, it's almost like, I don't know,
you hold up these different studios like filters
(07:23):
and you see which one makes your dream project
really come into focus.
Yes, exactly.
It's all about tuning into that gut feeling, you know?
What feels right to you.
That inner compass.
Oh man, this has been awesome.
I feel like we've really covered a lot of ground here.
You really have.
We dove deep into those big studios,
all those resources, all that structure.
(07:44):
But then we also explored what it's like
to be part of a smaller team.
A little scrappier maybe, a little more, you know,
freedom to experiment.
And I think the big takeaway is
there's no right or wrong answer here.
It's all about finding what works best for you.
Your style, your goals, like you said,
your creative ecosystem.
100%.
And don't be afraid to really think about it.
(08:06):
Look back at your own work, the stuff that excites you,
the stuff you're really proud of.
And ask yourself, where was that work created?
What kind of environment helped those ideas flourish?
So good.
This is your journey, right?
Your adventure.
Yeah.
Choose the path that makes the most sense for you.
All right, everybody, that's it for our deep dive this week.
Huge thanks to our amazing expert for joining us
(08:27):
and to all of you for listening.
We'll be back next week with a whole new topic.
So until then, happy creating.
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