WORK­ING AT RAN­DOM42

3D Artist - - VISUALISING HUMAN BIOLOGY -

Want to work in med­i­cal an­i­ma­tion at Ran­dom42? here’s what they’re look­ing for in new hires

One key dif­fer­ence be­tween Ran­dom42 and your typ­i­cal vis­ual ef­fects work­ing en­vi­ron­ment is that they like to use teams of gen­er­al­ists. “Most VFX com­pa­nies are heav­ily spe­cial­ist, and artists will spend much of their ca­reer com­posit­ing shot af­ter shot,” says Chilcott. “Ran­dom42 is more suited to those artists who want to have a lot of creative in­put and con­trol, it’s for the peo­ple who want to be a large part of smaller projects, as op­posed to a tiny cog in a big ma­chine.”

The re­cruit­ment process is aimed at find­ing what Chilcott calls ‘spe­cial­ist gen­er­al­ists’. “These are artists who are fa­mil­iar with most ar­eas of the 3D pipe­line – light­ing, ma­te­ri­als, mod­el­ling, an­i­ma­tion, com­posit­ing and so on – but will ad­di­tion­ally have a spe­cific area that they spe­cialise in and are par­tic­u­larly good at.”

a cru­cial skill that Ran­dom42 will al­ways be look­ing for is a keen eye for colour, light­ing and com­po­si­tion as these at­tributes are es­sen­tial to the com­pany’s work. They also want to bring tech­ni­cally minded peo­ple on board who know their way around a par­ti­cle sys­tem and com­plex soft­ware such as Hou­dini.

The pref­er­ence for hir­ing gen­er­al­ists means that Ran­dom42 of­ten em­ploys stu­dents as op­posed to more ex­pe­ri­enced VFX artists, as the lat­ter tend to spe­cialise in just one or two ar­eas. “Their en­thu­si­asm and cre­ativ­ity are very ap­peal­ing as each project we work on needs its own unique style and ideas. We need this creative en­ergy to keep things in­no­va­tive and fresh,” ex­plains Chilcott.

if we’ve man­aged to pique your in­ter­est in med­i­cal vi­su­al­i­sa­tion as a po­ten­tial ca­reer op­tion, Chilcott ad­vises that you per­haps make sure to pay par­tic­u­lar at­ten­tion to light­ing, ma­te­ri­als, ap­peal­ing colour pal­ettes and com­po­si­tion.

“When we look for artists, we as­sess whether they have an eye for these fun­da­men­tal skills. Within med­i­cal an­i­ma­tion you tend to work with a lot of ab­stract shapes and light­ing them can be quite dif­fer­ent to light­ing a re­al­is­tic car model or a char­ac­ter. For us, see­ing these abil­i­ties ap­plied to some­thing more un­usual is ap­peal­ing and gives us a bet­ter idea of whether the can­di­date is the right fit for our ever-evolv­ing team.”

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