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Valoon

Member Since 28 Jan 2014
Offline Last Active Jun 16 2016 06:40 AM

Posts I've Made

In Topic: I need advice about Internships

31 January 2016 - 07:08 AM

If I can give my 2 cents, I was in the situation you are in not long ago and I've been working in the industry since 1 year. I am not a programmer but a sound designer.

 

 

I started just like you did, by sending resumes to every big companies. Got the exact same mail as you from EA (minus the job title), got a similar one from Blizzard etc... Only Valve had a guy nice enough to answer me directly to tell me they hire only after 5+ years of experience and don't do internships (which is something I knew but I tried it anyways) and then we talked a bit which was pretty cool.

 

After having no luck except with one studio in LA who were interested but needed to wait to make a decision (I couldn't afford to wait for their decision) I decided to lower my expectation (my goal was to have an internship in a major studio in the US and I am from Europe so it is almost impossible) and started to search only in big EU studios. Didn't get more luck.

It also turned out the interested studio in LA didn't take me after all.

 

Then I started to do small studios in France (my country) and I got 2 answers, one of them I got a phone interview and I couldn't be available at the time they wanted because of school so it didn't work out and the second one is where I got my internship but I got it by being able to do more than regular sound design, I know basics in code and I know a good amount of DSP which got me the internship. Got lucky after, I got to do some sound design as well.

I got a contract there after and I've been there since 1 year not including the internship.

 

Random facts :

 

- Keep in mind that I sent probably 100+ applications and I got 4 semi-positive answers and one positive, I did get lucky especially as a sound designer (it should be easier for you as a programmer) but I had to sacrifice my original goal.

- At the end I was so desperate that I would send application to every studio that was obviously bad just because I needed the internship for my degree and I knew that internship are extremely important for the start of your career.

- My school didn't help me at all and I knew no one.

- I had a meeting with the head of my degree so he could hopefully give me a random internship in a non sound design field (my school was not specialized in sound design) and I got my positive answer 2 hours before the meeting.

 

 

All of this to show you that it is hard to get an internship and you should not give up too fast, if someone doesn't answer you and they are a small studio, just send one email to check in or call them. Small studios are usually nice. For big studios they get too much applications to care.

Don't be too cocky just because you have more than what they ask for, plenty of people have it. Having more than what they ask might put you in the top 10% of the applications but that's it. I had more than what they ask even for an entry job.

On the topic of "what they ask for" don't wait for an internship "job" to pop up on their website, just send applications everywhere.

 

I hope this is helpfull.

Good luck.


In Topic: Which to learn first: Wwise or FMOD?

28 October 2015 - 04:24 AM

I would add, if you want to make yourself more valuable don't learn the tools only but also the coding that goes with the audio integration.

 

Got my first job mostly because I know how to code pretty well for a junior sound designer.


In Topic: Why are artists less likely to work on free/hobby projects than others?

10 September 2015 - 06:26 AM

^ Exactly. And it was basically my point in my post above too.

 

Teams don't go with bad artists even if they are bad themselves. Artists know that and train, after a while they are good and then the bad teams want them but the artists don't want them anymore because now they can do better.


In Topic: Why are artists less likely to work on free/hobby projects than others?

09 September 2015 - 01:38 PM

My 2 cents as a junior in the industry (inhouse sound designer) :

 

- To be even noticed as an artist they need to be already really good, and it's very easy to see a bad artist. I suck at art myself but I can pretty much see when people are not that good. This means that hobbist go for people who are really good but they are not really good themselves a lot of the times. The artist will see that.

It is especially true with programmers on hobbist projects. No way to really judge their skills, I have been in projects where I could have coded at least as good as the "lead programmer" and I don't call myself a programmer.

 

- Artists don't really need to make a game to have their work in a portfolio. (most people who work for free do it for portfolio, I do hobbist project still to improve my portfolio but I've become much more picky). Sad truth is most people don't really care of your next "super game of Doom" and they don't do it for free because they loved the idea so much despite what they might tell you. They do it for the portfolio.

Artists don't need that as much or at all.

You have a truck full of composers because they need to show game music, not just music and same for sound designers although it's not as bad in term of supply/demand; sound designers need to show game sound design. Artist don't really need it that much.

 

- Very hard to work as an artist under a project lead who has no clue about art. Like you have no creative director or anything and your art is being judged by some dude who has no clue. Very frustrating. In more serious (paid) projects even if the project lead is not an artist you know he is more serious about it and probably has more skills, so it's not the same + he pays you for it anyways.

You can combine this point with the one before. If you're not paid and you don't need a portfolio why bother having someone not competent telling you how your art should look like. It can train you to deal with client but that's it.

 

- Most of the time, and it's true for audio too, you will fall with teams that want to do the next AAA. Nothing they do is AAA worthy yet as the artist or audio guy you'll have to be much closer to AAA because it's way easier to see that your work is not AAA level. It is extremely annoying and a good reason to avoid teams that look inexperienced (every small team with no veteran trying to make an AAA as 99% chance of failure anyways).

Not to hate on programmers, I work now with great programmers and it's amazing but in hobbist projects they are the biggest risk for sure. I had one project where people expected me to give battlefield/call of duty sound design on 0 budget. Meanwhile their AI was jumping into walls and running back in forth in front of you.

 

So all in all with all of the risk you take of wasting your time with bad teams, if you can avoid it you do it. And artist are the people who can.


In Topic: another attempt at making game music - first time I made it loopable

04 September 2015 - 10:07 AM

I am not a composer but I think it is really nice. Didn't see any unfitting parts.

 

I would say that it might be too long for a loop if it had to really be in a game.


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