Layout Artist- Blizzard Entertainment

Layout Artist

Employer: Blizzard Entertainment
Location: Irvine,CA
Date Posted/Updated: 12/16/16
Job ID: 129507

Apply HERE.

Job Description:

Blizzard Entertainment is currently seeking an experienced 3D generalist to join our cinematics layout department as a layout artist (temp). The layout department is the -hub- of cinematics, facilitating the flow of assets from modeling, surfacing and rigging, as well as assembling and helping to compose shots from previz, working through animation, simulation and FX, all the way to lighting and compositing. The temp layout artist will work with previz, modeling, and rigging to translate rough scenes into production-ready shots, support animation and camera with environments, continuity, and troubleshooting, and coordinate with modeling, animation and FX with shot by shot set dressing and crowd population. Broad technical and artistic understanding of 3D pipelines, shot composition, and film language are all important.

– Using Maya, assisted by internal tools and python scripts, translate previz scenes into scenes ready for animation.
– Support animation at various stages, managing layouts, caching and assembling characters with look variants, and rendering for review.
– Add or adjust shot set dressing, crowd cycles, static character poses, and continuity changes.
– Fill in any additional gaps, and catch and solve technical and artistic problems revealed through assembly that are not handled by other departments or through typical pipeline procedures.
– Organize and manage assets, and work closely with programmers to develop, improve, or fix tools that not only serve the layout department, but the cinematics department as a whole.
– Work with artists, programmers, leads, supervisors, directors, and production staff on multiple projects simultaneously, balancing the needs of each and ensuring communication between them.

– A minimum of 3 years’ experience in production or feature film in a 3D generalist role, such as layout or previz.
– Depth of knowledge in 3D pipelines, both technically and artistically.
– Strong understanding of the principles of storytelling, film, and composition.
– Basic skills in modeling, rigging, animation and cameras.
– Some experience with lighting, rendering and compositing.
– Data administration skills and interests (e.g. asset management, scene building, tools, etc.)
– Familiar with scripting, especially within a 3D environment.
– Strong, proactive communicator and problem-solver able to learn and work independently and creatively with diverse personalities under resource and time-limited conditions.

– Extensive experience with Maya
– Proficiency in python scripting
– Knowledge of RenderMan and/or Redshift renderers
– Some experience with 3dsmax and Nuke
– Expert organization and communications skills, both written and oral
– A thirst for learning and a knack for efficiency
– A passion for Blizzard games, stories, characters and worlds

Brent J. Zorich

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What is your name and your current occupation?
Brent J. Zorich and I am the Chief Technology Officer of BRENT ZORICH PRODUCTIONS, LLC.What are some of the crazier jobs you had before getting into animation?
One summer during industrial design school in the 90s at Ohio State I worked as a bouncer at a dueling piano bar named Howl at The Moon. I didn’t realize it when I took the summer gig, but occasionally throughout the night the staff had to get on stage and dance to songs from Grease… ah, the memories.

What are some of your favorite projects you’re proud to have been a part of?
I played MADDEN growing up so getting to be a lead rigger on that was pretty rewarding. Seeing my name in Star Wars credits was really rewarding also. I loved sitting in dailies critiquing shots on TRANSFORMERS REVENGE OF THE FALLEN. My favorite intellectual property is actually HARRY POTTER; at Lucasfilm Animation Singapore I was in charge of arranging sequences for monthlies in addition to my regular tasks. The monthlies that I arranged were for HARRY POTTER AND THE HALF BLOOD PRINCE and I got to work with the raw footage of Daniel Radcliff and see the before and after… really fun. The music I used in the backdrop when I showed to sequence to the all staff was Eulogy by Tool. I remember being at Lucasfilm in San Francisco and opening up a script for Indiana Jones written by Steven Spielberg and realizing I made it! I loved going through executive training at Lucasfilm, it was a weeklong through the executive trainer, Larry Seal, and I was being prepped to run a studio. I also enjoyed being on the Lucasfilm Best Practices Steering Committee that set the direction for all digital assets in regards to Lucasfilm Animation, LucasArts, and Industrial Light and Magic. There were about ten of us on the committee.  But, I’d have to say the most rewarding experience was in Lucasfilm Animation Singapore and my film game convergence group that I was in took the television version of Ahsoka Tanu, Anakin Skywalker’s Padawan, and I modified it so it would work in the Unreal Engine. We showed it directly to George Lucas when he came to see the studio in summer of 2008 and he couldn’t tell the difference between my Ahsoka rendering on the XBOX 360 and the version used on television.

How did you become interested in animation?
Three years old in summer of 1977, “A long time ago in a galaxy, far, far, away….” You’ll figure it out.

Where are you from and how did you get into the animation business?
I am from Columbus, Ohio and I got into the animation business by Continue reading