Entry-level at VFX studios

Anybody know what the entry level for dmp and environment artists are for graduates? Do you go through the normal entry level of roto/comp, runner and matchmove?

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Nick will be able to answer that, as this is what he's done.
He started as runner at Dneg after his graduate and moved in DMP/Env then.

If you are good enough, it's to get hired straight out of school as a junior DMP artist (I've hired a couple recently). Your work has to be almost pro level, which is obviously pretty rare, and you are going to need a work permit for the country you want to work in - even if they really like your work, no-one will be able to get a work permit for a foreign junior. You also need to be in the right place, available at the right time, so (sadly) there is a certain amount of luck / fortunate circumstance required as well. One of the ways to ensure you are in the right place is to become a runner, but the right time might take a while to arrive...

Hmmm... I tried to write < possible >, and the forum removed it...

As in:

It's possible to get hired straight out of school

Well, it worked the second time

As Alex said, if your work is good enough, and if you have some studios not far from where you are, it's possible...
We always need junior artist in a crew, so it's worth trying !

I heard my name!

Yes, Alex summed it up pretty succinctly, if you are really good it's possible to walk straight into a matte painting position. It's pretty rare though, and again, as Alex mentioned, you have to be in the right place at the right time.
More likely, you will either go to a bigger studio as a runner or an entry level artist (matchmove or roto) and then move into dmp / env work after you have a bit of experience, or try your luck at a smaller studio or on commercials etc where they might be more willing to take a chance on someone with less experience. 5 years ago I would have included TV work in that too, but the gap between TV and film work has closed a lot recently, so I can't be sure what level of experience would be expected there any more.
My own route was to apply for matte painting positions, but was offered a position at Dneg as a runner, and after a few months I moved into paint and roto. I stayed there for about a year before a position came available and I was lucky enough to be asked to move into dmp. By then I was fairly comfortable with the pipeline and so was able to pick things up pretty quickly, and haven't really looked back since then.

Luckily, forums like this allowed me to make some great friends along the way, who have been generous with their advice... two of them now in this thread!

Alex, great to see you here!! Hope things are going well across the pond! I won't hijack this thread with a catchup, but we are overdue a good natter!

Great! Well I believe I'm in the right place! I'm really looking forward to the workshops to develop my work to hopefully get it good enough to get my foot in the door!

Careful not to hurt your foot !

Hey guys, when you were hired, did you just showcase a 2d dmp portfolio, or did you have a reel with camera projections and moving live action elements?
And how many pieces realisticly would impress a recruiter. I would love to make the transition from compositor someday or at least maybe be able to flex in departments

For an entry level job as a DMP, you don't necessarily need a reel - just(!) some professional level paintings. 10 would be ideal - but three great paintings shown to the right person at the right time can land you a job. If you are applying for a role that has TD/projection or comp work listed as a component, you'll need to show you can do that work too, and that -will- involve a reel.

I would much prefer to see a small portfolio of solid paintings than a bunch of technically complex but badly executed moving shots.

Thanks Alex, that makes a ton of sense. I will strive for ten solid paintings. Let the fun begin