Kim Aava
Battlefield 2042

During Battlefield V Live service and Battlefield 2042 plus live service I worked as a Lead Environment Artist, supervising a centralised environment art team as well as specalists within vegetation, hardsurface and onboadring new hires.

My daily tasks and responsibilities as a Lead Environment Artist included, but were not limited to:

  • Lead Artist for the Central Art Battlefield Team
    • Lead Artist for specialisation such as vegetation and hardsurface artists
    • 1-1 meeting for career coaching and production planning/feedback
    • Retrospective with artists and writing reports to DD, Producers, Directors etc every 7th week
    • Planning sessions with artists for shotgrid and backlog management
    • Risk mitigation with DD and Directors
  • Meetings, planning and risk mitigation with other lead artists within the environment art domain
  • Writing documentation, deligating documentation work as well as mentoring
  • Outsourcing pipeline setup (brief, speedmodel workflow)
  • Onboarding new hires and coaching artists on how to be oboarding buddies
  • Tech liason, communicating, planning and developing pipelines with tech art and tech tools on the DICE team as well as Frostbite team

Part of my responsibilities behind the scenes have been to create in-house documentation and training materials for our pipeline and workflows, Pre-production R&D together TA, mentoring new hires and interns, planning and scoping together with other leads and developer managers, working together with ADs and TADs on directions, providing feedback to artists and external partners

I have made extensive work to the Environment Art pipeline, below is a talk that me and a co-worker presented during XDS 23, showcasing the pipeline and external partners collaboration for Battlefield 2042.

One of my new challenges for this project were to also supervise the vegetation part of the production. Parts of my responsibilities within the vegetation includes manage the overall backlog, mitigate risks and priorities work such as art deliveries and new engine feature implementation. As well as manage the artists in the team, assist in supporting external partners and set guidelines and expectations together with AD, TAD and the artists.

Other responsibilities also included overseeing the static vehicle pipeline and workflows across the maps, as well as making sure that we could continously improve and update assets and their destruction across the live service.

All levels/maps have been a collaborative team effort across multiple disciplines, in-house and outsourcing.

Parts of my tasks and responsibilities included but were not limited to; Polish of textures, meshes, lods, collision, destruction and technical set ups as well as creating tiling textures and optimization.

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