In this episode, we chat to Floyd Billingy, a U.K. based realtime supervisor and environment artist for the games and VFX industry about his transition into the industry, how he became an environment artist and a realtime supervisor, as well as how black artists perceive and feel about working in the gaming and VFX industry.Floyd's career is colourful, and it's led him to be part of artists who have brought us some great cinematics and video games for some incredible AAA games, such as Gears of War, Diablo II Resurrected, War of the Spark, Throne of Eldraine and more.Of course, we couldn't talk about video games, without talking about unreal engine. We go on to discuss the evolution of unreal engine, as well as discuss pre-rendered cinematics versus realtime workflow, and how life was life for video game artists before unreal engine.Timestamps:00:00 - What to expect in this episode1:45 - Host intro2:08 - Journey as a student into entering the industry5:26 - First industry job6:03 - Working at Rare studios7:26 -  Working in mobile video game industry and living abroad8:08 - Working at Splash damage10:17 - Transitioning from the game industry into the vfx and animation industry12:30 - What/who inspired the moving into the gaming and vfx industry14:35 - What’s the role of an environment artist15:54 - How competitive is it when trying to get into thee gaming or vfx industry18:33 - What’s the difference between environments for games vs cinematics22:45 -  Titles/credits of shows worked on27:08 - Unreal engine31:39 -  Diversity in the industry40:19 - Highlights of working in the industry so far41:34 - Advice from an industry professional43:09 - ConclusionShow notes:Visit our websiteFloyd's Art Station#vfxpodcast #unrealengine #diablo2resurrected