How hard is to get a job as visual effect artist for films? I am good in VFX composition and had done few show reels using different kind of software such as Maya,RealFlow,Modo,Mari and NukeX. How can I approach some companies that is reside in Europe or US?

It is very hard, particularly when visa issues come into play. In general, studios seek people with specific skills which are in need and people who are proven in production. Specific skills: some skills are very common so a person must be a master to reliably compete in this area. For instance, there are endless numbers of modelers, similarly a lighting generalist, fumeFX/realflow fluid guy or nuke compositor is pretty easy to come by. So to reliably get chosen for productions in this regard, one must be a recognized master of the craft. Other skillsets are far less common, such as the ability to generate large data sets like cities, building custom tools, or dealing with complex crowd simulations. Typically these special skills are only obtainable in the course of a career, they are not taught in schools or via tutorials. What tools you use don't matter as much as your mastery of VFX beyond what anyone can pick up doing online training. "Knowing" a certain software doesn't mean much to those hiring, they are looking for the people who can make great effects with any tools available. A master carpenter isn't a master hammer-and-saw user, they have moved beyond that. Production experience: this is a major consideration, particularly for VFX artists who are fewer in number and therefore have the potential to impact productions greatly. Usually those hiring first look for someone known or vouched for, because a single artist with issues or a lousy personality can do incredible damage. I know several artists who are masters of their crafts who also rarely get work because they cause as many problems as they solve. When a VFX artist is an unknown, the risk is greater. A lot of my time is spent making sure people know me and I make effort to always be an asset people were glad was on their team, because if you aren't you don't get contracts. For newcomers into the industry "breaking in" can be very difficult, it takes several years to become known and trusted. Oddly enough, those artists who have reached a point where they have recognized skill mastery and proven production value are hugely sought after. There is work needing doing. I turn down jobs every week. But it took me years to get to that point, because first and foremost productions want to be certain anyone they hire will not be a liability. For someone in a nation outside of the handful of nations with robust VFX industries, life can be very hard indeed. But once an artist reaches a point of real mastery, doors will open regardless of location.

When I visited some Malaysian schools, they attempted to teach everyone to do everything.  All the students were writing, animating, modelling and lighting their own little Pixar movies. (and then making a poster!) I think this is a bad idea.  You need to specialise into one role - and push your skills in one direction as far as possible. So that could be organic modelling and sculpting. Or it could be compositing. You pick.   It's like entering the Olympics, you won't improve your medal prospects by entering 32 events. Just one is fine. You then need to demonstrate that particular skill. Build a portfolio, highlighting that skill in the best way possible.  Put your best stuff up front. Remove all the bad stuff.    NEVER present stuff in chronological order.  Don't pad it out. 24 perfect frames will get your further than 3600 mediocre ones.

At the moment, incredibly hard. Sorry. The landscape of the VFX industry is rapidly changing. This means that you would be competing for increasingly smaller pool of jobs, against an increasingly large pool of unemployed veteran VFX artists. One blog that offers insight into the state of the industry is http://vfxsoldier.wordpress.com. you might want to take a look.

I feel utterly compelled to respond to this question for a number of reasons. 1. How hard is to get a job as visual effect artist for films? If you're looking to get into high-end feature film visual effects, then yes. It is difficult. Of course it is. If you're looking for entry level positions at studios, prepare yourself for VERY stiff competition. Entry level roles are not well paid and can be over-subscribed. You'll be competing against very capable students who have university or further level qualifications and accreditations to even get a runner's position at a large VFX facility. Don't think for one second that you can that you'll encounter anything else. This is the case before any talk takes place about work VISAs. But rather than deter you from attempting to enter the VFX, you should use this to motivate yourself. Why would you want to work for a studio that was deemed 'easy' to get a position at? What does that tell you about the facility? What does that say about your own ability? Large VFX and animation studios break the VFX work into different departments. Unlike commercials, where an artist would be responsible for modelling, texturing and maybe even rigging, large facilities will have departments that specialise in only modelling, rigging, texturing, etc. If you're getting your showreel together, make sure you: Put your very best work at the beginning. Indicate what portion of the VFX pipeline your showing off. If it's rotoscoping or wire-removal, let the viewer know. If it's rigging, show a work out for your rig and the controls you're making available to an animator. It's important to show expertise in one or two (if related) areas, rather than a general ability across the entire pipeline. Pick the area you enjoy most, whether that's fluid simulations in Real Flow, animation in maya or compositing in Nuke and get some really good content into your showreel. Some departments will be over-subscribed relative to other departments, but productions need FX artists and they need compositors and they need modellers. makes an important point about specific software skillsets. Every so often a new tool will be introduced that will alter the workflow of a VFX facility. Look how Nuke pushed Shake aside. What will Katana mean for lighters and lookdev artists in the coming years? What impact will Autodesk's pulling of Softimage XSI mean for studios that use XSI? You'll need to be agile enough to be able to pick up new toolsets and workflows quickly, otherwise you risk being left behind. There's a Lot of Negativity Around, Should You Still Try to Get into VFX? Of course. If this is the career that you want for yourself, then don't let anyone else suggest otherwise. I get really bothered by people telling others not to get into the VFX industry due to the current market conditions. VFX is becoming commoditised in a global market and there are teething issues that go with that. From my point of view, it's the most interesting time to be working in the VFX industry right now and having to compete to produce the best work on the most exciting projects. By all means, read the blog posts and the Twitter updates, but don't forget that there will still be opportunities out there as long as VFX is needed in feature film, the opportunities just may not always be in the same place as they are today. You just need to be conscious of that and focus on the skills that will help you stay ahead. To conclude with 's comment: For someone in a nation outside of the handful of nations with robust VFX industries, life can be very hard indeed. But once an artist reaches a point of real mastery, doors will open regardless of location.