Layout artist
As a Layout Artist involves a few different aspects, such as:
- Camera tracking: This is when we recreate the camera movement on set into our 3D software. This is mostly done using a program called 3DEqualizer, however, some visual effects companies have their own camera solver software.
- Character/Asset matchmove (also known as roto-anim): Here we recreate/animate the character or asset movements that were done on set using rigged models.
- Creative layout/full CG shots: This task involves adding in any CG elements to a shot as needed. For example, we may have a plate (film) which shows a city skyline, and the client needs a blimp to fly over it. We will add a CG blimp, basic lighting and effects (if needed) to the shot and give a pre-visualisation version for the client to approve. Once they do, other departments will pick up the shot (animation will add the final animation of the asset, lighting will add the correct lighting effects etc) and ‘polish’ the shot off until we get the final product. Full CG shots are done in the same way except there is no plate/film in the shot and we create it all within our 3D software.
Layout artist code up software tools to help artists work more effectively. This can vary from building tools or shortcuts within the software we use, to save artists time from clicking through lots of menus, to resolving technical issues such as assets not importing or exporting properly to other departments. It is like an IT support and software developer role.
Layout Artists need to know how to translate the storyboard or animatic for the final animation. They must have a sense of scale and ability to realize background, characters and objects that work in proportion with each other to create a believable world.
Often these worlds will have a history, an economic framework and a specific narrative of their own.
The Layout Artist needs to express these idiosyncrasies through what is included and communicated visually in the scene.
References
https://www.cgspectrum.com/career-pathways/layout-artist
https://www.screenskills.com/job-profiles/browse/animation/production/layout-artist-animation/
Matchmove artist
Matchmoving is the process of tracking and calibrating live footage frames to incorporate them into a virtual model. Basically, you are trying to transfer the real life camera’s movement onto a camera that exists in a CG software. The work that you will be doing as a matchmoving artist is seamlessly combining live camera shots into a 3D environment. The models are generated from your computer using matchmoving software.
Matchmove artists match computer-generated (CG) scenes with shots from live-action footage so the two can be convincingly combined.
They recreate live-action backgrounds (plates) on a computer in a way that mirrors the camera on the set in every way, including lens distortion. They do this by tracking the camera movements to make sure the real and virtual scenes appear from the same perspective.
Sometimes matchmove artists go to the film set to take measurements and put up tracking markers. Then they use these markers to track the camera movement and work out the relevant coordinates in the 3D scene. They do this using 3D tracking programs like Maya or 3DEqualizer.
Matchmove artists also do body and object tracking, using markers to recreate the movements of people, vehicles or other objects in CG. The motion files created (camera, object or body track) are then passed on to other departments via the VFX pipeline, so that, eventually, they can be seamlessly combined by the compositor.
Matchmove artists are highly accurate and meticulous in their work. It needs to be pixel perfect, so they need an eye for detail. If the CG and live-action movements are not lining up perfectly, they have to find a way to fix this.
Position Requirements:
- Must have working knowledge of standard software such as Maya, 3D Equalizer, and Nuke
- 2+ years of production experience in an established VFX facility
- Demonstrable experience in highly technical pipelines
- Follows direction and take ownership of tasks, schedule, time management and communication with production
- Collaborate effectively with fellow artist, Department Supervisors, CG Supervisors, and VFX Supervisors
Reference
https://mountcg.com/what-is-matchmoving-and-what-does-a-matchmove-artist-do/
https://framestore.recruitee.com/o/matchmove-artist-film-episodic
https://www.spinvfx.com/careers/tracking-matchmove-artist/
Lighting artist
Lighting artist enable depth and realism to be added to a computer-generated (CG) scene through lighting, just as a director of photography (DoP) does in a live-action film.
They adjust the colour, placement and intensity of CG lights to create atmosphere, add realism and depth. Using reference photos taken on set or location, they match the illumination of virtual 3D objects to the look of the on-set production and cinematography.
Lighting a shot requires a blend of artistry and scientific knowledge of how light falls on objects. It also involves reflecting the look and style set out by the director of the film or TV programme. This can create technical challenges.
The role of the lighting artist varies depending on the size of the VFX studio. In larger studios, lighting artists light the shots while a lighting technical director works with the pipeline TD to overcome the technical challenges and create the software tools that the lighting artist needs. In other studios, those two roles are combined, so the lighting artist needs considerable technical skills as well as artistic ones. Lighting artists work in-house in a VFX studio.
To become a 3D lighting artist, you can either get a degree or learn through online courses. We prefer online courses because they’re more flexible, faster, and you might have access to industry professionals (we offer mentoring in our own courses).
But before we look at how you can become a lighting artist, let’s take a look at what you need to know to become one.
What’s a lighting artist good at?
- Art: understanding of colour theory, perspective and design theory, have a strong sense of light and shadow
- Understanding lighting: know the scientific principles behind lighting, have a strong knowledge of lighting techniques and materials
- Problem-solving: overcome obstacles, use computer technology to find new ways to achieve a creative vision
- Working to deadlines: work within given timeframes, be able to complete work under pressure and deliver on schedule
- Knowledge of relevant programs: be adept at using compositing programs and digital paint software
References
https://www.screenskills.com/job-profiles/browse/animation/production/lighting-artist-animation/
https://academyofanimatedart.com/become-a-3d-lighting-artist/
CG Supervisor (computer graphics supervisor)
Computer graphics (CG) supervisors are ultimately responsible for the delivery and quality of the 3D computer-generated (CG) elements of a VFX project.
Before a film goes into production, CG supervisors identify areas of the VFX work that need to be researched by software developers. They design the VFX pipeline – which means they decide the order in which the work needs to be done. They manage the team of technical directors (TDs), helping decide which digital tools need to be created to streamline the pipeline.
Once production is under way, they supervise the creation of all CG imagery and manage the artists creating it. Some walk around the desks of the VFX artists to check their work and provide feedback. They ensure the art is true to the vision of the film or TV director. Once complete, the art, or assets, are give to the compositors who put the whole scene together.
CG supervisors tend to be employed by VFX companies or studios. Supervisor positions are some of the most senior in these companies; as such, CG supervisors are often involved in the hiring process for new VFX artists.
- The CG Supervisor will be responsible for the creation and maintenance of CG assets of original IP used in content creation and marketing as well as the development of interactive gaming and linear animation pipelines.
- Collaborate with the Creative Design and Animation teams, and Creative Producers to develop 3D assets and visual effects processes using Maya, Adobe Suite, Nuke, and 3rd party plugins and lighting software.
- Maintain and handle a server library of show and game production assets, for internal team distribution, and vendor distribution to be used in linear originals, interactive games, and in marketing material.
- Assume quality control of original and existing IP by trouble shooting and problem solving technical issues in Maya, Nuke, Deadline, and other programs.
- Lead the technical development and crafting of original character IP, environments and props using various processes and pipelines in computer graphics.
- Conform and migrating IP onto Nickelodeon Digital, Preschool’s (Noggin) pipeline from 3rd party vendors and leading the internal team to maintain that pipeline.
- Collaborate with Engineering and Content to develop pipelines for interactive products on Mobile and Web platforms.
- Team up with Production Technologies for operational technical support, software/hardware purchasing, roll out and handling computer technology.
- Attend production check-ins and creative weeklies as well as lead production meeting with their direct reports.
- Propose hiring and talent recruitment of additional CG Artists as project needs guided to VP Creative and Production Management.
- Coordinate, work within a production schedule, handle files, run personal, build assets, and collaborate with Directors, Producers, and Project managers.
References
https://www.spinvfx.com/careers/cg-supervisor/
https://careers.viacomcbs.com/Nickelodeon/job/New-York-CG-Supervisor%2C-Noggin-NY-10036/767720600/
Look development artist
Look development artists (look devs) define the look of computer-generated creatures or objects to ensure all the art in the film or TV programme is consistent.
If a concept artist draws an alien, then the look development artist works out what the skin of the alien will look like in different conditions – when it’s raining, when it’s dark, when the creature’s angry. They work with lighting TDs, texturing artists and creature TDs to establish the different looks, balancing the processes of texturing, lighting and rendering to match reference images and real footage.
The looks that the look development artist creates are signed off by the CG or VFX supervisor. All the artists in their VFX pipeline then use these looks when they create their assets. This ensures consistency and quality.
Some VFX companies or studios may only have a lighting TD role, and not a look dev one. In this case the responsibilities of the look dev would be covered by a lighting artist.
- Art: have strong artistic ability, good understanding of form, colour and texture, and know how these elements work together
- Understanding lighting: understand colour, space and the scientific principles behind creating realistic lighting and have a strong knowledge of lighting techniques
- Collaboration: be able to work with other VFX artists, share ideas and expertise, agree upon a look
- Knowledge of VFX programs: be adept at using relevant programs such as Arnold, Blender, Maya, Mental Ray, Photoshop, RenderMan, Substance Painter, V-Ray and ZBrush
- Organisation: work within the production schedule, manage files and meet deadlines