VFX supervisor
VFX supervisors are in charge of the whole VFX project. They manage the VFX pipeline, including all of the VFX artists that work in this process. They have ultimate responsibility for all of the VFX elements produced for a project by their company or studio.
VFX supervisors work on a project from the early stages of preproduction. They are the main point of liaison between a VFX studio and the director or producer of the film or TV programme. Together, they decide on what VFX is needed for every shot of the film. VFX supervisors then work with the VFX artists to create prototype materials to present. These can include concept art and 3D computer-generated images (CG). The prototype materials help to inform the style of the VFX in the production.
VFX supervisors are present for filming during production so that they can see if the shots are satisfactory and ready for the VFX elements. VFX studios prefer if shots (pictures) are ‘locked’ (edited and okayed, ready to have VFX elements added to it) during filming. That means they can start working on the VFX while the rest of the film is being shot.
VFX supervisors continue to lead their team when the film is being put together during post-production. They oversee the quality of all work produced and make sure that it is in line with the vision of the director or producer.
Depending on the size of the production, VFX supervisors, may be employed on a single film for up to two years.
- Art: have excellent design, layout, colour and composition skills
- Knowledge of photography: understand cameras, cinematography and how films are made, be able to influence the shoot so it works for the VFX
- Knowledge of VFX programs: be adept at using relevant programs such as Maya, Nuke and Photoshop
- Collaboration: work in preproduction with the director or producer to decide on which shots will need VFX work, respond to their creative and artistic direction
- Leadership: share the director or producers’ vision of the film with the VFX artists of all departments, inspire them to do their best work, manage their output in terms of quality and deadlines
Key Skills
- Understanding of film production processes.
- Excellent organisational and communication skills.
- Knowledge of various 2D/3D software packages, such as Maya and Nuke.
- Ability to supervise and assign tasks to a team.
- Extensive knowledge of VFX production.
- Good leadership skills.
References
https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/on-set/vfx-supervisor/
https://www.productionbase.co.uk/blog/2019/10/14/become-vfx-supervisor/
https://discover.therookies.co/2019/05/23/what-does-a-visual-effects-supervisor-do/
Data capture technician
Data capture technical directors (TDs) go onto the film or TV set to collect the information about the live-action footage that the teams in the VFX studio need to add the visual effects.
They take photographs of the set and the way the cameras are positioned. They “capture data” about the type of lens type being used, its focal length, filters, focus and colour temperature. They also record the camera height, camera mount and distance between the camera and actor, and other details. And they take photos of surfaces, so that the textures can be recreated digitally later on.
All this information is necessary so the exact scene in the live action can be recreated digitally and the VFX can be incorporated in a believable way.
Data capture TDs use a variety of tools to capture the data, including cameras and a ‘total station’ which electronically measures horizontal and vertical angles and distances.
They upload, log and backup all the data, before sending it on to the relevant members of the VFX company on a daily basis.
Data capture TDs tend to be employed by VFX companies or studios rather than work as freelancers.
- Being accurate: be methodical in your work, pay close attention to detail, have strong problem-solving skills
- Technical knowledge of cameras: have an in-depth understanding of all motion picture equipment, cameras, lenses, monitors and lights
- Understand the VFX pipeline: know the process through which visual effects are created
- Using software: use the data sharing application FileMaker Pro, be able to operate and maintain your data collecting equipment yourself
- Being efficient: work quickly and accurately on set so that the physical production can run smoothly, organise and prioritise your tasks
Responsibilities
Ensure all information within project packs for each work order is complete and accurate
Undertake regular site visits to ensure project packs are a true reflection of the actual site works
On completion of the work by the operational teams, produce a survey drawing outlining work completed and send the following documentation to the Data Capture team:
Create Project Construction Drawings and supporting documents (AsLaid/Abandon Drawings/Spans) for the mains/assets laid and mains/assets abandoned and ensure they are correct.
When required obtain a copy of the Records of Asset Errors (DR4/RbP and supporting information), valve cards and/or governor cards and ensure they are included in the project pack
Ensure compliance with DR23.
Completion Pack Checklist must be completed and signatures obtained from Supervisors to approve handover of the project pack
Ensure Mains Test Certificates are included in the project pack
Ensure Routine Operations (RO’s) / Non-Routine Operation (NRO’s) are included in the project pack for all mains laid and mains abandoned
Ensure all project packs have all of the required documentation (as above) and are accurate and correct to the related project street before submitting to the Data Capture team
References
https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/on-set/data-capture-technician/
https://jobs.smartrecruiters.com/Technicolor/743999762486297-data-capture-on-set
https://www.prospects.ac.uk/job-profiles/special-effects-technician
Compositor
Compositors create the final image of a frame, shot or VFX sequence. They take all the different digital materials used (assets), such as computer-generated (CG) images, live action footage and matte paintings, and combine them to appear as one cohesive image and shot.
Compositors consider visual aspects of a scene. Realistic lighting is a key one of these. Anything caused by light hitting a lens is a compositor’s responsibility. They relight in order to improve the look of the image.
Compositors do ‘chroma keying’ (also just called keying). This is where they select a specific part of an image that has a distinct colour or lighting and extract it to be used elsewhere. This method is commonly used with ‘green screen’ or ‘blue screen’ footage, where a subject has been shot in front of a singularly green or blue background, in order to be able to place the subject in a different setting or environment later, in post-production.
Compositors work as the last part of a VFX ‘pipeline’ (the name given to the VFX production process). They can be employed by VFX studios or work as freelancers.
- A good eye: recognise what makes an image appear realistic in terms of light, colour, composition and perspective
- Knowledge of photography: understand cameras, cinematography and how films are made
- Knowledge of compositing programs: be adept at using relevant programs such as After Effects, Blackmagic Fusion, Houdini, Maya, Nuke and Photoshop
- Collaboration: be able to work with other VFX artists, use each other’s resources effectively and efficiently
- Working to deadlines: work within given time frames, be able to complete work under pressure
Nowadays a small, inexpensive green screen is easy to come by. It won’t be the same quality as a blockbuster film, but it’s good enough to practice keying with. Pick one up and shoot a simple scene with a friend. Work on keying and replacement. Get a similar shot without the screen to practice rotoscoping. These are essential skills for a junior compositing artist to have.
Another thing artists may want to experiment with is stitching together 360 videos. An artist may get a job as a junior artist at a studio that does this kind of work for clients. Impress artist seniors and show that you are keeping up with current trends in technology by practicing this technique.
References
https://www.cgspectrum.com/blog/what-is-compositing
https://www.studiobinder.com/blog/what-is-compositing-definition/
Compositing supervisor
Compositing supervisors are in charge of the department that puts together all the different elements of the visual effects (VFX) shots. They manage the compositors, who do this work, and check it for quality. They are also responsible for ensuring the continuity of colour between shots.
Compositing supervisors are very experienced in compositing. They are experts in taking different digital materials, like computer-generated (CG) images and live-action footage, and combining them to appear as one cohesive shot. They organise the team of compositors to meet the deadlines so the film or TV production company gets the VFX work on time. They may also composite shots themselves if needed.
Compositing supervisors tend to be employed by VFX companies or studios rather than being freelancers.
- A good eye: recognise what makes an image appear realistic in terms of light, colour, composition and perspective
- Knowledge of photography: understand cameras, cinematography and how films are made
- Communication and leadership: be able to manage compositors and share the creative vision of the project with them, inspire them to do their best work, manage their output in terms of quality and deadlines
- Organisation: plan workflows with a view to meeting deadlines, distribute work amongst your team
- Knowledge of VFX programs: be adept at using relevant programs such as Adobe After Effects, Blackmagic Fusion, Blender, Cinema 4D, Houdini, Maya, Nuke, RenderMan and 3ds Max
Job requirements
- Previous experience in a leadership role
- Excellent communication skills (with immediate team and other departments of the visual effect pipeline)
- Deep understanding of film VFX processes and pipeline
- Knowledge and experience in stereoscopic projects – native and post stereo
- Knowledge of OCIO
- Several years experience in Compositing predominantly in film or TV and commercials
- Expert user of Nuke plus other compositing software
- Critical eye for detail and a beautiful compositing showreel
- Able to work well under pressure
- Proven artist management and leadership skills
- Highly organized
- Lighting photography core skills
References
https://www.artofvfx.com/tag/compositing-supervisor/
https://framestore.recruitee.com/o/compositing-supervisor-montreal