Rigging TD (rigging technical director)
Rigging technical directors create digital skeletons for 3D computer-generated (CG) models. They program these ‘rigs’ or puppets so that they move in a realistic way. This underlying skeleton is then used by animators as the basis for their movements.
Rigging TDs typically receive a 3D CG model in a static pose, drawn by a modeller. They may also receive facial shapes and expressions of the characters. They then work out how the bones move when the character runs or smiles and create a computer programme that simulates that.
Animators test rigs and then give feedback to rigging TDs, who will complete any requested fixes and the process will continue until both parties are happy with the rigged models (the 3D puppets).
Rigging TDs can be employed by VFX studios or work as freelancers.
- Programming and coding skills: have advanced knowledge of programming in C++ and Python with a very high level of technical ability, be able to use a variety of relevant software such as Houdini, Maya and Nuke
- Working to deadlines: work within given time frames, be able to complete work under pressure, be organised
- Collaboration and communication: be able to work with other VFX artists, use each other’s resources effectively and efficiently
- Science: have a good understanding of anatomy, physics and how things move
- Problem-solving: find solutions as quickly as possible to support the needs of modellers and animators, relating to the rigging process
Key Skills
- Experience of programming and coding
- Knowledge of Python and C++
- Organised and able to work to deadlines
- Ability to work under pressure
- Good communication skills
- Ability to collaborate with other individuals and other departments
- Good problem-solving skills
In charge of creating, maintaining and expanding Rigs for a variety of props, vehicles, characters and other CG objects that need to be animated. Will work in collaboration with the animation team to create intuitive and responsive rigs that meet animator’s needs. Extend rigs for any performance requirement for specific shots. Communicate with the Modelling Department to ensure that models are suitable for rigging. Will adhere to technical standards of the Rigging department and ensure that Rigs are pipeline friendly. Interprets the Rigging Supervisor/Animation Supervisors/Directors notes and delivers a variety of Rigging options to gain final Rig approval as efficiently as possible. Is familiar with pipeline issues and technical problem solving and will build tools to ensure smooth delivery to Animation.
Desirable Skills:
- Facial anatomy, realistic eye and mouth rigs, Facs breakdown
- Life drawing or organic modeling especially human anatomy
- Basic knowledge of dynamics (Maya Hair, nCloth, nParticle etc.)
- Strong maths background, especially matrix maths and geometry algorithms
- C or C++ programming Maya plugins
- Experience with body motion capture: rig hookups, offset rigs, re-targeting etc.
References
https://framestore.recruitee.com/o/rigging-td-film-episodic
https://www.productionbase.co.uk/blog/2019/10/21/become-rigging-td/
Creature TD (creature technical director)
Creature TDs build the software that enables artists to create believable fur, feathers and skin on their creatures.
They develop and program the digital tools for all the artists who work on digital dinosaurs, animals or magnificent beasts, helping them to be as efficient as possible. They then work with pipeline TDs to incorporate the tools into a VFX production pipeline.
The scope of the creature TD role varies depending on the size of the studio. In some studios, the role includes rigging, which involves creating systems of skeletons and muscles which are then used by an animator as the basis for the creature’s movements. In larger studios, the role of creature TD is focussed on creating the fur, hair, feathers, skin. The goal is the same, to make sure the effects look convincing and blend seamlessly with the other VFX and live-action components of the film or TV programme.
Creature TDs can be employed by VFX studios or work as freelancers.
- Problem-solving: be able to come up with solutions and overcome obstacles, use the most cutting-edge technology to find new ways to achieve a creative vision
- Collaboration and communication: be able to work with other VFX artists, use each other’s resources effectively and efficiently, be able to receive feedback in a constructive way
- Programming and coding skills: be able to use a variety of relevant software such as Houdini, Maya and Ziva Dynamics, be able to understand and use script languages (Python as preference, Mel and C++ as optional)
- Working with Linux or Unix operating systems: know how to work with these operating systems, which are different from Microsoft Windows or macOS (Apple)
- Working to deadlines: work within given time frames, be able to complete work under pressure, be organised
The role of a character TD may vary from studio to studio in its scope, but is almost always centered around the discipline of rigging: the process of engineering anatomical or mechanical kinematic systems that move and deform digital models, and the design of higher-level interfaces used by computer graphics animators to control the movements of those models.
The role may additionally encompass disciplines such as modeling and simulation.
References
https://en.wikipedia.org/wiki/Character_Technical_Director
VFX Producer
VFX producers manage the whole process of creating the VFX for film or TV. They make sure that the client, usually the film or TV series’ producer or director, is happy with what the VFX studio makes.
VFX producers write the bid; the document through which they persuade the film or TV series’ producer to take their VFX studio on to do VFX work on a project. VFX producers put together the team of VFX artists and other technical staff. They set the schedules for the work and they manage the budget.
While filming is happening, VFX producers work closely with the live-action production crew. They also work with the editor in post-production. They communicate between the crew and editor. How much they interact with the client varies between studios. They might report to them on a weekly or even daily basis.
- What’s a VFX producer good at?
- Organisation: effectively plan and manage the project using VFX production pipeline organisation software, be able to budget accurately
- Leadership: be confident in giving direction and leading a team, communicate well with everyone, create a positive atmosphere within the team
- Knowledge of VFX: understand all aspects of VFX pipelines, know the processes, the creative challenges and the software used by the artists
- Problem-solving: anticipate any issues that might occur during the project, adapt to changing timescales and technical issues
- Working with clients: communicate well with the film and TV producers, keep them informed it things don’t go to plan, be diplomatic, keep good relationships
How to become a VFX producer
A VFX producer plays an essential role in any VFX studio—they act as the connective tissue between creative departments and bridge the gap between studio and client to create high-quality content that aligns with the director’s vision.
Production tracking plays a crucial role in almost everything a VFX producer does. And with the sheer volume of media generated by today’s streaming and on-demand services, organization and the ability to empower quick turnaround are necessities. As such, learning to use a platform to communicate with different departments, track time spent on tasks, access the latest assets, provide feedback, and work towards milestones is a necessity in today’s complex VFX projects.
References
https://www.ftrack.com/en/2021/08/what-is-a-vfx-producer.html
https://www.spinvfx.com/careers/vfx-producer/
Production Manager
Production managers act on the decisions that have been made by the VFX producer. They create the detailed schedule for the project and look after the budget.
They oversee the work of the production coordinator in scheduling the work and might also be involved in casting or hiring artists and drafting contracts. They liaise with the VFX artists and technical directors (TDs) from all parts of the VFX pipeline to see that work is completed on time.
They are also important in communicating with the producer of company shooting the live-action footage and producing the film or TV programme.
Production managers tend to be employed by VFX companies or studios rather than freelancers.
- What’s a production manager good at?
- Communication: keep in contact with the various departments on a production in order to inform them of their schedules, relate to your colleagues and explain yourself well
- Organisation: plan, prioritise, multitask and use your own initiative to manage schedules
- Anticipation: listen and be one step ahead of what’s going on, enable everyone to be able to get on with their job
- Leadership: be confident in giving direction and leading a team, communicate well with everyone, create a positive atmosphere within the team
- Knowledge of VFX: understand all aspects of the VFX pipeline, know the processes, the creative challenges and the software
- Problem-solving: anticipate any issues that might occur during the project, adapt to changing timescales and technical issues