Author: Shiwang Xuan

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://discover.therookies.co/2021/08/08/career-advice-working-as-a-layout-artists-for-feature-films-and-tv-series/

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/visual-effects-vfx/computer-generated/lighting-artist-visual-effects-vfx/

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.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/computer-graphics-cg-supervisor/

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

References

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/look-development-artist/

https://conceptartempire.com/look-development/

https://conceptartempire.com/what-is-vis-dev-artist/

3D modelling artists 

create the models for all 3D assets within a project – characters, weapons, vehicles, furniture, trees, rocks and so on. They often start with a brief or 2D drawing from a concept artist and build their 3D models from that. 

Sometimes 3D modelling artists will specialise in a certain area, depending on the individual game studio or project requirements. Because of that, they can be called environment artists, character artists or vehicle artists. In other studios, 3D modelling artists can be responsible for modelling several types of art asset or a whole level.

Environment Artist –

Being an environment artist is the craft of building CG worlds. The environment artists’ role can be divided into two: asset creation and layout – both require the artist to have a good understanding of lighting and textures. It’s become common to spit these two elements into a level design role and an environment artist role to achieve even greater job specialisation.

Character Artist –

A character artist is somebody whose primary job is making characters and creatures. The foundation for all character art is figure sculpting.Everything else, from topology, UVs, shading, etc. is secondary to solid figure sculpting. A character artist isn’t an entry-level position. While there are junior character artist positions, the people who get these jobs are usually already highly skilled artists who have been doing character work for years already.

Vehicle Artist –

As a vehicle artist, it’s likely that your portfolio will be a cross-over between cars, spaceships, weapons or robots, etc. It’s important for the artist to have a solid understanding of real-world industrial vehicle design and hard surface assets, in general, to be able to communicate this in their work.

What’s a modelling artist good at?

• Art: be able to draw, have a good understanding of form, colour and texture, and know how these elements work together
• Interpretation: be able to create a 3D model from a 2D brief, decide upon the best method to complete a 3D model quickly, while having a required level of detail and quality
• Knowledge of 3D modelling programs: be adept at using relevant programs such as Blender, Maya and ZBrush, continuously learn new ways to fix problems in your models
• Organisation: work within the production schedule, manage files and meet deadlines
• Collaboration: be able to work with other VFX artists in the pipeline, use each other’s resources and work effectively

References

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/modelling-artist/

https://discover.therookies.co/2019/05/22/job-titles-in-3d-animation-visual-effects-and-what-they-actually-mean/

Animator

Also known as: 2D animator, 2D puppet animator, 3D animator, Computer graphics (CG) animator, Stop-frame animator, Stop-motion animator

Animators create still images that are played in a rapid sequence to create the illusion of movement. They are artists, actors and storytellers. They know how characters show emotion and a have a good, technical understanding of the way things move. They make a believable world through the blend of realism and artistry.

Animators take a visual brief from a storyboard and a verbal brief from a director. From the brief, they create the drawings, models or computer images in a way that gives the illusion of movement. This ability to translate the brief into movement is at the heart of all animation.

Within that, there are different kinds of animators:

2D or traditional animators

2D assistant animators, also known as in-betweeners, clean-up artists

2D rigging animators, also known as puppet animators
Examples of productions

3D or CG Animators Examples of productions

Stop-motion animators Examples of productions

What’s an animator good at?

• Art: draw and reveal attitude, emotions and mood through a character’s movement, have spatial awareness and a feel for movement over time
• Knowledge of animation: have a good understanding of the principles and mechanics of animation
• Communication: be able to understand and share creative ideas, have productive discussions and take notes on your work
• Organisation: work within the production schedule, create your drawings and animation to meet deadlines
• Watching animations: have a passion for the medium and a love of the industry

References

https://www.screenskills.com/job-profiles/browse/animation/production/animator-animation/

https://en.wikipedia.org/wiki/Animator

Texture artist

3D texture artist job description

Texture Artists specialize in creating the textures of 3D animated objects. They require a biological understanding of skin in humans and animals, as well as a knowledge of textiles, geographic elements, architectural finishes, landscapes, etc.

With games now requiring more photo-realistic finishes these days the role of the Texture Artist is increasing in importance. In line with this trend, some of the work of the Texture Artist involves scanning photographs and then applying them to objects and environments created by the 3D Modelers. 

Custom textures are created for fantasy environments, objects, and creatures, but they are always rooted in reality. Covering gaming worlds on a variety of surfaces prevents boredom and enhances gameplay. 

Gaming Texture Artists work closely with modelers and shading/lighting technical directors to create the best possible elements for the game universe. 

Texture Artists in live action films and 3D animation features create textures for the elements of the productions that require complex texturing. In live action productions, this will be more photo-realistic as it must integrate seemlessly with the footage, and sometimes replicate surfaces that exist in real life.

Responsibilities of a Texture Artist may include:

• Liaising with designers and developers regarding the design brief
• Liaising with the director, cinematographer, design department on the finishes of the texturing 
• Researching reference materials for aesthetics and genre of game, film or animation
• Working with post production and visual effects teams for seamless integration with footage
• Develop and refine textures during the production process
• Collaborate with animators and modelers on the best textures for each object and character
• Create a diverse and compelling range of textures that will engage the player and enhance gameplay
• UV mapping
• Maintain a high level of design and photorealism throughout
• Curate a consistent look of all the elements of the game

References

https://discover.therookies.co/2019/05/22/job-titles-in-3d-animation-visual-effects-and-what-they-actually-mean/

https://www.screenskills.com/job-profiles/browse/games/art/texturing-artist/

Environment artist

3D Environment Artists are 3D Modelers who specialize in creating indoor and outdoor settings for films or video games.

They are responsible for background visuals with which characters and objects will interact, such as buildings, roads, flora, furniture, drapes, etc.

For films or TV shows, environments are often built digitally when it is not possible or practical to film in real life (e.g. outer space, historical recreations, fantasy lands). Actors may be recorded against a green screen and their surroundings replaced by computer-generated environments built by 3D Environment Artists. 

In video games, these virtual environments have an additional layer of complexity. They must function and react according to the laws of physics and within the rules of the game universe. So characters must not be able to walk through walls, objects must react to gravity, etc (unless these are unique features of the game universe).

Pre-requisites

• A great artistic eye
• Knowing what “makes a scene”
• A firm understanding of architectural elements, environments, and props
• The ability to take a blockout from Level Designers and turn it into a fully lit/crafted level
• The ability to work as a team
• Excellent at problem-solving
• The ability to be detail-oriented, while also seeing the bigger picture
• Strong multitasking skills

Reference

https://www.unrealengine.com/en-US/blog/what-is-an-environment-artist

https://www.cgspectrum.com/career-pathways/environment-artist

Runner

Runners are all-purpose helpers in a VFX studio. They support any and all members in the studio and make sure that everyone has what they need. Runners do a variety of jobs. They deliver materials and messages between departments. They organise meetings and schedules. They keep the office clean and tidy and might work on reception or be responsible for locking up. They also make a lot of tea and coffee. They do whatever professional task needs doing.

A runner is an entry level position. In some studios, being a runner is a route into VFX artist roles and comes with opportunities to learn about those positions. In other studios, runners are seen as the entry point into production management. Some companies might assign runners a mentor and give them training tasks. The runner role can be a good route into the industry for someone without relevant degree education but with a good portfolio and lots of enthusiasm.

What’s a VFX runner good at?

• Interest in VFX: take an interest in the work of the company, be keen to learn technical skills where you can and grow your knowledge about VFX
• Being proactive: use your initiative to find jobs to do and show resourcefulness, make a good effort in all of the tasks that you do
• Enthusiasm: be confident, approachable and communicate well with all team members and clients
• Reliability: be on time and be able to multitask efficiently
• Adaptability: be able to prioritise jobs and cope well under pressure, adapting to changing project schedules and sometimes working late or irregular hours
• A smart cookie who can work unsupervised and always with a positive and sunny outlook.
• A friendly, quick thinker who is able to use their initiative.
• Someone who is happy to roll up their sleeves up and work hard, juggle multiple tasks and get things done quickly and efficiently.
• A ‘doer’ who can jump in and fix problems when they arise with a solution approach and a keen willingness to learn.
• A working knowledge of word processing and spreadsheet software (word, excel).
• Able to work either day or evening shifts and availability for weekend work as required

Any of the following experience is a great advantage:
• Customer service experience would be helpful but not essential.
• Knowledge of visual effects would be good but not essential.

Paint artist

What does a prep artist do?

Prep artists clean up the backgrounds of live action-footage ready for the effects to be layered onto it by the compositor. The shots they work on, known as plates, either moving or still, don’t have foreground action or players included.

Prep artists use specialist VFX software to clean plates. There are many processes used to do this cleaning. They remove any unwanted dust and scratches from the frame. They sort out dropped frames, where a camera has been unable to capture all the frames in a given time resulting in little jerks in the action. They remove any unwanted items such a boom microphones or electric pylons.

They are typically employed by VFX studios but can also operate as freelancers.

What’s a prep artist good at?

• Art: be skilled at drawing and painting using a graphics tablet, have a high level of accuracy with the pen or stylus
• A keen eye: recognise when and where images need to be cleaned, even in the minutest detail, make your work invisible
• Patience: be methodical and thorough
• Knowledge of VFX programs: be adept at using relevant programs such as Maya, Photoshop and, particularly, Nuke
• Organisation: work well with strict deadlines, be able to complete work under pressure
• Paint Artists work with Compositors to help them integrate all elements of an image, including CG and live action, to create film visual effects shots. They remove unwanted items from plates, such as; wires, rigs, crew, mocap people and tracking markers. They clean up the backgrounds of live action-footage ready for the effects to be layered onto it by the compositor.

Roto artist

Roto artists manually draw around and cut out objects from movie frames so that the required parts of the image can be used, a process known as rotoscoping.

The parts of an image that are wanted after cutting out are known as mattes. Roto artists work on the areas of live action frames where computer-generated (CG) images or other live-action images will overlap or interact with the live image.

If the live-action camera is not moving within a shot, rotoscoping might involve only one frame. If the camera’s moving, roto artists trace the relevant areas of every frame within the shot so that CG can be combined accurately with the live-action. Roto artists need to have a keen eye and patience in order to complete this meticulous and repetitive work.

In addition to rotoscoping, roto artists assist in the preparation of material for compositing.

Roto artists are typically employed by VFX studios but can also be freelancers.

What’s a roto artist good at?

• Drawing skill: trace accurately with a good line
• Patience: be methodical and thorough, taking care to rotoscope well so as to help to produce a high-quality final image
• Knowledge of programs: be adept at using relevant programs such as Photoshop
• Delivery: work well with strict deadlines, be able to complete work under pressure
• Taking initiative: observe what’s happening, be pro-active, ask questions at the appropriate time

Desirable Skills:

• Prior experience in a Paint and Roto role
• 3D Maya interface experience
• An understanding of Python scripting and how to use this to create and edit Framestore gizmos
• Planar and point tracking software experience
• A general understanding of the VFX production and comp workflows
• A knowledge of photography and practical lighting

references：

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/production-management/runner-visual-effects-vfx/

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/compositing/prep-artist/

https://framestore.recruitee.com/o/preppaint-artist

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/compositing/roto-artist/

https://framestore.recruitee.com/o/paint-and-roto-artist-montreal