I used to have a less than comprehensive understanding of the position of VFX in film and television. Through my understanding of the VFX career during the holidays, I have gained a better understanding of the industry, in which there are six major departments , which are：
1.Production management department
2.Pre-production department
3.On set department
4.Computer-generated (CG) department
5.Technical department
6.Compositing department
I am most interested in are VFX supervisor and FX TD (Effects technical director) VFX supervisors are in charge of the whole VFX project. VFX supervisors manage the VFX pipeline, including all of the VFX artists that work in this process. VFX supervisors have ultimate responsibility for all of the VFX elements produced for a project by their company or studio.
FX TDs make it easier for visual effects (VFX) artists to use effects like explosions, billowing smoke and rushing water. FX TDs create these effects for the VFX artists to use in their sequences; FX TDs write the computer language scripts that generate the effects. FX TDs build and test software tools for the VFX artists to use and then FX TDs incorporate them into a VFX studio’s production pipeline.
The reason I like these positions is because of my love for science fiction films and animation. From a very young age, I have loved mythology, including Greek mythology, Chinese folklore stories, etc., from the Chinese Journey to the West and Hou Yi Shooting Down The Sun on TV to the Western blockbuster Star Wars, Lord of the Rings series, etc. I am obsessed with science fiction films, which use scientific theories that are not necessarily accepted by the mainstream scientific community, alien life, alien planets, superpowers or time travel, etc. My main research interests are in the simulation of realistic physical effects, particle effects in film (including clouds, clusters, debris etc.), kinetic simulations (fragmentation, rigid body mechanics, soft body mechanics, fabric, hair etc.), fluid effects (smoke, fire, explosions, water etc.) and other special effects, as well as 3D character modelling and integration with live action. I would like to set up my own VFX studio and work on film and TV productions, as well as working as a VFX supervisors or FX TD (Effects technical director). If I were to take on this type of role, the requirements for all aspects of the profession would be very high. 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，Science: have a good understanding of physics, be able to create accurate and believable movement of particles, Problem-solving: overcome obstacles, use current technology to find new ways to achieve a creative vision, Knowledge of VFX production pipelines: have a strong understanding of other roles within VFX studios and ensure that FX sequences will fit into the rest of the process and the finished product，Programming and coding skills: have a high level of technical ability using a variety of relevant software.
For the work I do in visual effects, I need not only a solid professional foundation, good aesthetics and originality, excellent logical thinking skills, familiarity with the operation of software, but also passion and strong learning ability and resistance to pressure, a sense of responsibility and a meticulous attitude to work. I will start small, such as runner, to give myself the opportunity to learn more, to explore my potential, to learn more and learn professional knowledge, and to achieve my goal as soon as possible.
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
Qualifications
Production Manager Essentials:
Proven experience of strategic scheduling within VFX
Highly organized and analytical
Good use of initiative, decision-making and issue management with the ability to drive issues through to resolution; prioritization and delegation; time management
Managing difficult conversations; managing remote teams; teamwork and training others
Based on a deep understanding of the script and the director’s overall concept, the editor uses the split-screen script as the basis for the film’s layered story, the smooth unfolding of the plot and natural changes in pace, which helps to highlight the characters, deepen the subject matter and increase the film’s artistic impact. As a close collaborator with the director, the editor plays a pivotal role in the success or failure of a film through meticulous and complex re-creation activities.
VFX editors work as the link between the film or TV production team, which shoots the live-action footage, and the VFX studio that does the visual effects. A VFX editor can be employed by a VFX studio or directly by the film or TV production company. The role varies depending on whether they are in-house (employed by the studio) or client-side (employed by the film or TV production company).
Client-side VFX editor: Client-side VFX editors work on set, while the live-action footage is being shot. They check everything is being captured in a way that makes it possible for the VFX to be created and integrated effectively. They keep track of the director’s notes and make sure that the VFX editor employed by the VFX studio knows about any changes that will affect the way the VFX need to be created. The client-side VFX editor bring drafts of the shots together so that the director can see how they will look with the VFX incorporated and make sure the footage all comes together to create a cut of the film or TV programme that’s in keeping with what was signed off in previsualisation.
In-house VFX editor: In-house VFX editors work closely with client-side VFX editors, but are responsible for ensuring that the VFX artists at the VFX studio have everything that they need to create their work.
While the project is being worked on, the VFX editor creates a workflow that allows the VFX supervisor to evaluate the VFX artists’ work and provide feedback on the aesthetic and on the technical direction. As the client approves shots or versions, the VFX editor incorporates them into the current cut (edit) and oversees the passing of work back to the team that is editing the film or TV programme.
What’s a VFX editor good at?
Attention to detail: be meticulous with a strong eye for detail, making sure all shots are of the highest possible quality
Editing: have a good understanding of story-telling and be adept at using editing software
Communication: have excellent communication skills, understand exactly what the desired effect is in each shot and give effective direction to achieve that, keep clients informed on progress
Organisation: be on top of the work that needs to be done and its progress with a good understanding of the pipeline, keep track of any changes in the project and keep all staff informed
Working to deadlines: have very good time-management skills, make sure the project stays on track for its deadline and cope well with working under pressure towards tight post-production deadlines at the end of the project.
Data input/output (I/O) technicians are responsible for organising, transferring and storing the computer files and data for a VFX production company.
They manage the computer storage and retrieval systems, including company hard drives. VFX companies process large amounts of data because they deal with high-quality video files and digital 3D animation files. They know different digital camera formats, for instance, Alexa, Cannon, Phantom and Red. Data I/O technicians troubleshoot any issues that come up to do with file storage.
Data I/O technicians ensure that all of transferring and storing of data is done securely and that files are encrypted wherever necessary. They follow company protocols to comply with safety standards. They make logs of all of the files that they receive and perform quality control checks on these files to see if there are problems or if the files are corrupted. They use file transfer programs in order to perform their role.
Data I/O technicians give technical support to people working in a VFX pipeline when needed. They are usually employed by VFX companies or studios rather than freelancers.
What’s a data I/O technician good at?
Programming and coding skills: have knowledge of programming in C++ and Python with a high level of technical ability
Computing technical skill: be able to work in Microsoft Windows, macOS (Apple), Linux or Unix operating systems, understand how the data sharing application FileMaker Pro works and be able to use it, understand file transfer protocols (FTPs)
Understand the VFX pipeline: know the process of how VFX get created
Communication and teamwork: communicate well with the other data I/O technicians, and VFX artists, when necessary, so that there is a cohesive and structured file storage system
Organisation: be attentive to the detail of the files and data that you process and store, maintain a working system of file storage
Efficiency: work quickly and accurately, organise and prioritise your tasks
Concept artists create artwork to inspire the look of the visual effects (VFX) in a film or TV production.
They draw the characters or creatures and environments as well as vehicles, props and buildings. They begin with a brief, which might be a script, or the original concept of a film as told by its filmmaker. They carry out research and create mood boards, which they use as a starting point to create lots of versions of their designs. The artwork that concept artists create helps other members of a production, or in the VFX pipeline, to have a shared vision.
Concept artists use digital and traditional drawing and painting to create their work. A lot of the work they produce is in the form of still 2D images; however, concept artists can also produce work using 3D software to create 3D wireframe computer-generated images (CG). This can help speed up the VFX production pipeline.
Concept artists typically work on a freelance basis, and their job role is highly specialised. They may grow to be associated with a particular VFX company. On large-scale movie productions, concept artists can work in a film’s art department or costume department. They act as the point of contact between the film departments and the VFX team.
What’s a concept artist good at?
Illustration: have a great ability to create inspirational art, understand image form, colour, composition and lighting
Interpretation: understand the key aspects of the source material, translate into artwork
Design appreciation: have a general cultural interest in design, architecture and film
Software knowledge: be able to use computer illustration software and 3D VFX software to create concept art
Flexibility: respond well to notes from senior creative production members and adapt and update artwork accordingly
Previsualisation (previs) artists help to plan out what a film is going to look like. Previs is the process of visualising a scene before creating it.
Previs generally takes the form of a 3D animatics, namely a rough version of a scene or scenes. Previs artists usually start with a 2D storyboard from a concept artist. They create draft versions of the different moving image sequences and they put it all together using their compositing and editing skills.
The previs process is used to plan shots, work out the scale and timing and to show roughly where the characters are going to move. It’s used to map out how the visual effects (VFX) will fit into an otherwise live-action scene. Creating previs can save films and television series and shows valuable time and money on set or in post-production.
Once a film is in production, previs artists help the other VFX artists maintain a consistent style in their work.
Previs artists are either employed by VFX studios or they work as freelancers.
Cinematography: have a good artistic eye for composition, particularly for camera shots and movements
Creativity: be able to tell a story in the previs work that you produce, come up with original ideas for what the shots should look like and spark the director’s imagination
3D software: have a high level of skill using 3D animation and VFX software and a strong understanding of form and volume (the way that objects exist and move in 3D), coding skills are also useful
Basic editing skills: have basic video editing skills as well as some knowledge of rendering and compositing, which you can use to create animatics
Organisation: have excellent organisational skills, stick to production schedules and budgets, be on top of your data management
Communication: work well within a team, understand and help to achieve the director’s vision
The position requires proven digital art and animation skills, including experience in modeling, rigging and character animation. Experience in using software applications such as Maya is required.
Understanding of cameras, staging, composition, cadence, timing and general shooting concepts, attention to detail, respect for studio, production and pipeline processes and requirements, clear and professional communication skills are all required for this precision and efficiency profession. The practice of English is a necessity, as it is often the case in this environment.
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.
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 graphicsanimators to control the movements of those models.
The role may additionally encompass disciplines such as modeling and simulation.
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.
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
Effects technical directors (FX TDs) create physics-based digital effects, such as explosions, smoke and water, that the animation artists can use in their shots and sequences. They make sure the effects look believable and also consistent with the style of the animation so that they blend seamlessly with the other art assets.
The role is both artistic and technical and so is ideal for problem-solvers with a good eye. FX TDs aim to meet the director’s vision, in terms of digital FX, with the resources available to them.
FX TDs work for animation companies or studios.
https://www.youtube.com/watch?v=CxnoQUjEkMM
Problem-solving: think analytically to identify problems and come up with creative and efficient solutions, find ways to overcome obstacles and deliver the project
Support: offer guidance to more junior artists, give face-to-face technical help to all animation and lighting artists, communicate well, have a positive attitude
Knowledge of all parts of animation pipelines: have a strong understanding of all jobs within a pipeline, what these involve, the needs and challenges of the roles
Knowledge of 3D animation programs: be adept at using relevant programs such as Maya, Houdini, Blender, Adobe After Effects, Cinema 4D, MotionBuilder, Nuke, RenderMan and 3ds Max
Programming and coding skills: have advanced knowledge of programming in Python, VEX and C++ with a very high level of technical ability
The FX Technical Director works under the supervision of the FX Supervisor to create realistic particle and fluid effects for live-action film and television. They will often work on set to ensure the footage is filmed in the best way for special effects to be inserted during the post production process. These include fire, smoke, moving water, air debris, snow, clouds, steam, etc.
As well as overseeing the completion of the FX sequences, the FX Technical director will create code for customized tools required for the production.
Assistant TDs help to identify and fix problems and make sure everyone in a visual effects (VFX) production pipeline has the tools they need. They have a very good understanding of how VFX pipelines work and of different VFX job roles. Their expertise also includes understanding the software used by VFX artists and the needs and limitations of different departments.
Assistant TDs assist pipeline TDs and other TDs to gather information on the needs of each department. They design solutions for problems that arise and also use coding skills to create small-scale tools needed by the VFX artists. They deal with minor bug reports so that pipeline TDs to deal with bigger problems, such as rendering errors.
Assistant TDs are also responsible for data management, archiving and restoring and tracking data and converting and resizing files where needed. They help to keep the project on schedule. Along with pipeline TDs, assistant TDs will work closely with research and development teams, who design and test any new software.
https://www.youtube.com/watch?v=FVfkbIJp9fo
Communication: be helpful and patient and communicate well with a variety of staff at different levels to understand their needs and assist with technical issues, work well as part of a team to develop solutions, take direction from a pipeline TD and escalate issues to them when necessary
Problem-solving: think analytically to identify problems and come up with creative and efficient solutions, finding new ways to overcome obstacles and achieve a creative vision
Attention to detail: have a good eye for detail when designing tools and fixing technical issues
Knowledge of all parts of the pipeline: have a strong understanding of all jobs within the pipeline, their roles, needs, and the challenges they face
Programming and coding skills: have advanced knowledge of programming in Python and C++ with a very high level of technical ability using a variety of relevant software used across the project such as Maya, Houdini and Nuke
Programming experience, preferably in Python, C++, MEL, and/or java Undergraduate or Graduate degree, ideally in a technical field Good knowledge of CG software packages such as Maya, Houdini, Nuke Excellent problem-solving and interpersonal skills Familiarity with relational databases and/or SQL a plus Good understanding Bash/cshell/Linux Knowledge of render queuing software a plus Experience in code-sharing, revision control Experience writing or working with shaders for vray, Renderman, Mantra, Mental Ray or other production renderers an asset Knowledge of Shotgun or asset management systems a plus
Software developers produce the technology required for a visual effects (VFX) project. They create the systems which technical directors (TDs) can use and modify to suit the specific needs of their VFX artists. They also design new digital tools and make sure they fit into existing software systems. This enables the efficient passing of assets from one VFX process to the next.
This is a research and development role, which means that it involves working out ways to improve how well digital processes works. Software developers must stay informed about software and technology relevant to their field and beyond. They find innovate ways to enable the artists within the pipeline to complete their work as fast and as well as possible.
Communication and teamwork: communicate well with pipeline technical directors as well as directly with a variety of staff at different levels to understand their needs and assist with technical issues, work well as part of a team to develop solutions, present a plan to and take direction from supervisors
Problem-solving: think analytically to come up with creative and efficient solutions, using the most up-to-date technology to find ways to overcome obstacles and achieve a creative vision
Programming and coding skills: have advanced knowledge of programming in Python and C++ with a very high level of technical ability using a variety of relevant software used across VFX projects, such as Maya, Houdini and Nuke
Knowledge of all parts of the pipeline: have a strong understanding of all jobs within VFX pipelines, their responsibilities and needs
Planning: create an appropriate development plan and stick to a timescale, understand how to breakdown a project into tasks
Pipeline TDs make sure a VFX project runs smoothly by identifying and fixing problems as they arise. They make sure each department has the software tools that they need to complete their part of the project to the best standard possible. They have a very good understanding of how VFX production pipelines work and the roles within them.
They communicate with VFX artists across the team to understand their needs. They then put things in place to ensure the project runs smoothly and the artists’ needs are met. If the project isn’t running smoothly, they identify what kind of tools need to be developed to fix this. Issues that arise might be technical ones to do with 3D art, or productivity issues. Their job involves writing or modifying code to solve problems. They also provide face-to-face technical assistance. Pipeline TDs will work closely with research and development teams, who design and test any new software.
Communication: communicate well with a variety of staff at different levels to understand their needs and assist with technical issues, work well as part of a team to develop solutions and take direction from a VFX supervisor
Problem-solving: think analytically to identify problems and come up with creative and efficient solutions, find new ways to overcome obstacles and achieve a creative vision
Knowledge of all parts of the pipeline: have a good understanding of the jobs within the pipeline, their roles, needs and the challenges that they face
Programming and coding skills: have advanced knowledge of programming in Python and C++ with a very high level of technical ability using a variety of relevant software used across the project such as Maya, Houdini and Nuke
Helping others: offer guidance to more junior members of the pipeline team and give face-to-face technical assistance to staff across departments, maintain a positive attitude
Must Have
• Previous experience in Visual Effects or related industry
• Excellent Python, Maya and Linux skills
• Solid understanding of the Visual Effects pipeline
• Experience in developing tools for DCC packages such as Maya, Houdini or Nuke
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.
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.
https://www.youtube.com/watch?v=xBKK_keornQ
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
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.
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.
https://www.youtube.com/watch?v=ddLEVUMK6Ic
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
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.
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
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
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.
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
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
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
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
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
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
