Jobs in VFX Part 2

Welcome to part two of the jobs in VFX series. This part will cover jobs in the computer generated department, compositing department, and technical department.

Computer-generated Department

Environment artist

Environment artists create the computer-generated places in which actors move. They make galaxies, lunar landscapes, and desecrated cities – any environment that it’s too difficult to film in real life. They create the 3D environments using modeling and sculpting software. They often work from a brief delivered to them in the form of 2D or, sometimes, 3D digital art produced by a concept artist. Or they might work from reference materials, such as photographs or line drawings, which can be scanned into 3D software.

Recommended Skills:

·         Be good at drawing

·         Knowledge of environments: understand architecture, have good awareness of city spaces and landscapes.

·         Knowledge of 3D modeling programs: be adept at using relevant programs such as Blender, Maya, and ZBrush, and continuously learn new ways to fix problems in your environments.

·         Collaboration: be able to work with other VFX artists in the pipeline, use each other’s resources and work effectively.

·         Organization: work within the production schedule, manage files and meet deadlines.

Layout Artist

Layout artists determine the position of the virtual camera and ‘block’ characters for computer generated image (CG) shots of a VFX sequence. To ‘block’ the characters means to choreograph where the characters are positioned and where they will move to over the course of a shot.

Layout artists consider a shot’s framing, composition, camera angle, camera path and movement, and the rough lighting of each key scene. They keep a consistent scale of the elements within the frame. The work that layout artists do enables other VFX artists to have a basis for shot construction later in the VFX production pipeline.

Recommended Skills:

·         Have a good eye for movement and scene layout to best convey mood and plot

·         Photography: Have an eye for composition, know how to tell a story through a shot, understand camera and lighting techniques, know how to use them to affect emotions

·         Knowledge of VFX programs: be adept at using relevant programs such as Adobe After Effects, Blender, Cinema 4D, Houdini, Maya, Nuke, RenderMan and 3DS Max.

Lighting Artist

Lighting artists 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 color, placement, and intensity of CG lights to create atmosphere and 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 program,which can create technical challenges. 

Recommended Skills:

·         Art and design knowledge: have a strong understanding of color theory, perspective, and design theory

·         Understanding lighting: understand color space and the scientific principles behind creating realistic lighting and have a strong knowledge of lighting techniques

·         Knowledge of 3D lighting software: V-Ray, Arnold, Redshift, and Renderman as well as rendering packages and digital paint software like Photoshop

·         Problem-solving: overcome obstacles, use the most cutting-edge technology to find new ways to achieve a creative vision

·         Organization: communicate constantly with other departments about schedules and work to these efficiently

Modeling Artist

Modeling artists create characters, weapons, plants, and animals on a computer in 3D.

They start with a brief, which might be 2D or 3D art produced by a concept artist. Or they can work from reference materials, such as photographs or line drawing sketches, which can be scanned into 3D software.

They first create a ‘wireframe’, commonly referred to as a ‘mesh,’ of the object. This looks like a series of overlapping lines in the shape of the intended 3D model. From the mesh, they are able to sculpt the model of the object to closely resemble what’s intended. They use digital tools, such as sculpting brushes and a physical graphics pen and tablet.

Modeling artists work at an early stage of the CG and 3D part of the VFX pipeline. The 3D models that they produce can then move on to be animated, given texture, and lit.

Recommended Skills:

• Art: be able to draw, have a good understanding of form, color 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 modeling programs: be adept at using relevant programs such as Blender, Maya and ZBrush, continuously learn new ways to fix problems in your models
• Organization: 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.

Texture Artist

Texture artists make surfaces look realistic on computer-generated (CG) 3D models.

They rough objects up, or they make them shine – scales on a crocodile’s skin, reflections on car doors, skid marks on roads, creases in trousers.

They start with a 3D model created by a modeling artist,  usually a plain grey shape. Then the texture artists paint the details onto the surface of the models until they look like a photograph.

Texture artists sometimes create textures from scratch, so they have a good understanding of different kinds of real-world materials. Sometimes they work from a library of stock textures. Or they might use photographs – often photographs from the live-action footage of the film they are making – in order to digitally project them onto a 3D model as a basis for the texture.

Recommended Skills:

• Art: have a good understanding of form, color and texture, and know how these elements work together, recognize what makes an image appear realistic in terms of light, color, composition and perspective
• Photography: understand cameras and cinematography, have technical proficiency, build a stock of photographs to use in the role
• Knowledge of VFX programs: be adept at using relevant programs such as Blender, Maya, Photoshop, Substance Painter and ZBrush, continuously try to improve your ability with these
• Organization: work within the production schedule, manage files and meet deadlines
• Collaboration: be able to work with other VFX artists within the pipeline, use each other’s resources and work effectively

Technical Department

Creature Technical Director

Creature TDs build the software that enables artists to create believable fur, feathers, and skin on their creatures.

They develop and program the digital tools for all the artists who work on digital dinosaurs, animals, or magnificent beasts, helping them to be as efficient as possible. They then work with pipeline TDs to incorporate the tools into a VFX production pipeline.

The scope of the creature TD role varies depending on the size of the studio. In some studios, the role includes rigging, which involves creating systems of skeletons and muscles which an animator then uses  as the basis for the creature’s movements. In larger studios, the role of creature TD is focused on creating the fur, hair, feathers, and skin. However,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 program.

Recommended Skills:

• 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 and be organized.

Effects Technical Director

FX TDs make it easier for visual effects (VFX) artists to use effects like explosions, billowing smoke, and rushing water. They create these effects for the VFX artists to use in their sequences; they write the computer language scripts that generate the effects. FX TDs build and test software tools for the VFX artists to use, and then they incorporate them into a VFX studio’s production pipeline.

All TDs are problem-solvers. Each project presents its own complex obstacles. They stay up-to-date with the latest research and techniques and push software technological boundaries to find ways the make directors’ creative vision a reality on screen. They make sure the effects look consistent and convincing. Effects need to blend in seamlessly with the other VFX and live-action components of the film or TV program.

Recommended Skills:

• Art: have a good eye for detail, know how to make a sequence look good
• 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 abilities using a variety of relevant software
• Leadership: communicate well with a team of VFX artists, offer support, take direction from a VFX supervisor

Pipeline Technical Director

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  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  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.

Recommended Skills:

• 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

Rigging Technical Director

Rigging technical directors create digital skeletons for 3D computer-generated (CG) models. They program ‘rigs’ or puppets so the models 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 modeler. 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 program 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).

Recommended Skills:

• 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 and be organized
• 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 modelers and animators, relating to the rigging process

Compositing Department

Compositor

Compositors create the final image of a frame, shot, or VFX sequence. They combine 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 color 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.

Recommended Skills:

• A good eye: recognize what makes an image appear realistic in terms of light, color, 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

Prep Artist

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 as boom microphones or electric pylons.

Recommended Skills:

• 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: recognize 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
• Organization: work well with strict deadlines, and be able to complete work under pressure

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.

Recommended Skills:

• 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

Summary

As you can  tell from reading through this article, there are tons of jobs within the Visual Effects field, and this list doesn’t even come close to the total amount of jobs out there. What we have compiled are some of the most common jobs that you can get, but there are always jobs that will suit your talents. We hope  you have enjoyed reading this article and found it  helpful. If you find articles like these to be helpful, be sure to be on the lookout for future ones and possibly attend our general meetings where we recap what we have posted and tease future articles. Information about our general meetings is posted in our discord.