Month: January 2022

Categories
Collaborative Unit Term 2

Group Project

Starting this project I initially wanted a smaller group, as I knew it would be easier to manage with the workload and timings. I decided to collaborate with Carlotta as we both have similar interests within VFX. We got in contact with a MA Virtual Reality student as we were hoping to incorporate and learn more about VR this term. We found a student, Rita, who was happy to work with us. Our initial discussions consisted of agreeing on our aesthetic and theme, both myself and Carlotta originally wanted to create an advert as it ensures a clear purpose and narrative for our project. However, we are aware that compromise will be needed.

I wrote up a short description of our initial concepts for our production and Carlotta compiled images for our mood board.

After speaking with Rita she was on board with the aesthetic and ideas we were going for. She had the idea of incorporating the concept of wellness and mental health in our production, so the project developed to become a virtual space that a person can inhabit for the purpose of reliving stress and escapism.

Rita informed us that her tutor thinks another VR student would be needed, therefore after meeting we decided to combine our group with another. We are now working in a group of six; four VFX students and two from VR.

The concept is remaining largely the same, creating a VR experience within the overarching theme of Escapism.

The plan is to create 3 different worlds within virtual reality, an energising and colourful one, a calming and relaxing world, and an adventure experience. We will create these worlds in pairs, both me and Carlotta will work on the calming experience, adhering to our mood-board aesthetic.

After discussions with various members of the group, me and Carlotta had decided on a rough layout/idea for our room. Speaking with the VR students we were able to decide 3 interactive elements to our experience: breathing exercises with a flower, lighting candles and interacting with a gong.

We needed to ensure we were modelling and texturing our items in the correct way to be transferred into Unity.

I also was tasked with animating the face of a character within the VR experience: a penguin. I used blendshapes to create the correct expressions and movements for the script that Lauren had written.

Lauren wanted me to animate a hug on our penguin character, this is because he will be interacting with the user in VR. I had not rigged and skin painted the model, so I just did a very basic blendshape animation, using the vertices and faces to move the arms.

https://www.youtube.com/watch?v=GhqzQsd4o30

Another interactive element to the VR experience is with the penguin screaming. We want the user to be able to scream along with it, so I needed to animate this also.

The issue we faced is that when I exported the animation for Lauren to use in Unity the timing had to be perfect to fit the audio as she cannot edit it further.

This meant that I had to align the talking, pauses, and scream with the voice over. I primarily used the graph editor to do this.

Animating the penguin in Maya was not too complicated, the real issue that arose was with exporting it to Unity. The model would constantly flicker between hard and smooth shading, and we noticed the scream animation did not translate well.

https://youtu.be/-w4TGGBF3HI

We needed to ask for advice as to why this was happening. However, due to time constraints it could not be fixed before the deadline.

I modelled and textured the gong for our scene. I am unsure if the colour scheme is right at the moment, I will be able to change this as needed depending on the overall aesthetic of our room.

This is another interactive element to the experience, The handle needed to be made and exported separately, so the user can pick it up in VR.

I started working on modelling the candles for another interaction. The plan is to get the user to light them when in the ‘calm’ room.

I created colour maps for the candles, as I wanted a gradient on each of them.

We have an issue regarding the textures transferring from Maya to Unity. Me and Lauren sat together to figure out how to correctly transfer the models, we followed a YouTube tutorial. Importing the items to Unity was a success, however we found that some of the textures were not able to transfer, for example the frosted glass – I believe this could be because it is based on a preset in Arnold. We couldn’t find a solution online, so the VR students will ask their tutor for advice.

Another issue we encountered was that the models were in ‘smooth shader‘ in Maya, yet when opened in Unity they were blocky. Again, we couldn’t figure out how to solve this so Lauren will speak with her tutor.

I also needed to make a corinthian column for the scene. I started the leaf detail in Zbrush, then I imported it to Maya and did a duplicate special to create the repetition around the column.

Next I needed to join Carlotta in modelling furniture for the room.

I wanted to model an interesting sofa, I found a good one that I believe would fit the aesthetic. I initially started the model in Maya, I attempted a few methods trying to decide what the best technique would be.

I decided the easiest and quickest way would be to sculpt by eye in Zbrush, with the symmetry tool activated I was able to model the sofa relatively well.

I also modelled a vase in Zbrush, I found an interesting reference photo then sculpted it using DamStandard and Smooth tools.

I started the rug in Maya using a plane, then imported into Zbrush to add texture using GroomTurbulance.

After importing the furniture into a scene together I started fixing the UV’s on the sofa, in order to efficiently texture later. I created the UV in Zbrush, then cut and sewed the seams in Maya as needed.

I used Arnold pre-sets to texture the furniture, this was to get an idea of how the light would work on the models. I also wanted to initially experiment with colour scheme, but I will use my own textures to adhere to the palate from our mood board.

As transferring textures from Maya to Unity was an overarching problem we faced, Carlotta, Rita and I decided that the scene would be textured in Unity in order to fit the deadline.

Our room is completely modelled and the UV’s are all organised, therefore we still hope to texture the room after submission.

We went to the final presentation of the VR students, in which we got feedback on the work from their tutors. This gave us a few days to work on the aesthetic of some of the rooms, and any elements we needed to change last minute.

https://www.youtube.com/watch?v=LAj-5ItvnDQ

Overview:

Overall, this group project has been interesting, I enjoyed working with the girls from VR and feel I have learnt new things regarding VR software and how best to import and export files for it. Communication has been fine during the process, Lauren took the role of lead and was very easy to contact, this meant creating good models and animations was possible.

Despite this we also had many issues during the process. Firstly, one of the group members had left mid-project, this meant we needed to pick up the extra work. I had to animate the penguin as a consequence of this, and upon reflection I believe we were very ambitious with what we could achieve within the time-frame.

We also faced issues with texturing models in Maya and exporting to Unity, we were not able to overcome this before the deadline. Therefore the VR experience is not completely the aesthetic we were initially after. I have learnt that compromise is necessary when working in a group, as well as good and clear communication.

Categories
Collaborative Unit Term 2

NUKE

WEEK 2: Motion Vectors

This week we continued learning how to efficiently cleanup a plate. We were shown various methods in which to do this.

I needed to first remove the tracker marks on the face. I started by rotoscoping each dot, using a circle and ensuring it tracked efficiently.

Next I used a merge (stencil) with the roto and the footage, then using a blur node at the right level to successfully minimise the dots. This got rid of them at first glance, with a premult after it. I again merged (over) the roto and the plate.

Then I needed to re-blur the dots, and use a shuffle and grain to soften it. I also used an edge blur on the alpha to achieve the same effect.

WEEK 3 & 4: 3D tracking

We discussed how to distort and undistort the plate we are using in Nuke, this is important for our collaborative project with the Crypt scene. We were also introduced to 3D tracking and building in Nuke, using the Scanline render node specifically.

We used an example shot to practice 3D tracking. We were advised not to track anything with reflections, such as windows or water, so we would need to mask them out of the shot. We used the CameraTracker node, inputting the relevant camera information.

For this semesters project I used the CameraTracker node, inputting the details of the camera that was used, then the number of tracks (features) we wanted. I tracked then solved the tracker, we were told an accurate result has an error usually between 0.5 and 1.

I deleted the unsolved nodes, then recalculated, refining the accuracy of the pass.

I added an origin and ground plane with the points, this ensured the tracks were organised and correctly placed. Then I created cards for for the walls and ground, and merged them over the scene.

Once completed I exported the trackers and camera to Maya.

In class we then discussed to use of PointCloud and ModelBuilder on our example plate.

In week 4 we looked at Projections, first establishing the difference between using a textured card and projecting onto shot. We were taught the difference between cameras whilst using a projection, and the method of using a ‘project3D’ node with a patch.

The use of a framehold node was also explained, firstly when used on a camera, then when used on a scanline render.

WEEK 5 & 6:

We continued looking at projections and the problems that may arise such as stretching, doubling and resolution issues. We also went through the various different projections that you can do.

This week I also continued working on my Crypt shot, I tracked the front wall in Nuke, using one of the projection methods we were taught.

I rotoscoped the opening in the wall on frame 0 as it had the whole area in shot, I then used a framehold on it and projected it onto a card within the scene using Project3D. When I did the roto, I needed to apply an invert node, so that the correct part of the shot became the alpha. I also added an edge blue to soften the edges, for a more realistic roto.

Week 8 & 9: Green Screen

We started learning how to manage working with green screens in Nuke, firstly however we were shown how you can manipulate an image using the colour controls. Specifically we were shown how to use Keyer and Colourspace nodes.

For the homework, I edited the background using the luminance key in alpha, then blurred and channel merged it over the plate, following a method we were taught in class. I graded this to create a pinkish glow, this is because the foreground is red tinged so I wanted them to match.

I blurred the entire background slightly. Then I used a keylight to get an alpha for our front image, denoised it and then added an edgeblur.

Once complete, I merged them over each other.

WEEK 10:

To create the final shot, I used my previous roto and merged it over my render of the stationary steam engine. I had already created realistic lighting in Maya, and input all the correct AOV’s.

I followed our tutors script to correctly grade and colour-correct my sequence, I needed to seperate the AOV channels, I mainly used the diffuse_direct, diffuse_indirect and specular_indirect. I graded and coloured them individually, to get accurate lighting. Most importantly, I wanted to get the black points of my render and the shot to match.

When happy with the grading, I applied a write node, and rendered out the overall sequence.

Then merged the roto over my graded footage to create the final shot.

I managed to remove the markers on the floor, using 4 tracker nodes and rotoing them. Then I blurred the roto until the trackers were gone, I pre-multiplied then rendered out the final footage. I am having trouble with Nuke as it is not following the tracks correctly, I have to move them on each individual frame, which is taking too long.

An issue that I have been having is that the track wobbles a lot, when the scene is in Maya it is fine, however when I render it out and import to Nuke the track shakes again

https://youtu.be/q9ME-d5G6BE

I have tried so many different ways to fix this but keep coming to the same issue, I don’t have time to re-do the camera track from scratch. Ideally I would do that and start the process again, I will try this after the submission. Overall however, I am not happy with this which is unfortunate as I have completed the model with animation and textures, and graded it to the scene.

I am attempting to fix this problem in Nuke, I started by tracking 4 points on the machine, then changed the node to ‘remove jitter‘.

So it didn’t really work. The shot is still very unstable, I really can’t understand why when the track works perfectly fine in Maya. I will need to speak to a tutor regarding this issue.

I have found out what the issue was, the frame rate of the footage and the machine animation were not the same. I will render out a new sequence to input into my Nuke script, which should be stable.

Categories
Collaborative Unit Term 2

MAYA

WEEK 1 & 2

We were informed that this term we would be building a stationary steam engine in Maya, to be composited into a scene. We will be working on modelling, lighting and texturing, alongside this looking at more depth into rigging and hierarchy.

I started by compiling some reference images for my engine, using elements from different machines to inspire my own.

In this weeks class we created a simple wheel and piston system, we were taught how how to correctly rig this. Firstly, we very quickly built a basic piston, with a piston sleeve, and a wheel attached. We did this by using polygon shapes and manipulating them with various tools we had previously learnt.

We added locators at two ends of the piston, and using the Aim Constrain tool, we were able to ensure the piston would always move in the right direction (towards the locator).

We were also briefly taught how to use MASH to create the illusion of a rotating belt on our machines.

The animation is not totally accurate as the machine is not moving in the same direction as the belt. This exercise was primarily to get familiar with the tools to rig and animate our own models, so this isn’t a major problem.

I also started this term continuing some work on my previous Maya scene. I had the idea to create an advert for the bread, this is more of a personal project now – I just want to see if I can create a successful and completed narrative. I started drawing a storyboard for my idea. I’ll come back to this when I have more time.

WEEK 3

This week we continued to create our own steam engines, I drew a basic design based on elements of the machines I liked from reference photos. I chose these parts because I believe they will create a realistic and complex machine. Furthermore, the main aim of this task is to fully understand and create a successfully rigged and animated stationary steam engine, so I chose a design that involves a lot of moving parts.

I started modelling the wheel, it was taking some time to figure out exactly how I would like it to look. I started with a cylinder polygon primitive, adding to the geometry to create a sufficient amount of faces to manipulate – deleting the unnecessary ones to form the shape of the wheel. Extruding and using edge loops as necessary to create the detail. I also used a pipe polygon primitive to create the outer rim of my wheel.

This was the first attempt, I didn’t like the thickness of the spikes of the wheel, therefore decided to recreate it – using the same method.

I started on the steam tank, manipulating the faces of a cylinder to create the desired shape, extruding and using edge loops when needed. I added details such as bolts and panels to my machine as necessary.

To create the latch for the steam tank I originally constructed the right shape using a polygon cylinder, then used boolean difference to create the punctures. This was not an efficient method as it ruined the geometry.

Therefore, I decided to try a different method. I used a polygon cylinder to create the upper part of the latch, deleting the faces to create the hole. I then mirrored this and extruded them into each other. This method kept the geometry relatively intact, so I continued with it – I want to ask my tutor about this in the next class however.

I manipulated the geometry as needed to replicate my reference image.

WEEK 4

We continued modelling our stationary engines this week, our tutor helped me with cleaning up the geometry on the latch. He also showed me an efficient way of creating the organic shape between the two latch bolts. Using the extrude tool and manipulation of the vertices I was able to achieve the look I was after.

Next I wanted to clean up the UV’s on what I had already modeled, ensuring they were accurate by using the camera-based tool, and unfolding in the UV editor.

I also wanted to create a ‘hammered’ effect on the steam tank. I achieved this by adding divisions then using the sculpt tools to organically create the right aesthetic. I wanted the bolts to look hammered in also.

I continued modelling the details of the machine, going back and forth with the reference images.

I needed to sketch out the details of my engine in order to model accurately and efficiently. It helps me to visualize what I am designing.

WEEK 5

I continued modelling my stationary steam engine.

I used the lattice tool to bend the back-plate onto the steam tank, which my tutor had shown me as the most efficient method.

I continued modelling the front mechanism. I wanted to attempt animating part of the model, to ensure that the mechanisms I had modeled were efficient.

I used a Youtube video to see how the movement works. I also re-watched our tutorial on constraints and locators and using these same principles I attempted to apply it to my own machine.

First I established the pivot points of my movement, then placed locators at each of these points. It was important to ensure the central pivot and the locators were snapped together, I did this using the wireframe shader and two perspectives.

Then I used both the Aim and Point constrain accordingly, and put each element in the correct hierarchy in order to achieve believable movement.

This whole process took a bit of time, it was difficult to fully understand which points needed movement and what needed to be constrained. Furthermore what type of constrain each part needed.

I have successfully created the animation, however there are a few issues remaining with it. Some of the locators are jumping during the sequence, I will speak to my tutor about how to fix these problems in our next class.

I now want to build the piston at the front, I roughly drew out how it would look first.

I had a lot of issues when animating the front piston, this is because the aim and point constraints were not working efficiently on my model. After discussing with my tutor, I cleaned up the geometry so it is easier to manipulate then we tried the constraints again.

Upon reflection, we decided that the issue was with the model itself, I believe the proportion sizes of my handles made it difficult for the models to follow each other when animated.

With my tutors help we managed to get the piston working well enough for the task, we needed to manually offset certain parts of the piston and keyframe them in order to achieve this however.

I continued modelling the details of my machine using the same techniques as before.

The animation and machine is finished, I just need to slightly animate the belt and add the textures.

I imported my tracked scene from Nuke into Maya, then imported my machine as a reference. I aligned them up and added the image sequence.

Due to time constraints I decided to texture the model on Substance Painter, I watched a few tutorials and looked at reference photos to decide on my colour scheme and aesthetic. I knew I wanted to use copper as my primary metal.

I ensured the UV’s were correct for substance painter then added the right textures, then I added a paint layer and drew on the wear and tear that I wanted, as well as discoloration and stains.

I wanted to use a similar colour scheme to the scene, so would use the image plane as a reference point.

Once done, I imported the texture maps to my Maya model – at this point the specular is too high in my opinion, so I will play with the settings to get an accurate finish.

I updated my reference in the Maya scene, so my model would show the textures. I started working on the lighting, using two area lights in the corners of the room, one was a cylinder to create more of a soft look. The other needed to create sharper edges to the shadows so I used disk, and changed the spread value.

I also changed the grade of the light source, to be slightly more green. I also need to play with the exposure and intensity of the lights, as it looks slightly too dark right now. My tutor advised me that the black points of my model and the scene need to match.

I am also working on re-texturing the front piston. I am planning to do this in Maya, my tutor showed me how to create a good worn texture for the metal using the hypershade.

I used an image of hammered copper to add to my colour maps for the piston, painting on the discolouration and texture.

Refining the textures of each part of the machine was taking a long time, it is something that I could work on continuously as I feel you can constantly improve it. Overall when I was happy enough with the look, I created and selected the AOV’s we needed then rendered out the sequence and imported to Nuke, ready to be graded and colour corrected to fit the scene.

I have found an issue with my work. The camera track is stable in Maya yet whenever I render out the sequence and import to Nuke, the track becomes very shaky. I am unsure why this keeps happening, I rendered out my Maya sequence twice, even trying a more stable track. Yet the problem persisted, I have no idea how to fix this and due to time constraints I will not be able to before submission. I plan to do this after.

https://youtu.be/q9ME-d5G6BE

You can see just how much the machine is unstable in the shot, I really have struggled with trying to rectify this, so I think ideally I need help from one of my tutors.

I have found out what the issue was, the frame rate of the footage and the machine animation were not the same. I will render out a new sequence to input into my Nuke script, which should be stable.

Categories
Design for Animation, Narrative Structures and Film Language Term 1

Audio/Visual Presentation

Categories
Design for Animation, Narrative Structures and Film Language Term 1

Critical Report Assignment

I started this assignment by deciding what topic interested me the most, I found that the concept of discussing future technologies was an intriguing one, in addition to the uncanny valley effect.

I started my thesis by writing notes, to understand specifically what my title would become.

I created a visual/audio presentation using Powerpoint, to elaborate on some of the technologies discussed in my report, in relation to the uncanny valley in VR and AR.

Categories
Term 1 Xmas Assignments

Week 11

At the end of having researched the different job roles in the vfx industry, write a short summary on which job role or roles interest you the most and why?

The job roles that interest me the most involve working in 3D, and being able to create aesthetic imagery. More specifically, I am interested in the role of a 3D modeller, I enjoy using software such as Maya and Zbrush  

After researching the job roles, both 3D animator and texturing artists intrigue me, again for the same reasons as a modeller, I like the idea of creating virtual yet realistic imagery. Consequently, the CG generalist role is something I would consider, in order to hone my skills in a variety of professions relating to 3D assets. More specifically, it is character designing that I am interested in, rather than environment work at the moment.

I like the idea of bringing 2D images to life in a 3D software. So far, I have created two sculptures, the first was just to experiment with Zbrush, and therefore I modelled the face without a reference image, sculpting each feature individually until it all came together. Whereas the second sculpture needed to be based on a statue in London, this meant I would have to work from reference photos, this was a good challenge in attempting to recreate an asset from a ‘concept’ 2D image. It was tasks like these that had piqued my interest in character modelling, and after further research I believe it is a role suited to me.

This image has an empty alt attribute; its file name is Screenshot-46-1024x570.png
3D model of a bust, created in Zbrush.
This image has an empty alt attribute; its file name is IMG_0981-sfw.jpg
Reference image
This image has an empty alt attribute; its file name is Screenshot-70.png
3D model based on reference image of Golden Square Statue

When researching the job roles in the industry, the Creature TD was fascinating, I currently do not have the skills to undertake this role, but the idea of creating specialist textures such as fur, feathers and skin is one I am interested in. I also have an interest in rigging at the moment, which is something this role also undertakes. We have only been taught very basic rigging and skinning, so I am keen to continue learning.  

Overall, there are many jobs in the VFX industry that interest me so it is difficult to decide my preference. Underlying every role however is the creative and artistic elements to them, regardless of specific job. I am excited to work in an environment where I can be innovative.

Categories
Term 1 Xmas Assignments

Week 08 – 10

VFX EDITOR

A VFX editor is responsible for overseeing all the visual effects in a production, they must pay close attention to detail and scrutinise every shot in a film. They determine what exact effects will be used in a shot, as well as sounds in order to achieve realism. They liaise between the VFX studio and the live-action production team, two roles are possible: either ‘in-house’ or ‘client-side’.

A client-side editor works on set whilst the footage is being filmed, they ensure all footage is shot in way where the VFX artists can successfully work on it. They create drafts and notes, recoding any information needed to be given to the VFX studio.

An in-house editor works closely with client-side editors, however they must ensure that VFX artist in studio have everything they need. They create a workflow to allow the supervisor to easily asses the work produced by the artists. Depending on the clients opinion, the In-house VFX editor ensures they are happy with the aesthetic and current edit.

Requirements of a VFX editor:

–Attention to detail is crucial to ensure the work is to a sufficient standard, they must be able to notice the slightest of errors in any work

–Communication skills are necessary as they act as a liaison between the studio and on-set staff.

–Organisation skills are needed to allow a smooth progress of work, despite any changes that may occur in the project

–Editing ability is required as well as a good understanding of software and story-telling abilities

This role is a senior one, and a wealth of experience may be needed within the VFX production pipeline.

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

What is a Visual Effects Editor?

DATA INPUT/OUTPUT TECHNICIANS

Known as a I/O technician, they are responsible for the organisation, transferral and sorting of computer files. They manage the companies hard-drives and deal with high-quality large video files, ensuring that they are well organised and easily accessible. They have a solid understanding of digital camera formats, and can troubleshoot and solve and issues related to data storage. They follow company protocols and securely look after all files, and encrypt them when necessary.

Requirements of a I/O technician:

–Programming and coding skills are essential, they must have a good knowledge of C++ and python

–Technical skills, and the ability to operate computing systems successfully, particularly data sharing applications.

–Organisation is absolutely necessary, attention must be paid towards the data and file storage in order to maintain a working system

They work within a team of I/O technicians, and communicate with a variety of departments within the VFX pipeline.

https://vfx-montreal.com/job/vfx-editor-inputoutput-io-coordinator/

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/production-management/data-input-output-i-o-technician/

CONCEPT ARTIST

Concept artists create the artwork that inspires the aesthetic and look of the production. They draw the characters as well as environments for the brief. Creating mood-boards and carrying out relevant research, they produce highly skilled artwork to help members of the pipeline envision the production. Both digital and hand-drawn methods are used, typically in 2D, although some may use 3D software to help create their images. Ensuring that they can convey a story or vision graphically. They tend to work freelance, however employment in a studio may happen.

Requirements of a concept artist:

–Skilled illustration and drawing abilities they must be able to design and create useful art, with a good understanding of colour, form and composition.

– Interpretation of source material is necessary, in order to create the correct aesthetic artwork.

–Understanding of software is needed to create the 2D digital art.

Concept artists tend to work with directors and production designers in order to create their vision, they work alongside lighting and modelling artist to create the 3D assets. These artists tend to come from a background in graphic design or illustration.

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/pre-production/concept-artist-visual-effects-vfx/

https://www.cgspectrum.com/blog/what-is-concept-art

vfx pipeline concept art krzysztof luzny interview image 02
vfx pipeline concept art krzysztof luzny interview image 04

PRE-VISUALISATION ARTIST

A previs artist help to develop what the film will look like itself, focussing on visualising the scene before creating it. They use 3D animatics to roughly draw up what the scene may look like, they start from a 2D storyboard from the concept artist, then create drafts of different moving image sequences to decide the best visual shot for the production. They work on the composition, timing and scale of each frame and map out roughly where the characters would go.

Requirements of a pre-visualisation artist:

–Creativity is needed in order to take a 2D image into a 3D software, they must be able to tell a story through their work.

–Knowledge of 3D software is essential, a high level of skill in 3D animation and VFX software is needed to produce appropriate work.

–Cinematography skills ensure a pre-visualisation artist has a good eye for aesthetic composition, camera shots and movement.

–Organisation and communication skills are needed to ensure production schedules and budgets are stuck to, as well as working well with other VFX artists and members of the production team.

The work primarily with layout technical directors, as well as the director. They are multi-talented and use a variety of animating, compositing and editing skills to achieve drafts.

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/pre-production/previsualisation-previs-artist/

https://www.cgspectrum.com/career-pathways/pre-vis-animator

Categories
Term 1 Xmas Assignments

Week 07

RIGGING TECHNICAL DIRECTOR

The rigging technical director creates the digital skeletons for CG models, they programme these in order to be animated in a realistic and believable fashion, they are known and ‘rigs’. These TD’s receive static 3D models, which they work on to figure out the correct hierarchy and skeleton to replicate realistic human movement. Animators then test the rigs and provide feedback to the rigging technical directors, this method continues until the 3D puppets are sufficient for production. This role can either work freelance or be employed by a company.

Requirements of a rigging technical director:

–Advanced programming and coding skills particularly in Python and C++, their technical skills must be very high

–Problem-solving abilities enable a rigging technical director to find solutions to issues quickly, and support other departments such as modellers and animators.

–Works well under pressure and able to adhere to strict deadlines

–Collaborative skills are needed in order to efficiently work back and forth with other departments

-clear understanding of anatomy, in order to accurately create skeletons that can be animates successfully

A rigging TD works under a VFX supervisor, and regularly communicated with the production management team and modelling/animating artists. Experience is required for this profession, with a good development of technical skills and strong knowledge in relevant software, such as Maya and Houdini.

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/rigging-technical-director-td/

Joints

CREATURE TECHNICAL DIRECTOR

A creature technical director specialises in software associated with creatures, such as fur, feathers and skin. They are responsible for the setting up and running of animation rigs, and simultaneously must be able to solve creature asset and pipeline issues proficiently. Depending on the size of the studio a creature TD’s role varies, sometimes including rigging as well as the realistic creature aesthetics. It is important to create believable and realistic work, to convincingly merge with live-action footage.

Requirements of a creature technical director:

–A keen eye for design is required in order to create and sculpt realistic assets

–Problem solving skills ensure that a creature TD can work efficiently and can overcome any technical issues they may face.

–Collaboration and communication is necessary in order to work with other VFX artists, and use each other’s resources well.

–Understand software and able to pick up skills quickly. A creater TD must be able to use Linux or Unix operating systems as well as being proficient in scripting languages such as Python and C++

–Working to deadlines and within given time frames is a necessary requirement

Creature TD’’s report to both CG and VFX supervisors, and works closely with other VFX artist working on creatures. This is considered a more senior role, so a few years experience is usually necessary.

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/creature-technical-director-td/

https://jobs.jobvite.com/lucascompanies/job/oDUCafw3

https://www.nutscomputergraphics.com/en/ispirational/interview-with-erica-vigilante-creature-fx-td/

VFX PRODUCER

A VFX producer manages the process of creating VFX for entertainment. They communicate with the client and ensure that they are happy with the work. They persuade the film/tv producer to take on their VFX studio for the project by writing a ‘bid’. They put together the team of VFX artists and technical staff, manage the budget and set the schedules. Working closely on set with the live-action crew, VFX producers also work in pors production with the editors. They communicate between these people to ensure a seamless production takes place, and most importantly ensure the studio completes the project in sufficient time and to a high standard.

Requirements of a VFX producer:

–Leadership skills are needed to ensure confident direction is given as well as clear and helpful communication between teams

–Knowledge of the VFX pipeline helps with the understanding of all roles in the field, and therefore makes it easier to understand and advise with any creative challenges that may come up

–Organisation skills are necessary in order to efficiently manage the project

VFX producers communicate with the producer and director on the job, they also work closely with the VFX supervisor, who overlooks the creative work. This is a senior position that requires a lot of experience to obtain, usually coming from junior roles and working up into management.

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

https://www.shotgridsoftware.com/blog/wth-does-a-vfx-producer-do/

What is a VFX producer and how can I become one?

PRODUCTION MANAGER

A production manager is in charge of organizing the production of the film/show’s visual effects. They create a schedule for the project and oversee the budget, they act on the decisions of the VFX producer. The production manager looks over the work of the production coordinator, who may be involved in casting and hiring artists. They communicate with VFX artists and TD’s from different departments. Another important role is liaising with the producer of the live-action filming.

Requirements of a production manager:

–Organisation and communication are key in order to efficiently oversee other members of the VFX team and adhere to strict deadlines

–Leadership qualities are needed to give direction and create a positive working environment

–Knowledge of VFX pipeline is also imperative, in order to correctly oversee and understand all aspects of the industry

–Problem-solving abilities are important in order to anticipate any oncoming issues and successfully adapt to changing technical challenges

This role works under the VFX producer, whilst managing other more junior roles. Starting off as a VFX runner is a good route into becoming a production manager.

https://vfx-montreal.com/job/vfx-production-manager/#:~:text=The%20VFX%20Production%20Manager%20is,Leads%20assigned%20to%20the%20project.&text=Finally%2C%20he%20must%20monitor%20the,ensuring%20that%20production%20runs%20smoothly
Categories
Term 1 Xmas Assignments

Week 06

EFFECTS TECHNICAL DIRECTOR

Effects technical directors (FX TDs) create digital effects like explosions, smoke and water that animators use within their work. The effects must look believable and integrate seamlessly with the other assets, and they assist the director in ensuring that the live-footage scene is created with the VFX visuals in mind and post-production. The FX TD works under the supervision of the FX supervisor to create accurate particle and fluid effects, and are often working on set, this alongside a good knowledge of filmmaking and post-production ensures seamless work. Another responsibility is to create code for any customized digital tools required for the production.

Requirements of the effects technical director:

–Knowledge of the VFX pipeline is essential, to ensure a clear understanding of all jobs, what they involve and their challenges

–Leadership and support for junior roles, able to give advice and communicate well to other team members

–Problem solving skills are needed to find efficient solutions to obstacles that may crop up within the project.

–Programming and coding abilities are important for this role, including advanced knowledge of Python, VEX and C++

FX TD’s work along with lighting artists and compositors any other TD’s on the project. This role is a senior position, with a few years experience needed beforehand, programming is an essential part of the job so any education related to this field would prove useful.

https://www.cgspectrum.com/career-pathways/fx-technical-director

https://www.screenskills.com/job-profiles/browse/animation/production/effects-technical-director-fx-td-animation/

ASSISTANT TECHNICAL DIRECTOR

Assistant technical directors identify and fix any problems that may arise to ensure all members of the VFX pipeline have the toold necessary to do an successful job. They have a strong understanding of the different job roles and the software used by the different VFX artists.

Assistant TDs aid the Pipeline TD’s to gain information on all the departments and compile what needs they may have. The primary role is to design solutions to problems that come up, they also have coding skills to create digital tools if needed. In general the assistant TD’s deal with the minor issues of the production and manage the data and schedule of the project.

Requirements of the assistant technical director:

–Communication is key, as this role must liaise with all departments along the pipeline when necessary

–Programming and coding skills are necessary in order to fix problems, with a high level of technical knowledge in the relevant software.

–Problem-solving skills are also imperative, this role primarily deals with identifying problems and thinking of effective and useful solutions to them

An assistant TD works under the pipeline TD alongside other staff within the VFX pipeline, this is to ensure they understand and are aware of any issues that arise. This role is considered a junior one, some experience is necessary and evidence of problem solving skills are beneficial.

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/assistant-technical-director-td/

SOFTWARE DEVELOPER

Software developers produce the technology necessary for a VFX project. They create the tech needed to suit the artists, and design new and innovative digital tools to enhance existing programmes. This role involves problem solving and communication, as they must stay well informed about which software is relevant to the pipeline. They enable an efficient and successful work environment  by providing appropriate tools when needed.

Requirements of a software developer:

–Teamwork and communication skills are needed to talk directly and effectively with a variety of staff

–Programming and coding skills are imperative to ensure software developers can create the necessary technology. With advanced knowledge of Python and C++

–Problem-solving abilities are important to this role, as they must come up with creative and useful solutions with up-to-date technology.

They work with technical directors and liaise with many members of the VFX pipeline. Strong coding skills are clearly required along side technical skills with coding language to get this role, and experience is very valuable.

https://levelup.gitconnected.com/break-into-the-visual-effects-animation-industry-as-a-software-developer-d32592bbb202

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/software-developer/

Harry Biddle

PIPELINE TECHNICAL DIRECTOR

Pipeline technical directors are required to write and maintain the digital tools used in a VFX production. They provide direct help to artists and aid in solving problems along the pipeline, liasing with the technology departments to ensure the correct technology is used, and inform them of possible new technological needs. They make sure the project runs smoothy by fixing these problems, using their skills in writing and modifying code as necessary. They work closely with research and development teams, who can test new software.

Requirements of a pipeline technical director:

–Problem-solving is a necessary skill, to think analytically and identify and solve any problems that arise.

–Communication skills are important, as a pipeline TD they must be able to talk with a variety of staff throughout the studio.

– Programming and coding skills are a must, with advanced knowledge in Python and C++

Pipeline technical directors work with all sorts of staff members, depending on where problems arise. They do also work closely with software developer. This is not an entry level role, and requires experience working in the industry to ensure a good understanding of the technology of the VFX pipeline.

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/pipeline-technical-director-td/

Pipeline Technical Director

http://www.andrew-whitehurst.net/pipeline.html

Categories
Term 1 Xmas Assignments

Week 05

VFX SUPERVISOR

A VFX supervisor overlooks the whole VFX project, they manage the pipeline and other artists and have the ultimate responsibility for all the work produced by the company. They are the main liaison between director and the VFX studio, and are working on projects from the very early pre-production stages. They oversee and work with VFX artists to create prototype materials to send back and forth with art directors, to inform the style of production wanted.

VFX supervisors are present during filming to ensure a seamless transition to the VFX artists, enabling each shot to be satisfactory and ready to be worked on before all the live-footage is complete. They lead their team and oversea all quality of work.

Requirements of a VFX supervisor:

–Leadership qualities are needed to ensure all artists are working well and efficiently, and that the VFX pipline is organised and sticks to schedule

–An eye for aesthetics is needed to ensure all the work produced is to an excellent quality

–Knowledge of software and photography, such as understanding cameras and lenses and the correct software needed

– A collaborative ability is required in order to work efficiently with the director and producer

This role is the highest role in a VFX company, and therefore is considered a very senior job. It requires experience in more junior roles for a number of years. Overall building the visual aesthetic and imagination together, this role ultimately oversees the vision of the project from inception to completion.

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/on-set/vfx-supervisor/

https://nofilmschool.com/vfx-supervisor

DATA CAPTURE TECHNITIAN

A data capture technician (TDs) collect information regarding live-action footage that VFX artists would need in the studio in order to add the visual effects. They primarily take photographs on set from the same perspective as the cameras, and note down information about the lens, focal length and colour temperature etc. They record the textures on set and all necessary information that may be needed, using specialist equipment, then upload all the data and back it up before sending to the relevant VFX members.

Requirements for a data capture technician:

–Accuracy is required to perform methodical work, and pay close attention to detail

–Technical knowledge is also needed, with in-depth understanding of cameras and relevant equipment.

–Efficiency ensures that the work gets done quickly, in an organised manner.

They work with camera trainees and operators on set, and with the VFX supervisors and matchmove artists to ensure that the actors and set are prepared so the footage can be easily used when needed. Data capture technicians tend to have a few years experience, working within the camera department.

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/on-set/data-capture-technician/

https://www.zippia.com/data-entry-technician-jobs/

COMPOSITOR

A compositor creates the final look of a shot, combining all the assets and material made by other VFX artists in order to produce a cohesive composition that looks realistic. They work at the end of the VFX pipeline and consider all the visual aspects of the footage, such as lighting and colour to ensure a seamless aesthetic. Compositors play a crucial role, dealing with complex imaged and special effects to achieve a believable final image.

Requirements of a compositor:

–An eye for design is needed in order to create a realistic and aesthetic final shot, regarding the light, composition and colour.

–Collaboration is needed to work well with other artists, and share work effectively.

–Knowledge of software is also imperative, particularly compositing programs such as Nuke, After Effects and Houdini etc.

–Time management skills ensure that work is completed to deadlines and under pressure

Compositors work with roto and prep artists, and lighting technical directors. A showreel demonstrating strong abilities in compositing is needed, although many compositors progress from more junior roles such as a runner.

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

https://www.cgspectrum.com/career-pathways/compositor

COMPOSITING SUPERVISOR

Composting supervisors manage the compositors and check the quality and continuity of the footage. They are experienced in composting themselves and understand the methods of integrating CG images into live-action footage, whilst overseeing VFX artists and ensuring they meet the required deadlines. These supervisors are not freelance, and are employed by VFX studios. They also accurately predict cost and schedules, and work with others in production to solve any technical issues that may arise.

Requirements of a composting supervisor:

–Knowledge of photography and photo-realism, and a clear understanding of cameras and cinematography

–Organisation and communication are needed to run the team efficiently and oversee that the project is done to the best standard

–Knowledge of software, particularly composting programmes are necessary in order to understand the work needed to be done

–An eye for detail is important to ensure all images appear realistic with the correct lighting, colour and composition

This profession works closely with the VFX supervisor and the CG supervisor in order to create cohesive work. This role is a senior one, that requires experience in a junior compositing job. A formal degree in a related course is also highly recommended.

VFX Supervisor

https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/compositing/compositing-supervisor/#:~:text=Compositing%20supervisors%20are%20in%20charge,continuity%20of%20colour%20between%20shots.