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.
3D model of a bust, created in Zbrush.Reference image3D 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.
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.
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.
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.
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.
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 skillsare 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 softwareis 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.
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.
Layout artists design the composition of the frame, including the shot, camera paths, depth and scale. They work with the directors to translate the storyboard into sequences of footage. They decide the language of the film, with close up, wide and mid shots to tell the story in the most effective way. The layout artist must liaise with the director regarding the execution of the production, working from storyboard to set up of animation. Their role is imperative in the VFX pipeline and they ensure continuity with all the shots. They produce variations of shots of the same scene, to provide options for directors and editors, they can work full-time for VFX companies, or freelance on different projects.
Requirements of a layout artist:
–Visual skills are necessary in order to know and understand the best film language to use
–Organisation and time management are important to adhere to strict deadlines
–Editing skills and knowledge of basic animation
–Experience with cameras and understanding of layout, lighting and depth of field
–Communication ability in order to efficiently convey ideas to members of the team
Layout artist work with animation and film editing software most, including Renderman, Avid and Final Cut. A route into this field would be advancing from an environment, modelling or texture artist, who is familiar with the correct programmes.
Matchmove artists match shots from live-action footage with CG elements in a seamless way. In 3D software they recreate live-action plates, to mirror the camera on set, with the correct lens distortion. They track the movements of the camera to ensure both the real and virtual scenes are from the same angle. Sometimes using in-person trackers on set to aid the matchmove process online. Software they use include Maya and 3D Equalizer. A matchmove artist is a key role in a production, as it is standard-procedure in modern-day VFX. It is the process of tracking and calibrating live-footage, the work is tedious and requires patience.
Requirements for a matchmove artist:
–Software knowledge is imperative, as they must be skilled at tracking and compositing
–An eye for detail is needed to ensure accurate and successful work
–Communicationis key to liaise with other VFX departments
–A strong understanding of mathsand physics helps, as a matchmove artist must be able to understand camera work and motion, and reconstruct it in a scene.
Matchmove artists work with data capture technicians and production crew on set. Their work is given to layout artists who decide the composition of the frame. It is considered an entry-level role, and can be a good access route to other jobs in the industry.
The lighting artist is responsible for overseeing the look of all assets, in terms of lighting. They collaborate with CG supervisors, Texture artists and Art directors, to achieve the artistic style and lighting consistent throughout the production. They ensure all shots are completed, organised and ready for production. Establishing direct and refracted light, shadows and composting for each shot, the lighting artist must fine tune the final look and quality of the shot. A mix of scientific knowledge and an artistic eye is needed to perfect the way light falls on an object, matching the aesthetic set out by the director.
Requirements for a lighting artist:
–Attention to detail is needed to ensure the image is up to standard, with an artistic eye for colour and light.
-strong problem solving skills to ensure any issues are overcome
–Organisational and communication skills are necessary as lighting artists need to work with team members efficiently
–Knowledge of lighting software such as V-ray, Arnold and Renderman
A lighting artist is considered a senior level role, and a lot of experience in the industry is needed. Knowledge in art, design, film and lighting is important as well as some programming skills, hence why experience is vital in this role.
Known as Computer Graphic Supervisors (CG) they are ultimately in charge of the quality of the 3D CG elements of a project. These supervisors design the order of the VFX pipeline, deciding when elements need to be done chronologically, they manage the team of technical directors, and decide what needs to be created to ensure the pipeline is runs seamlessly. During production, CG supervisors overlook the creation of all CG work and manage the artists creating them. They a
Requirements of CG supervisors:
–An eye for detail is needed to ensure all work is sufficient, with understanding of the principles of composition and aesthetics
–Understanding of the VFX pipeline, how to create, plan and implement effective work
–Programming and coding ability, including skills in C++ and Python
–Leadership qualities are needed to ensure the production is efficient, and to inspire and organise the artists.
–Multitasking abilities are a must, as this role requires organisation as they are the overseer across all departments to ensure that all the 3D elements are meeting the artistic standards and goals
CG supervisors are employed by studios, and often are involved in the hiring process for new VFX roles. They work with the VFX producer, VFX supervisor and producers. They manage TD’s in different departments, and are responsible for the overall output of VFX artists. Quality control, aesthetic consistency and technical standards across all departments are overseen by the CG supervisor
A look development artist is required to define the overall look of all computer generated objects, in order to keep consistency. This role ensures that the creatures modelled all follow the same look, working out what its colour, texture and lighting would be in different conditions. They work alongside texture artists, creature artists and lighting TD’s to define the different looks of the character to match reference images. They play a crucial role in both pre and post production, establishing a visual style is the most important responsibility of a look development artist.
Requirements of a look development artist:
–Art skills are needed, alongside an understanding of form, colour and texture, the ability to draw is a must as key scenes, environments and assets would need to be sketched.
–Collaboration is required as this role works closely with other departments to share ideas, expertise and decide on a look
–Organisation is needed to work within the production timeline and schedule
–Technical skills in multiple software, therefore having the basic knowledge of 2D and 3D design and animation
A look development artist’s role is all about creating consistency across the production. To become one a strong portfolio and showreel is needed to demonstrate successful work. It is a senior role and requires progression from a junior position such as a matchmove artist.
A modelling artist creates 3D characters, animals and objects using specialist software. They usually start with a brief and reference materials produced by concept artists, such as photographs and drawings.
A mesh wireframe is created first, that is then sculpted using a variety of digital tools to replicate the brief. These artists work on the early stage of the VFX pipeline, creating models that can then be given to animators and texture artists to light and animate. Modellers can specialise in specific 3D models, such as characters, who would then be referred to as a character artist. Consequently they will likely create both the model and textures.
Requirements for modelling artists:
–Art skills are needed, in order to create accurate models with good form, colour and texture
–Knowledge of 3D programmes are required, alongside the quick ability to learn new software.
–Organisation and working well under pressure allow a modelling artist to stick to the production schedule and adapt to changing deadlines.
–Teamwork and collaboration are imperative to a successful modeler, they must be able to work well with other members of the VFX pipeline.
Modelling artists can work for VFX studios or work in freelance and the role may sometimes be combined with texture artists. A strong portfolio to demonstrate your skills is vital to get this role, a degree in a VFX related course is also generally preferred.
Animators work from the film directors brief, they work primarily with modellers and matchmove artists who create the rigs, which then are animated for the scene. Animators make characters and objects move in a believable way, imitating life.
Animation is created from a series of frames put together in a sequence, they use digitally moveable 3D models to make the scene. In some cases, motion capture is used to aid the animator, in which the movement and expression of the actor is able to be captured and translated onto a digitally created character. Animation can be used in live-action film and 3D generated environments.
Requirements for animators:
–Art skillsare again required for animators, they must be able to draw and express feelings and emotions through a characters movement
Knowledge of anatomy and animation is imperative, a good understanding of the principles of animation
–Knowledge of 3D programmes is also needed, and the ability to easily adapt and learn new techniques.
–Collaboration and organisation ensure an animator can work effectively in a team, and can work to difficult deadlines
To become an animator a portfolio showcasing your skills is important, some companies take on junior animation roles, although some allow roto artists or matchmove artists to progress after acquiring further skills in the industry. Animators can also work in games and entertainments, not just film.
Texture artists work on making realistic-looking surfaces on CG models. They start with a 3D model created by a modelling artist, which they then paint and import texture details until it has a photorealistic look. Often these textures are created from scratch, so a good understanding of materials is needed, although using a library stock of textures is sometimes done. Photographs may also be projected onto a 3D model to create the basis for a texture.
Requirements of a texture artist:
–Art skills are again required by a texture artist, with it a good understanding of colour, form and texture to ensure they can create a realistic image.
–Collaboration and organisation are important in working along the VFX pipeline with other artists, to create seamless integration of footage.
–Photography knowledge and attention to detail are necessary skills needed by a texture artist, alongside understanding of depth of field, composition and scale.
–Understanding of VFX programmes, and the ability to quickly learn new software.
A strong portfolio is again imperative to become a texture artist, to illustrate your abilities. They work closely with modelling artists. A texture artist can work in film or game, if they are working on live-action footage then photo-realism is needed, if not then the textures can be more abstract.
Environment artists create the backdrop and surrounding landscapes in which actors and characters move. They use 3D modelling to create these environments digitally, and often work from a brief given to them or 2D art from a concept artist. Photographs and other reference materials are also used.
Similarly to modelling artists, they create wireframe meshes to start modelling the environment, either creating photo-realistic work or abstract depending on the brief. Using digital tools to further sculp and add detail. For live-footage, environments are often digitally built when it is not possible to film in person, for example space, history or fantasy.
Requirements of an environment artist:
Art skills are again a requirement, in order to accurately model the environment, with a good understanding of form, colour and texture etc.
–Knowledge of environments is additionally useful, understanding architecture, space and landscapes
–Collaboration and organisation are needed in order to efficiently work with other team members and adhere to strict deadlines.
–Knowledge of 3D software, such as Maya, Zbrush and Blender and the ability to easily adapt to new technology.
A strong portfolio is important to showcase the appropriate skills needed for an environment artist. They work with concept artists and modelling artists, and report to the CG supervisor.
A runner is commonly known as an entry level position in the VFX studio. They partake in a variety of jobs, usually miscellaneous but vital to the smooth running of a production. This role is generally considered a good way to network within the VFX field, acting as a route into higher and more advanced artist roles. Some companies may assign mentors to runners in order to aid and train them. They undergo a variety of tasks, from delivering messages and material between departments, keeping the office/workspace tidy and working on clean up after productions. They make tea and coffee for staff members and do the general admin and miscellaneous jobs.
Requirements of a runner:
–Enthusiasm and motivation, must have an initial interest in VFX and keen to expand their knowledge and learn technical skills
–Deal well under pressure, having the ability to cope and adapt with project schedules and irregular hours.
–Reliability and organisation are key, this job requires time commitment and the ability to multitask
They tend to work with staff from all departments, acting as a liaison with different team members, in some cases they may also interact with studio clients. A formal education is not a requirement, but demonstration for a passion for VFX is crucial.
A prep artist does the preparatory work for a compositor, primarily cleaning up backgrounds of live-action footage, ready for effects to be added. The plates they work with are backgrounds only, without characters or foreground figures. They use specialist software’s such as nuke, to remove unwanted elements in the frame and are usually employed by a VFX firm, although freelance work is also possible.
Requirements of a prep artist:
–Skilled at art and design, they must have an eye for realism to create accurate work
–Patience is needed as the work is tedious and thorough and may take some time.
–Organisation and time management are skills required by a prep artist, they must work to strict deadlines and able to work under pressure.
Prep artists generally work closely with compositors and roto artists, so much so that in some companies the role of prep and roto artists may be combined. This job is also considered an entry level role, which helps to build a portfolio and illustrate technical abilities, it is usually preferred if you have a degree in graphic design or a related course.
Roto artists undertake a process known as ‘rotoscoping’, in which they manually draw and cut out objects from a frame or shot. This is done so that the rest of the image can be used as required, creating silhouettes known as rotomattes. They work on footage where CG elements are overlayed or interacted with the live-action film.Rotoscoping can involve many frames, or just one, and can be repetitive and painstaking work, therefore attention to detail is imperative. If the camera is moving, all relevant areas of each frame will be traced so the CG elements can be combined accurately onto the shot.
Requirements of a roto artist:
–Accurate drawing skills are needed to produce efficient tracing and pick up complex software
-Patience is also required to work methodically through the footage
–Working well under pressure to produce high-quality final images whilst adhering to strict deadlines.
These artists work closely with compositors and prep artists, providing the mattes and preparing plates for them both. This role can also be considered an entry-level position, that requires patience and is tedious, it develops skills that will be useful to advance into higher positions. To become a roto artis you must have a showreel to demonstrate your capability, you may need a formal degree specific to the VFX industry.
