- Audio/Visual Presentation
- 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.
- 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.
3D model of a bust, created in Zbrush. Reference image 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.
- 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.
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.
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.cgspectrum.com/blog/what-is-concept-art
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.cgspectrum.com/career-pathways/pre-vis-animator
- 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.
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://jobs.jobvite.com/lucascompanies/job/oDUCafw3
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.shotgridsoftware.com/blog/wth-does-a-vfx-producer-do/
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.