This semester Nuke’s first class, Mr. Gonzalo, taught us how to remove excess items from our videos.
The first step in removing excess items from a video is to denoise the original video. This will save the resources of the video better
Then use the RotoPaint and Roto tools to erase and frame the parts that need to be removed to create an alpha layer.
Afterwards, the created layers are blurred as well as tracked, and finally a frame hold is applied. Let the newly created layer overlay the original video.
After that, the teacher gave us how to remove the tracking points on the faces of the characters in the movie. The teacher taught three main methods. But the principle is all by eliminating tracking points from one video. After that, this clear and clean original video is superimposed on the existing video.
The main thing I learned in this lesson is the basic method for video clearing elements. In some cases, I found that simple fusion does not work very well. It is still necessary to make the right choice for the elimination method according to different environments and different video elements
After watching all the careers I gradually got a general idea of the whole VFX production process. Then I gradually started to think about my own career plans. I have also found a few careers that I like within this wide range. Below I have divided my own career plan into four sections.
First of all I hope that I will be able to study hard at university and produce some great visual effects. I hope to help me join a great visual effects company by the time I graduate. I will probably start out as a runner, as this will allow me to integrate more quickly into the industry, and I am keen to learn from many of the best people in the industry while working as a runner, which will also allow me to develop more systematic and standardised working habits within the company as soon as possible. During my time at runner I will involve myself in more projects and learn more. After all, what you learn at school is rather limited and in the company you may encounter more challenges. Sometimes the challenges you encounter or the difficulties encountered by other colleagues can be a rich treasure for you. I hope to identify and deal with more problems during this time. This will enable me to tackle problems later on in my career.
As I get to know the whole job, I hope I can start with animator and roto artist. First，Why I choose animator in the? Because I studied 3D animation as an undergraduate, so I’m probably going to be a bit more comfortable with animation. This way I can make fewer mistakes in my work and if the production goes well I can also learn new techniques such as programming. Secondly, animation itself is a career that I enjoy. So this will probably make me more motivated in my work. I chose the position of Roto artist because I wanted to exercise my patience and care. The visual effects industry often requires you to think and work quietly. This is the only way that you can produce a lot of work to perfection.
After I have worked for a few years and my job is stable I would like to become an FX TD. I was very interested in particle effects and fluid effects when I was an undergraduate and I think I really liked them. However, as I am not very good at programming myself, when I was in undergraduate I did not produce effects that worked very well. I hope that through my postgraduate studies and learning on the job I will be able to pursue this career in the future. In my normal work I can only use effects sequences that others have already made. So I hope I can create some real effects and use them to produce some great work. This position is a big challenge for me. But I am confident that I will be able to do these things well in the future.
In the long term I hope to become an Effect technical director. Because by this time I would have had plenty of work experience and would have been able to handle things. I think I can be a good leader because I have a very strong cohesive personality a lot of the time. I can also work from the employee’s point of view, because I hope that having been through this myself, I will be able to tell my team a lot of ideas and experiences. This will also help my team to take the road less traveled. I think I’ll be able to put together a good team at the end and produce a lot of good films.
In the end, this is just a simple plan for my own career, and it is only my first step. I hope that everything will go well in my future working life. But I will not be afraid of difficulties if they arise. I hope to continue working in this direction and eventually create excellent work.
The VFX Editor incorporates and updates all required versions of visual effects shots into the current cuts of the VFX / live action sequences. The VFX Editor also has the ability to create a functioning environment where the Visual Effects Supervisor can evaluate any version of any shot in the current sequences, for aesthetic and technical direction. This position works closely with producers to manage all incoming media and outgoing deliverables.
Editing is also known as secondary creation, so the job of an editor is a creative one. In many cases, the editor will edit according to the director’s ideas. But in many cases a good editor can make the whole film or plot look and feel different through his or her editing.
The responsibilities of the VFX Editor may include:
Maintain sequence edits and inserting visual effects shots into the timeline
Manage and document the turnover of shots from editorial through to delivery including ingesting new media into pipeline
Ensure Shotgun is maintained with current shot counts, lineup and any retime instructions
Ensure that published shots conform to the current edit and perform basic QC checks
Prepare sequence edits for internal and client approvals when required
Create daily playlists and operate the screening room system for dailies
Perform shot specific colour corrections to match editorial reference when required
Perform shot retimes to match supplied editorial reference when required
Create rough shot mockups as proof of concept for artists and supervisors
Work in partnership with vfx teams and compositors to ensure shots are delivered to the very highest standard while maintaining schedules.
Editing is a key part of the post-production profession, and many good films and TV productions are created by editors. In general, to be an editor you need to have a unique eye and different visual perspectives.
The Data input/output (I/O) technician’s main job is to transfer data and ensure that it is secure and output properly.
Generally speaking they are responsible for the entire company’s computer storage system, including the company’s hard drives or the protection of the company’s data. They are also very familiar with various video formats because they have to deal with a lot of video files.
The responsibilities of the Data input/output (I/O) technician may include:
Responsible for monitoring disk servers, performing backups/restores, and handling incoming/outgoing data transfers
Maintain data and asset tracking
Prepare incoming/outgoing data transfers
Collect files from clients and vendors and prepare deliveries back to them
Monitor servers and studio queue system; escalates issues as needed
Troubleshoot and correct failing tasks
Partner with other production personnel to ensure shots are scheduled and delivered in a timely manner
Coordinate all client deliveries (outgoing and incoming), both physical deliveries and digital deliveries and maintains log of all deliveries
Technical QA of all masters and digital files, grade conforms and project archiving
Overall this is not a necessary job for a VFX company either. When I looked at job profiles I found that many companies combine this job with that of an editor. After all, this is a job that an editor can easily do and the data can be stored well when the editor has finished cutting the video.
Concept artist
A concept artist is a designer who visualizes & creates art for characters, creatures, vehicles, environments, and other creative assets. Concept art is used to visualize ideas so that modelers, animators, and VFX teams can make these ideas ready for production.
A concept artist is usually a good draughtsman. A good concept artist is usually very good at hand-drawing and has a great imagination. They are able to put a lot of their imagination into their drawings and bring ling ga to the VFX team.
The responsibilities of theConcept artist may include:
create quick and detailed drawings and paintings of environments, characters, buildings, vehicles and props (including creation of thumbnails and wireframes)
use traditional and technological approaches to createdesigns in 2D and 3D through drawing and painting
efficiently interpret briefs
explain and pitch your ideas clearly to the client and design team
respond positively to client feedback
adapt and refine your work based on client response
maintain good communication with the client
be confident using creative programmes and technologies e.g. Photoshop, Maya, Painter and SketchUp
research topics and information for points of reference and ideas to use in your designs
create specification sheets, accurately noting dimensions and details for others to follow
A Previs Animator (or Previs Artist) creates 3D animatics, which are rough versions of scenes used as a draft of an animation to test the action. Different drafts may be created in this previsualization process
The main task of the Preview Artist is to create a simple animation mock-up based on the subplot. This animation mock-up can greatly reduce the number of problems in the formal production later on. In many cases, without this step, there would be a lot of problems with the animation if problems were found during the production process. It is also possible to visualise the angles and textures of many of the movements in the film and television production. This makes the subsequent work much smoother and more fluid.
The responsibilities of thePreview Artist may include:
Liaising with directors and animators regarding the look and style of the sequences to be previsualized
Researching the sequences and assembling references for the previs sequence
Translating storyboards into animated sequences
Deconstructing and planning out sequences
Depicting staging, blocking, camera motion and character performance
Producing previs quickly and efficiently
Creating previs using media such as photos, illustrations, storyboards, visual references etc
Generating previs for complex special effects sequences
A Rigging TD (Technical Director) is responsible for creating digital skeletons for 3D computer-generated models. They work to program these digital skeletons so that they move in a realistic way, and this is then used by Animators as a basis for their character’s movements.
The responsibilities of the Rigging TD (rigging technical director)Rigging TD (rigging technical director) may include:
• Implement new rig modules based on feedback from Animation and Rigging teams. • Create and maintain Maya plug-ins based on the needs of the Rigging department and other departments that are impacted by Rigging. • Create tools for the rigging department to aid in workflow and day to day tasks. • Provide technical direction on model topology so it meets the technical requirements needed for the highest level of rigging and skinning. • Represent the Rigging department while interfacing with Animation and other departments. • Provide support to artists and supervisors and resolve issues in a timely manner. • Generate artist-friendly documentation and tutorials for tools and procedures. • Give tool and workflow demonstrations within the pipeline team and to artists.
This position is also technically demanding and usually requires you to have sufficient work experience as well as good software skills. And there are also requirements for your programming skills.
These careers are not usually available to newcomers or students and require a high level of work experience.
The Creature Technical Director is responsible for rigging and enveloping hero to background creature, vehicles and props in Maya. They are able to wrangle rigging and creature pipeline issues proficiently under the support of their supervisors. They also possess the ability to run flesh-surface, hair, rigid sim, crowd, and/or cloth simulations.
The responsibilities of the Creature TD (creature technical director) may include:
Provide rigging and enveloping in Maya for various vehicles, characters, and creatures
Run cloth, hair, rigid body, crowd, or muscle simulations
Troubleshoot creature pipeline issues for artists in other disciplines
Script utilities/tools/plug-ins in Maya
Participate in reviews, dailies, and department meetings as required
Mentor entry level artists
Special projects as necessary
The position of Creature TD (creative technical director) usually depends on the size of the studio. Only relatively large companies have a dedicated Creature TD, but many smaller companies have animators working on a part-time basis to do these things. And only the larger companies have more elaborate characters. Smaller companies usually have a more normal film and television production.
The VFX (Visual Effects) Producer is responsible for achieving the creative aims of the Director or Producers through the use of visual effects. It is a senior role, with a high level of responsibility running the visual effects department.
The VFX Producer is the owner of the entire VFX industry and is responsible for ensuring that the studio’s VFX is produced to the satisfaction of the client. Often, the VFX Producer will create bids so that his or her studio can receive VFX projects. The VFX Producer is also responsible for the staffing and time budget for the project. He will also work with the studio to edit the production to achieve the best possible results.
Key Skills
Good leadership skills
Knowledge of VFX effects and skills
Understanding of 3D animation
Ability to work with a team
Good communication skills
Ability to stick to deadlines
Scheduling
Budgeting
Flexibility and willingness to adapt
Impeccable attention to detail and accuracy
Organisational skills
Calmness under pressure
VFX Producer is the source of income for the work is. Having a good VFX Producer will allow the studio to have more projects and earn more money.
Production Manager’s job is to break down the incoming VFX jobs and create a detailed schedule and budget for the entire project. This usually also involves drafting employment contracts for personnel.
Their job is usually like that of a secretary. Keeping everything in order. So that the whole project can be completed quickly and with quality
The responsibilities of the Production Manager may include:
• managing artist assignments and production requirements from beginning to end of production • accurately breaking down shots and VFX requirements • organizing dailies, rounds and meetings and tasks • ensuring data, shot statuses, tasks, camera reports, notes and critical information are updated in Shotgun on a timely basis • keeping to the planned schedules and milestones and communicating any changes • overseeing client deliveries and postings of all temps and finals • managing submission sheet information and updates • arranging cine-syncs and communicating the playlist agenda in advance • anticipating special project requirements (software, hardware, space, resources) and ensuring information is communicated to Systems and Executive Producer / President as early as possible • taking clear, concise and accurate notes in all meetings and dailies sessions, ensuring teams have required information as quickly as possible • ensuring internal notes are approved • ensuring client notes are reviewed with the team and updated in Shotgun • providing project status reports to the Executive Producer, Head of Production and President as required and during weekly production meetings • maintaining weekly client status reports • collaborating effectively and fostering a positive and united working environment • working with VFX Coordinators to ensure all administrative tasks are up to date
Effects technical director (FX TD) is responsible for creating explosions, delays, fluids and other effects for film and television productions. This is to be used in sequences. They usually turn these effects into code that the VFX artist uses to create the effects in the scene. They work closely with the VFX Supervisor to ensure seamless rendering of screen effects.
The responsibilities of the Effects technical director (FX TD) may include:
Liaising with the FX Supervisor, director, cinematographer, gaffer on the best filming conditions for the FX sequences requiring particle and fluid effects
Researching the look of the effects based on the briefing from the filmmakers according to the script
Maintaining a visual consistency throughout all the effects
Advising on set regarding what needs to be captured in-camera for the effects to work
Supervising effects artist team, keeping them on schedule and within budget
Writing code for custom software to deal with complex effects
Maintaining technical documentation
Seamlessly integrating special effects into live action footage
Problem solving during the production and post-production processes
Dealing with computer modeling and geometry issues
Working to deliver the vision of the director
Interpreting FX supervisor’s and director’s notes and communicating them to the team
The threshold for this career is usually high, as it involves programming and therefore requires a strong computer base from the effects technical director (FX TD). Even when it comes to effects such as fire and smoke. Knowledge of physics is also very important.
As an Assistant Technical Director (ATD) you will perform a variety of tasks to assist the Pipeline Technical Directors (Pipeline TDs) to ensure the smooth running of the tools, software and workflows used by VFX and Feature Animation shows. You will be working closely with the Pipeline TDs to provide face-to-face support for artists in our London studio.
The responsibilities of the Assistant technical director may include:
Provide technical advice and support for artists.
Monitor render farm, disk usage and file transfers between sites.
Contribute to testing and feedback for software releases from the R&D team.
Design and write Python tools and scripts for shows to use.
Act as a key interface between between our software developers and our artists, adapting your communication style and approach to articulate technical and non-technical information
For this position, he is an entry-level career. He can assist the pipeline TD and other TDs to go about their work and deal with minor error reports. But if you want to work in this industry, basic programming and other VFX skills still need to be understood.
The Software developer’s responsibility is to create the technology needed for VFX projects. The development of software such as MAYA NUKE, for example, is carried out by this profession. Some of the plug-ins used for special effects are also created by them.
The software produced by the excellent Software developer can help to ease the burden on VFX staff. And Software development is a highly skilled profession. In many cases, it is produced by the best people in the industry.
The responsibilities of the Software developer may include:
Work with your colleagues to develop features, fix bugs, and define new services from start to finish.
Advocate for professional standards of development.
Troubleshoot problems across different levels of the stack, and in production environments.
Take responsibility for code quality, always leaving projects in better state than before you started work.
Contribute to maintaining an authoritative source of documentation.
Evangelise use of the Core Platform within MPC and other Technicolor business units.
Take initiative to improve the developer experience in small or large ways.
Provide some level of operational support for the platform as required.
Pipeline Technical Directors (TDs) make sure a VFX project runs smoothly by identifying and fixing problems as they arise. This is done by making sure each department has the software tools that they need to complete their part of the project to the best standard possible.
Artists rely on pipeline TDs to ensure they have the tools and software needed to concentrate on their job’s artistic side rather than the technical. As such, pipeline TDs work closely with staff from all departments to understand what their technical needs are today and what they might be in the future. They also work closely with the research and development teams designing and testing new software to ensure such technology fits neatly into the production pipeline.
The responsibilities of the Pipeline TD (Pipeline technical director) may include:
Writing pipeline tools and further developing the pipeline for use across Framestore shows
Working in collaboration with the CG Supervisor and end users to determine the best solutions
Once a solution has been agreed then ensure that it addresses end user and show requirements as briefed
Maintaining of tools including troubleshooting and optimisation
Thorough documentation of all development and updating as necessary
Ongoing research to recommend improvements to workflows in order to improve productivity or communication
A Pipeline TD (Pipeline technical director) is a very versatile person who is often very familiar with a wide range of technologies in order to coordinate the work of various project departments. This job usually involves using most of the VFX software. The Pipeline TD (Pipeline technical director) can also be very comfortable with programming.
The VFX Supervisor has overall responsibility for the production of visual effects on the film or TV project that they are working on. It is up to them to make sure the technical and artistic quality of the finished shots is of the standard agreed on with the Director and other production staff.
The responsibilities of the VFX Supervisor may include:
Handle a VFX project from inception through to completion.
Manage and direct the technical, artistic, and production personnel for each project.
Be the authority on visual effects techniques, camera set-ups, with an eye for composition.
Predict timing and associated costs of projects on varying scales.
Collaborate on the bidding and negotiation processes.
To be a qualified VFX supervisor, you need to have a good deal of experience so that you can coordinate the issues that may arise in the workplace. You will also be able to give your staff the best advice and solutions when they encounter problems or bottlenecks in their work.
The job of a data capture technician is usually to travel to film sets to scan and record data and information from the VFX team for live-action shots that need to have special effects added.
This position is very important to the special effects’ workforce. If the data from the live action footage is not the same as the data produced by the VFX team, then the final output can be problematic. Only a data capture technician can record the types of shots, focal lengths, and filters used to produce the best visual effects for the VFX and the real scene.
The responsibilities of the Data capture technician may include:
Collaborating with Scanning Coordinator, CG Producers, and Supervisor Producers to accomplish daily targets
Operate cameras and HDRI equipment to capture high quality HDRI’s
Set up, deconstruct, operate, and troubleshoot the facial photogrammetry rig
Taking proper texture and reference photos on set
Process scan data to generate light weight, highly detailed geometry for layout and assets
To be a qualified data capture technician I think you need to be technically proficient, have some basics knowledge to be a qualified data capture technician I think you need to be technically proficient, have some basic knowledge of VFX and have a reliable driving licence, as the job also involves travelling between the studio and the set. Ledge of VFX and a reliable driving licence, as the job also involves travelling between the studio and the set.
Compositors ensure that all the visual elements of a film are rendered seamlessly on the screen. They deal with a complex combination of images including green screen/chroma key sequences, special effects, visual effects, mattes and live-action coming together to complete a believable whole.
The role of Compositor is important because they are responsible for the final output of the final animation, film and game. Combining many formats of material into one requires a great deal of skill and knowledge to combine them perfectly. And the Compositor needs to work with the various departments to ensure that all elements are delivered in a format that is compatible with each department.
The responsibilities of the Compositormay include:
Liaising with the director, producer and post production head to establish the formats and delivery items of all the elements that make up the production
Collating all the materials from the camera, animation and special effects teams, and ensuring they are all compatible
Advising filmmakers on the best lighting, color levels and blacks to maintain a consistency of style and look throughout the shoot
Working closely with lighting technical directors, roto artists and render wranglers to ensure the smooth running of the production pipeline
Taking responsibility for continuity of shots and effects of the entire work
Enhancing lighting effects
Creating convincing shadows within a shot
Adding motion blur to scenes
Integrating rear projection into background images
Working with blue/green screen effects
Ability to do some keying, rotoscoping and creating mattes as required
Conducting quality assurance of visuals and correcting errors before final composition
Ensuring the director’s vision of overall style is delivered
The Compositing Supervisor is the position that manages the Compositor. His role is mainly to check the quality of the compositions and to ensure the continuity of colour between shots and the uniformity of the overall effect.
Generally speaking, the head of the synthesis is someone who is already very experienced in synthesis. They specialize in working with a wide range of digital materials. And they can also produce when they encounter difficult tasks to ensure that the team completes the task within the time limit.
The responsibilities of the Compositormay include:
Work closely with production to bid and schedule work
Direct task to junior/mid/senior level artist and crew shots appropriately to their level of expertise
Take responsibility for the quality of the work of the team as a whole
Work proactively and collaboratively with all other VFX and support departments
Attend client reviews and lead daily reviews with the Compositing team
Balance the creative and technical aspects of each shot/sequence
Solve any difficult technical and artistic compositing challenges of a shot or sequence
Take a leadership role in guiding the longer-term goals of the 2D department, covering both building up a team of Compositors as well as 2D pipeline development, including taking into account stereoscopic projects
On set VFX supervision for (but not limited to) 2D based projects
The Compositing Supervisor is the most experienced person in the entire industry. It usually takes several years or more to learn. It takes several years or even more to be qualified for this position.
A layout artist designs the shot frame, camera paths and angles, depth, perspective, scale, and lighting for an animated sequence. They act as the eye of the cinematographer and gaffer in animation, working with directors to translate storyboards into sequences of action.
Layout Artist is, in my opinion, the visual designer of CG animation. They give the whole CG animation more perspective by defining the virtual camera. This gives the crew more possibilities in the editing and special effects process later on.
The responsibilities of the Layout Artist may include:
Liaising with director regarding the execution of the script
Working from the storyboard to set up layout of animation
Drawing initial line work for backgrounds
Researching the genre, reference shots and style of project
Creating backgrounds that support the narrative of the story
Providing various rough versions of scenes (akin to live-action takes) giving directors and editors options during the editing process
Lighting each key scene
Setting the camera path of a scene
Defining the perspective of the scene
Ensuring continuity between shots
Experimenting with camera angles to arrive at the best shots
The Layout Artist role requires a good knowledge of drawing, composition and the use of a wide range of software such as Renderman, Avid, Final Cut Adobe After Effects, Photoshop, Blackmagic Fusion Maya 3D Studio Max, Nuke, Mental Ray, TVPaint, Blender.
In short, the Layout Artist is a lens that enriches the story and opens up possibilities for further work.
Matchmovers are responsible for creating CG cameras and other motion files that adopt the same movements as the original background plate. They may also be responsible for modelling geometry in the background plate to allow reconstruction of the static surroundings. This enables the live-action to seamlessly interact with the CG elements. The motion files created (camera, object or body track) are then passed down to other departments via the VFX pipeline.
The responsibilities of the Matchmove Artist may include:
Creating motion files, including a camera and/or the object, that match the original background plate photography
Geometric reconstruction of important static objects in the scene
Reconstructing the placement of motion files (camera or object track) in the 3D set in order to quality control the accuracy of each track
Collaborating with other departments as required to ensure that the CG elements are seamlessly incorporated into the shot
Rendering wireframes of the scene geometry to be rendered and composited over the original plate to help judge the accuracy of each track
Work well in a team environment and take direction from the Lead and Production team
This work requires Matchmove artists to be very precise and meticulous in their work. Only pixel perfection in film and television. To have the best visual effect. If there is a deviation between CG and realistic human movement, they must also address this issue.
A 3D lighting artist is a member of a larger team of 3D artists who specialize in lighting the final scene(or render) in a style that blends properly with the 3D project. This can include lighting for video games, movies, instruction videos, or architecture mockups.
The lighting technician adjusts the colour and position of the CG lights to give the film or TV production a richer effect. Most film and television productions are enhanced visually through lighting. This is why the profession is so important in the special effects industry.
The responsibilities of the Lighting Artist may include:
Light and Render CG Shots for feature film production;
Pre-Comp shots;
Ensure shots meet render requirements;
Collaborate with departments concerned by lighting work;
Execute the corrections requested by the Supervisor and the Director by showing an analytic and proactive mind;
Maintain timing and production quotas given by the production coordinator;
Organize work and prepare presentation elements for approval;
Communicate and seek information, if necessary;
Maintain a good team dynamics;
The usual software used by lighting artists is GUERILLA RENDER, NUKE, LINUX / UNIX environment, MAYA.
The computer graphics supervisor, or CG supervisor, is a person involved in the production of computer-generated imagery, both animation and visual effects. Due to the variety of productions and duties required, most CG supervisors are specialized in one area such as art, programming, or management. On large productions, there might be several CG Supervisors, each concentrating on a specific area.
As CG Supervisor, you will oversee a group of talented artists who produce CG assets, set up working shot pipelines and successfully deliver CG elements for shots in projects. You will technically lead your team throughout the show, ensuring good and clear communication between the artists, production team, technical team and department heads at all times. You will contribute to the bidding and staffing of projects and proactively provide feedback on people and pipelines.
The responsibilities of the CG Supervisor may include:
Working closely with VFX Supervisor to interpret the creative vision, oversee every aspect of production, and plan a pragmatic way to deliver on that brief
Assisting in all technical aspects of animation production including rigging, animation, lighting, and FX
Designing and implementing the technical, artistic pipeline and workflow
Designing and implementing tools used in the studio
Training the team members and making sure the tools required for the project are up to the task
Designing and supervising the creation of CG imagery
Verifies technical solutions proposed by other crew members
Keeping up on current technology trends and tools (hardware and software) that best suits the production and SPINVFX in the development of a stronger creative technical environment
Leading the Technical Directors (TDs) in solving problems the production faces on day-to-day basis
Assisting and supervising the artist in achieving the artistic goals of the production
Working with Creative Resources to define recruiting goals to achieve the appropriate balance of qualified artists.
As a CG supervisor, you need to be involved in every aspect of the job and you need to be able to co-ordinate the people and the mentality of the department. It’s a demanding career in every respect.
Look Development Artists help build worlds and characters by creating the color, textures, and materials for everything you see in the final rendered images.
Look Development Artist stylises each character in a film or television production for different scenes, so that the character can be adapted to multiple environments.
Look devs work with closely VFX artists from the other VFX production departments, lighting and texture artists, compositors and shader development TDs to establish a consistent idea of the look of the 3D models and characters to be created.
The responsibilities of the LookDevelopment Artistmay include:
Liaise with designers and developers regarding the design brief and visual style of the game
Research resources and game genre materials for the development of graphics
Create mood boards, color schemes and lighting plans as references for animators and designers
Sketch key scenes, environments, characters and assets within the same style
Produce a variety of variations of designs and concepts for approval
Create prototypes for testing
Oversee the visual development of the design process to maintain a consistent look
Maintain production documentation
Adhere to the production schedule
Finish all textures with special effects, lighting, shading, etc
Handle input/output files
Maintain production documentation
Assist in curation of asset libraries
Establish format procedures and guidelines
Ensure that textures are believable and work well on screen
Test ideas to achieve maximum quality results
Provide rough preliminary composits of renders for review
Apply texture maps, set up scene templates, and define standard render passes
https://www.youtube.com/watch?v=cRta3McCsYE
They are usually produced using software such as Maya, 3D Studio Max, Cinema 4D, Nuke, Houdini, etc.
Modelling artis is primarily responsible for creating characters, weapons, plants and animals in 3D on the computer.
After checking out several websites, I first found out that modelling artists are able to produce models in a variety of different styles. It is also possible to create 3D models from 2D illustrations. This means that the profession of modelling artist can be used in many different fields. Secondly, when I was looking for information about the profession I found that modelling artists often work alongside or intersect with Texture Artists. This means that a modelling artist is not only able to create 3D models but can also create textures.
Requirements for Modelling Artists:
Accomplished examples of Modelling, Texturing and Shading both hard surface and sculpted assets
Thorough knowledge of Modelling package of your choice is essential
Thorough knowledge of Zbrush and/or Mudbox is essential
Thorough knowledge of Mari and/or Bodypaint 3D or other 3D texturing software is essential
Basic understanding of Lighting and Look Development
In my opinion this career is very demanding in terms of work experience. As in the production of animated games and other film and television productions. Models of characters, environments etc. are the basic work of production. This requires Modelling Artists to produce accurate and aesthetically pleasing models in a short period of time. This is a skill that needs to be built up over the years.
An animator is an artist who creates multiple images, called frames, which, when displayed in rapid sequence, create an illusion of movement known as animation. Animators can work in a variety of fields, including film, television and video games.
Animators as VFX are usually divided into several professions, namely 2D animators, who usually animate by hand. 3D animators usually use software such as Maya to k-frame their animations.
In today’s film and television production industry, animators often do not use k-frames for animation. This is because the advent of motion capture technology has greatly reduced the burden on animators. And animation capture technology has also made animation more fluid.
Requirements for Animators:
strong artistic skills
minimum of 3 years experience creating convincing performance and motion for live action feature film and television series
a strong sense of camera work and framing for full cg or previs shot creation.
working knowledge of Maya
understanding of all aspects of 3D animation
the ability to communicate creative and technical thoughts and ideas
the ability to multi-task and prioritize
the ability to meet deadlines and follow directions
In general the animator’s responsibility is to animate to the director’s subplot. With the maturity of technology and software. The animator’s job is also changing drastically.
A Texture Artist is responsible for creating photorealistic textures for mapping onto 3D objects used in video games, films, television, music videos, or commercials.
Usually only the larger companies have a dedicated Texture Artist, this is because textures are an important factor in enriching the model. Many smaller companies do not divide their positions so simply. This is because many of their models are not very detailed either.
Texture artists are usually very good at hand painting and they will go about creating different styles of texture mapping to suit the different requirements of their employers. This also places a high demand on their ability to hand-draw effects and modify images. And it is a very detailed job. The textures are very detailed. It is also very demanding for the texturist to be observant in life.
Requirements for Texture Artist:
Liaising with designers and developers regarding the design brief
Liaising with the director, cinematographer, design department on the finishes of the texturing
Researching reference materials for aesthetics and genre of game, film or animation
Working with post production and visual effects teams for seamless integration with footage
Develop and refine textures during the production process
Collaborate with animators and modelers on the best textures for each object and character
Create a diverse and compelling range of textures that will engage the player and enhance gameplay
UV mapping
Maintain a high level of design and photorealism throughout
Curate a consistent look of all the elements of the game
I think Texture Artist has a more important role to play in VFX. Because the texture is what determines how people feel when they watch a film or video. A good texture gives the viewer a better experience. That’s why this profession is so important.
3D environment artists are 3D modellers who specialise in creating indoor and outdoor environments for film or video games.
Environmental artist seems to me to be in the same category of profession as model modeller. It’s just that one focuses on Modelling Artists and the other on modelling environments.
Environmental artists often have to build many virtual scenes based on film and television productions. And they have to set up a series of physical laws according to the environment in which they are set. For example, a space environment is set up to be weightless.
Requirements for Environment Artist:
Modeling and texturing elements
Liaising with the Art Director and Lead Artist regarding the layout and style of environments within the film or game
Working from storyboards and concept art to develop environments
Researching references and resources for creation of backdrops
Creating prototypes and mock-ups in the early stages of production
Environmental artists will contribute greatly to the aesthetics of a film or television production. Many of the best films and television productions are made with very beautiful and stunning scenery that people can marvel at.
The nature of the work and tasks of a VFX runner are easily expressed in the name of the profession. Its job is to play the role of a runner in a VFX studio. Providing support and security for other departments and colleagues in the company.
The career of VFX runner is a good option for many newcomers to the vistual effects industry. This is because most of the work is secretarial in nature, such as passing materials and information between departments. They organise meetings, take care of reception duties and serve tea and other mundane tasks. This does not require a lot of experience or skills for the candidate. This is why it is a low barrier career.
Responsibilities to become a VFX runner
As a runner, you’ll need to:
answer the telephone
deliver post to local clients
do photocopying and general administrative work
drive cars, vans or trucks between locations and around sets
fetch and carry items, such as equipment, tapes, cable and scripts
get everything in place for shoots
hand out post and messages to colleagues within the production team
help set up a location for a shoot
hire props
keep the set clean and tidy
make and hand out tea, coffee and lunches
make arrangements for staff on location, such as booking meeting rooms or ordering food
manage petty cash
look after guests
order stock
pick up cast for make-up calls
sort out the kit bags, for example checking that the camera bag contains all the necessary items
take messages
transcribe production tapes
transport cast, crew and production staff between offices, studios and shoot locations
transport scripts and hire equipment
undertake basic research
use maps, tapes and clapper boards, and other film and television production equipment
write down shot lists.
Overall this is a relatively easy way to get into VFX and a very good career to get to know the various departments of VFX most quickly.
The Prep Artist does the pre-production integration work for VFX. He usually works with the compositor to integrate all the elements of the image, which includes CG and live action shots, and they will clear the plate of unwanted items such as wires, rigs, extraneous people, etc. Preparing the compositor to layer the effects.
Responsibilities to become a Prep Artist
generating articulate roto mattes using animation and tracking techniques
painting, clean plating, rig removals and cleanup
marker removals, production, and cosmetic fixes
retiming, or transforming footage to match client references
basic split screen composites and precomps
To be Prep Artist you must have
demonstrate excellent rotoscoping skills and meticulous attention to detail
experience using trackers and 3D cameras in roto and paint workflows
demonstrate excellent painting skills using frame by frame and procedural workflows
1+ years of related production experience for feature film or television VFX
experience using Nuke in production, including proficiency in Nuke’s 3D environment
In most cases Prep Artistusually works in conjunction with the ROTO supervisor. This career is not just about technical work. There is also the ability to work with others and good time management and organisational skills.
Roto Artists trace the areas of live action frames where computer graphics will overlap or interact with live images. This creates clear areas (mattes) within the frame to allow all elements of the scene to be layered convincingly. This enables Compositors to combine all the various elements accurately.
It seems to me that the nature of the work of a roto artist is inherently very boring. Roto is also often done in Nuke, which we are studying this semester. Many roto artists are often freelancers. This is because the work is not very difficult. It is more about having patience.
Responsibilities to become a Roto Artists
Demonstrates a strong eye for color and grain structures with the ability to match saturation, hues and black points from multiple sources to create a cohesive final montage.
Able to break shots down into individual components with little supervision.
Easily assimilates feedback given by supervisors.
Researches appropriate references including continuity with like shots. Proactively shares this information with team.
Demonstrates a keen eye for recognizing paint artifacts, sharpness and color issues.
Able to handle complex shots with heavy motion blur, lots of layers, etc.
Ability to use a combination of techniques when dealing with tricky wire removals and clean plates.
Demonstrates a basic ability to do “paint on comp” work to a high level of quality.
Working knowledge of color correction and Grain pipeline in Nuke.
Ability to use layout and DM cameras in Nuke.
Ability to export track points between multiple toolsets.
Working knowledge of stereo compositing pipeline.
Demonstrates excellent troubleshooting skills.
Overall I think this career is the most important safeguard before VFX production, and how good Roto is determines the output of the post-production results. It’s a very mechanical profession. But it is a very important job.
In general I would like to be a Vfx runner in all three professions because it would allow me to familiarise myself with a new environment or even a new profession as soon as possible. The job would also allow me to get a quicker understanding of how the industry works.
