After the research of the all VFX job roles, I now have a better understanding of what exactly these roles do, especially in production management department, onset department, and technical department. There are two positions interest me most. One is Modelling Artist, the other is VFX Editor.
3D modelling is always interesting to me, and I enjoy creating different things that come from real life or something I like in a film, animation or in a game. I used to do compositing in the last two years, and now I want to explore more in 3D direction. I found myself enjoying 3D modelling more than compositing after the graduation of my previous college. And I’ve seen a lot of fantastic works from different 3D Modelling Artists online, I wish I could create something like that too.
I found some 3D models that I like from ArtStation. I like how the models are stylised.
I’m also interested in VFX Editor, but it’s the client-side VFX Editor. As far as I know, client-side VFX Editor usually works onset when the live-action shooting is going on, which is why it attracts me a lot. Instead of sitting in the studio everyday, I would like to walk around and to see what it’s like in a large VFX production shooting.
The VFX editor works closely with producers to manage all incoming and outgoing media. They are responsible for constantly tracking and updating shots as production goes on and changes are made. VFX editor needs to keep up with the work flow due to everything in production is continuously changing.
Client-side VFX Editor works onset to make sure everything is captured correctly for the VFX is able to be integrated effectively. The in-house VFX Editor work with client-side VFX Editor to assure the VFX artists in post-production get everything that they need to do their work for the VFX project.
Chris Kowal who works as a VFX Editor in Method Studios explains what this role will do. He points out that his jobs in Editorial are different everyday, which is why he loves being in this department. Although everyday has no exact same works to do, he is mainly responsible for updating cuts and doing cross referencing to ensure everything is up-to-date for the artists
The Data input/output (I/O) technician is in charge of managing the files and data information on computers , which includes organising, transferring and storing the files and data. Due to there is always a plenty of data such as high-quality video files and digital 3D animation files need to be processed, the VFX companies need Data input/output (I/O) technicians to manage the computer storage and retrieval systems, including company hard drives.
A concept artist designs visualisation and creates art for characters, creatures, vehicles, environments, and other creative assets. Concept art is used to visualise ideas so that other VFX artists can create their work from the concept arts for production. Everything you see in video games or animated films had to be designed by a concept artist first. This includes weapons, props, vehicles, characters, clothes, buildings, interiors, etc.
The Previs Artist designs pre-visualised shots and sequences of a project. They work under the creative direction of the Visualisation Supervisor to decide shot composition, staging, lighting and camera language including movement, choice of camera lens and framing. In pre-production, visualisation occurs before the production begins. During this step, the Previs Artist tests the idea of a project, its concept, the unfinished script, examines information about the camera’s location and movement.
Rigging TDs work closely with 3D Modellers, and they are in charge of creating digital skeletons for the 3D models, which will be used by Animators for their character’s movements later on. When Rigging TDs receive facial shapes and expressions of characters, it’s their duties to figure out how the characters move. They receive feedback from Animators after testing the rigs, and are responsible for any required fixes.
Some key skills include programming or coding skills with Python and C++, as well as experience with CG software such as Maya, Houdini, 3DMax. Rigging TDs need to have an excellent understanding in musculature, movement and timing.
Creature TD
Creature TDs will find creative and technical solutions to build the software for the artists to develop rigs and simulations like fur, feathers, and skin for their creatures. According to the size of the studio, they may be required to do rigging which includes creating systems of skeletons and muscles for animators.
In Outpost VFX studio, they require their Creature TDs to have some key skills such as, be familiar with rigging tools in Maya, Python scripting skills, as well as highly knowledgeable in Houdini.
VFX Producer
They gather the VFX team and other technical artists, set schedules for them, and manage the budget. And then they work closely with production crew in live-action projects. They are involved from early discussions, bidding and shot breakdowns, through to ensuring the final result is in high standard as required and the projects come in on time and in budget.
I found some links to requirements of this role from different studios’ recruitment.
The Production Managers supervise the work of Production Coordinator and are responsible for managing artists, schedules, and daily tasks. They will work between the VFX Producers and VFX Supervisors. The Production Manager is the bridge of all aspects of production and post-production.
An article of the interview with Chelsea Mirus on The Rookies reveals how is it like to work as a Production Manager.
FX TD generates digital effects such as, explosions, fire, smoke and water in 3D software, who works under the management of the visual effects supervisor. They are in charge of supervising the particle and fluid effects for VFX sequences. FX TD
FX TD needs to understand how to manipulate particle or fluid systems. Many effects require FX TD to have the ability of programming to go beyond the base setups and to create more complex FX system.
This article on LinkedIn tells more about this job role, what skills and qualifications does a FX TD need to have, and the specific responsibilities.
Some examples can be found in Franco Pizzani’s works, who works as a FX TD in Vancouver.
TD (Assistant technical director)
They assist other TDs in the pipeline, provide technical advice and support for artists, and get information of each department on the needs. Assistant technical director will work closely between software developers and other artists. They also need to manage data information such as, disk usage, file transfers, converting and resizing files.
The following job post of this position from DNEG studio describes what this role is like. This position will gain the opportunity to focus on the specialised field as a Pipeline TD and experience the leadership role. In this job post, TDs are also required to have strong Python scripting skills.
Software Developer
They use programming skills to build systems for technical directors (TD) to use and modify, so that TDs can meet their specific needs in VFX projects. Their responsibilities are developing and maintaining software as well as integrating tools into the existing pipeline. I found that most VFX companies require this job role to be capable with Python scripting.
Pipeline TDs make sure that every studio member has the tools they need to complete the shots, and if not, they need to code them. Pipeline TDs should alway be ready to solve the technical issues to ensure a VFX project runs as smoothly as possible. They need to be highly knowledgeable in providing software solutions as the problems arise.
This role is responsible for the whole VFX project and managing the production pipeline. A VFX Supervisor’s responsibilities include three stages. The first stage is to work closely with director and director of photography to decide what programs and techniques will be used to achieve the necessary visual effects. In the second stage, the VFX Supervisor needs to make sure all VFX scenes are shot properly. The last stage is to lead the post-production team to create the required visual effects and to oversee the quality of the works done by other VFX artists.
Data Capture Technician
They go onset of a film/TV shooting to collect all information about the live-action footage and take photographs of the set for VFX team to add visual effects. This job enables the VFX team to recreate some scenes digitally. Data capture TD uses a variety of tools to collect the information, such as cameras and a ‘total station’ which electronically measures horizontal and vertical angles and distances.
Compositor
The compositing artist is in charge of integrating the CG elements into live-action footages, and combining various digital elements to produce a believable picture. Basically, this role will be required to do chroma keying which will be used in green screen or blue screen shots in order to place the subject in a different setting or environment later. Their work is the last part of the VFX pipeline.
This VFX breakdown reel from Avengers shows how compositing works are finished.
Compositing Supervisor
The Compositing Supervisor is responsible for the management of the compositing team and the quality of the compositing work. They work closely with VFX Supervisor, CG Supervisor and the VFX Producer to communicate between the departments and represents the voice of the compositing team to pipeline environment. Compositing Supervisors need to be very experienced in compositing. They supervise the compositing team to meet the deadlines make sure the film or TV production company receives the VFX work on time.
Below is a job post from Industrial Light and Magic, they were looking for a Compositing Supervisor and posted relevant requirements and responsibilities.
Layout Artist is also known as Layout TD, which is responsible for the framing, composition, camera angle, camera movement, and lighting of each shots. They control the pace of the action, timing and the dialogue. They are required to load 3D assets and audio into the animation program and pose the characters, and then frame it with virtual camera. The Layout Artist is pretty much like the Director of Photography in virtual world. Their work allows other VFX artist to have a basic shot construction in the production pipeline.
This video talks about what traditional 2D layout is like, and how a Layout Artist works in a virtual world now.
Matchmove Artist
Their work is to merge characters or objects from live-action footage and virtual scenes into one perspective. They need to do body and object tracking, recreating the movements of people or objects in CG. They use specialized program, for example, Syntheyes or PFtrack, to make 3D objects integrate with live-action footage.
Matchmove Artist needs to work with both 2D and 3D tracking. In two-dimensions, the task is to change the live motion footage’s image without factoring the movement of the camera and lens distortion. Most programs are used to do 2D matchmoving are After Effects, Syntheyes and PFtrack. In three-dimensional, the 3D elements need to be inserted into 2D video clips. They usually do 3D matchmove in Blender, Vodoo, and 3DEqualizer.
More information can be found in this following article. It gives a clear explanation of how this role works and there are also some examples of matchmover’s works.
They are responsible for adjusting the color, placement and intensity of CG lights to build atmosphere with realism and depth. They craft the mood of the film or animation, and match the lighting of 3D objects to the look of the on-set production.
This article gives more specifics of Lighting Artist.
This is an interview of Michael Tanzillo who works in Blue Sky studio, talking about Lighting Artist’s jobs and responsibilities.
CG Supervisor (Computer Graphics Supervisor)
Their job is to deliver and make sure the quality of the 3D elements of a project. They are responsible for managing and directing the technical, artistic, and production personnel for each project. They supervise all CG creation and managing the task allocation.
Supervisors can be hired directly by a film production company. They can also work for a visual effects company, where they could work with lots of different production companies.
Look Development Artist
Look Dev Artists focus on the development of the visual style of the computer-generated creatures or objects, they establish the overall artistic & scene styles and decide if the look will be realistic, stylized, or both. Look Dev Artist creates the materials, textures, and geometric instances that define the look of environments, characters, and sets.
In this job post from Walt Disney Company, they listed all the requirements and tasks that a Look Development Artist need to do for this role. And what they want if you want to apply for this job.
A 3D modeler creates three-dimensional creations through various computer software. from 2D or 3D art which produced by a Concept Artist, or from reference materials. They also sculpt the model to shape what’s intended. The job work is the entry of the 3D department. After the modelling artist completed their models, it can be moved onto texturing and animating. In smaller VFX studios, modelling and texturing artists might be combined into one job position to do both roles.
They usually create something like this with reference images.
Animator
A 3D animator specialize in creating different types of animated digital models such as humans, objects, or landscapes of an animation. They often start with receiving scripts, visualizing what the animation may look like, and designing the storyboards.
Here is an image of the Animator’s responsibilities from a job post.
And a link to more information about the role’s jobs and what skills are required.
The Texture Artists specialize in creating the textures for 3D animated objects for video games, films, television shows, and commercials. They paint surface textures on 3D models such as, animated characters, environments, and props.
This video explains that what exactly a texture artist do in a VFX studio and what makes a good Texture Artist.
Environment Artist
They create background visual arts which actors or objects will interact for films or video games, such as, outer space, historical recreations, and fantasy lands, etc. The role is to create backgrounds, layouts, and environments using computer software to design and sculpt it. The Environment Artist needs to be skilled with a modeling package such as Maya and 3D Max. It is essential to know about Photoshop and Substance Painter for creating textures and materials. Knowing how to use 3D sculpting program such as Zbrush is also an important skill.
Here are some works of Robert Hodri from Art Station, who works as an Environment Artist.
It is an entry level position which will act as a general assistant, completing whatever basic tasks are required to ensure the smooth running between each departments. Sometimes, it is an opportunity to be an runner to learn about how those positions work in a VFX studio, and it’s a good route to get into the industry for someone without relevant experience.
A runner needs to do a variety of jobs, the following image shows what kind of jobs require a runner to do.
Prep Artist
They basically do clean up jobs for the live-action footage before the shot can move to the next department. They’re responsible for removing any unwanted items such as markers, wires, or even a scratch. The work of a Prep Artist generally will be reviewed by a VFX Supervisor on a cinema screen.
The images below are a job post from Rodeo FX studio on Glassdoor. They explained what responsibilities they need a Prep Artist to work for them, and also what qualifications you need to have to apply for this job. They explained the Prep Artist is also a Roto Paint Artist.
Roto Artist
They trace the areas of live-action frames using various software to cut images and sequences out to create roto mattes and prepare plates for the compositors. They also work in video game productions which use live-action footage.
The following link explains their responsibilities, skills required, what software will be used, and the average salary
I also found a video on YouTube which shows what a Roto Artist’s showreel is like. They generally rendered out the alpha channel to show how clean the plate is.
