Roto Artist - 3D CG

Roto Artists assist in the preparation of material for the Compositing Department. They trace live action frames to provide visual information that will enable Compositors to combine all the various elements accurately.

This process is called rotoscoping and originated in 2D animation when live action was traced as reference for movement, or to establish where drawings needed to match to areas of live action.

Rotoscoping is the first skill required by Compositors and continues to be part of a Compositor's role. On smaller projects, Compositors may do their own rotoscoping.

As this technique involves working on previously shot live action, the role of Roto Artist exists more often on special effects work, within facility houses or on projects that combine live action and computer graphics. This job can involve long and anti-social hours.

What is the job?

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.

If the camera is not moving within a shot, this may involve only one frame; however, mattes will be needed if the CGI interacts with moving people, moving objects or moving background elements and, in these cases, mattes may be required for every frame.

If the live action camera is moving, Roto Artists trace the relevant areas of every consecutive frame within that shot so that computer graphics can be combined accurately with the live action.

In addition to rotoscoping, Roto Artists assist generally in the preparation of material for compositing, including such tasks as painting out wires and rigs; doing basic green and blue screen compositing; or grading live action plates.

Depending on the production, it is most likely that Roto Artists will be working on Commotion, but they may be required to use Shake, Combustion, Silhouette or After Effects.

Typical career routes

This can be an entry level job, particularly suitable for a new entrant artist.

Roto Artist is the most junior role in the Compositing Department and is likely to lead on to more senior roles within that department.

Essential knowledge and skills

This work can offer a good opportunity to gain professional experience and learn more about using the software within a production environment. In most cases the following will need to be demonstrated within a portfolio submitted for a Roto Artist position:

• understanding of fine art or photography;
• understanding of composition and colour;
• evidence of neat and accurate work;
• competent drawing skills including good line quality;
• basic knowledge of relevant software.

Key Skills include:

• ability to be methodical, thorough and patient, with a good eye for detail;
• ability to communicate with colleagues and work as part of a team;
• ability to take direction and willingness to address comments and make changes;
• ability to deliver on schedule, working under pressure if required;
• respect for the procedures and requirements of a particular studio, production or pipeline;
• enthusiasm to learn and develop professionally;
• knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Roto Artists are likely to have gained a degree in an art-related subject, such as Animation, Design, Illustration, Painting, Drawing or Computer Animation.

Depending on their ultimate objectives, the specific degree may not be relevant at entry level but could affect the direction they take at a later stage.

It is possible that a period of professional production experience, for instance as a runner, may replace an academic qualification providing that a portfolio can demonstrate the necessary talent and skills.

Training in at least one of the relevant software packages currently in use by the industry is desirable, and familiarity with other programmes will be an advantage.

Companies have different attitudes to the amount of experience they expect Roto Artists to have had, and some expect to give the right candidates specific training on the job.

Editing Assistant (Animation)

Editing Assistants support the Editor(s) and Editing department, and their workload varies according to the size and type of the production. They log the audio and visual material received in the cutting room, load it into the computer and keep ongoing and detailed records, as instructed by the Editor or 1st Assistant Editor. 

Editing Assistants make viewing copies on different formats for various departments, clients and composers. They handle the housekeeping tasks for the editing department, keeping it stocked with relevant materials, ensuring that all equipment is in good working order and placing orders with outside suppliers. They may liase with the Production and Accounts departments on administrative matters relating to the Editing department and keep the Editor's diary, booking sessions internally and with outside facilities. In a smaller cutting room, they may also act as a Runner. 

Sound plays a vital part in editing for animation and, depending on the size of the production, the picture and sound may be handled by the same Editor or editing team. Editing an animation soundtrack can offer more creative opportunities than editing the picture, which is substantially pre-edited by the Director, so an interest in sound and music is very useful. While still at a junior level they may do soundtrack breakdowns, for which the format will vary depending on the editing system, and they may be asked to transfer other breakdowns on to bar sheets for the Director and Animators. This the first introduction Editing Assistants have to the production requirements for animation.

This can be an entry-level role for the right candidate. 

Responsibilities

Editing Assistants give the Editor(s) whatever backup is required, and help to keep the editing department running smoothly and efficiently. They must take every opportunity to learn the systems and software in current use, and try to be aware of new updates and developments. Editing Assistants need to take responsibility for following through on the tasks they are given, and they must be prepared to work occasional long and anti-social hours.

Skills

Editing Assistants must be thorough and meticulous as close attention to detail is required, and knowledge of the technical aspects of the equipment is advisable. The abilities to take direction, communicate well, work as part of a team and appreciate the importance of a schedule, are all essential. Editing Assistants must be prepared to respect the editors' or studios' working practices, and discretion may be required if they are working on a confidential project. 

Qualifications/Experience

Computer skills are essential and a basic understanding of the more commonly used software is useful, e.g. Avid, Apple's Final Cut Pro and Adobe's Premiere, etc. Entry level Editing Assistants are sometimes graduates of Film or Television courses, or appropriate Technical Colleges but there are also opportunities for Runners with the appropriate talents to be promoted, and this is the most common route into the Editing Department.

Compositor - CG

Compositors work in most areas of animation and post production.

They are responsible for constructing the final image by combining layers of previously created material. Although it is primarily a 2D role within the 3D world of CGI and VFX (Visual Effects), Compositors need a thorough understanding of the CG process combined with relevant artistic skills.

In post production companies, some TDs (Technical Directors) may do their own compositing.

What is the job? 

Compositors work at the end of the production process. They receive material from various sources which could include rendered computer animation, special effects, graphics, 2D animation, live action, static background plates, etc.

Their job is to creatively combine all the elements into the final image, ensuring that the established style of the project is respected and continuity is maintained.

To achieve this they enhance the lighting, match blacks and other colour levels, add grain where required, add motion blur (if appropriate), create convincing shadows and make sure levels combine together seamlessly, keying (see glossary), rotoscoping and creating mattes where necessary.

They work closely with Lighters and need to have technical knowledge of how 3D lighting works in order to understand the 'multi passes' that the lighters create. They also liaise closely with Render Wranglers to progress work through the department.

As this is the end of the production line, there can be occasions when it is necessary to work very long hours to catch up on a schedule. Compositors need to keep up to date with technological developments within their field.

Typical career routes

CG Compositors are most likely to have entered the Compositing Department as Roto Artists and worked their way up. In other cases, people who have acquired an understanding of compositing in layers for 2D Animation, using programmes such as After Effects, Animo or Opus, may have the relevant experience.

There are several levels within the department; this job profile applies to a mid-level Compositor. With the appropriate talent and skills, Compositors can become Sequence Heads, Senior Compositors or Compositing Supervisors; the best Compositors can aim to become VFX Supervisors.

Essential knowledge and skills Compositors need the talent to make artistic judgements, the technical skills to take practical decisions and the ability to analyse and solve problems.

Key Skills include:

• extensive knowledge of current compositing software such as Shake and After Effects;
• knowledge of various other programmes including Photoshop;
• understanding of 3D animation process, particularly Lighting;
• a good eye for composition, colour, light and shadow;
• good knowledge of keying process;
• methodical and thorough approach to work, and attention to detail;
• ability to communicate with colleagues and work as part of a team;
• ability to take direction and willingness to address comments and make changes;
• ability to work with a minimum of supervision;
• ability to deliver on schedule, working under pressure if required;
• respect for the procedures and requirements of a particular studio, production or pipeline;
• Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications 

Compositors are likely to have gained a degree in an art-related subject, such as Animation, Design, Illustration, Painting, Drawing, Photography or Computer Animation.

However, by this level, a minimum of two years professional experience; showreels demonstrating artistic talent and technical skill; and good references are likely to be of more value than academic qualifications.

Whether they have received formal training or worked their way up, Compositors need a thorough knowledge of the relevant software currently in use by the industry. Depending on the production, this is most likely to be Shake or After Effects, but could also be Combustion or, possibly Inferno or Flame.

For people moving into Compositing from other departments, there are several Shake courses available and this training would probably be a basic requirement.

Production Secretary (Animation)

Production Secretaries support Producers and Production Departments. In smaller studios they may also act as receptionists, answer telephones, and take on 'housekeeping', or office management, duties such as keeping the kitchen stocked, dealing with cleaners, keeping the first aid box, etc. In larger studios, the role may be confined to the needs of the Production Office. Some typing is involved, both on behalf of other members of the team and also for writing their own letters, notes, charts, etc. This can be, but is not always, an entry-level role.

Responsibilities

Production Secretaries' precise responsibilities vary depending on each Producer and each Production. They may be responsible for: regular administrative duties such as organising couriers and shipments; taking accurate messages; collecting and distributing time sheets; ensuring that invoices are authorised by the relevant people; liaising with the Accounts department; keeping the petty cash book; preparing and issuing standard employment contracts; checking stocks and re-ordering studio supplies; ensuring that support contracts for studio equipment are current and valid; helping to keep databases up to date; taking notes at meetings; and general secretarial duties.

Skills

Production Secretaries must be bright, responsive communicators, both in person and on the telephone. They should be able to prioritise, multi-task and use their own initiative. They must be numerate, literate and capable of composing their own letters. Good typing and general secretarial skills are required, but it is unlikely that shorthand will be needed. In all Animation techniques, both attention to detail and diligent follow up are vital.

Qualifications/Experience

No degree qualifications are necessary although this can be a good entry-level role for university graduates who want to work in the production department. Good IT skills are essential, and an interest in software programmes other than word processing can be helpful. In addition to standard packages, knowledge of spreadsheets and scheduling programmes, together with Photoshop, can be an asset.

Production Assistant (Animation)

Production Assistants work with, and support, Production Co-ordinators or Production Managers. Their role varies depending on the size of the production. On larger productions, they work more closely with the Co-ordinator than with the manager. There may be a Co-ordinator for each department, e.g. Design & Storyboard, Editing, Layout, Rigging, Animation, Lighting, Compositing, Post Production, etc., who reports to the Production Manager. In this case, Production Assistants acquire a great deal of knowledge in very specific areas. On smaller productions, they are likely to work across all departments, thus gaining wider experience.

Regardless of the size of the project, Production Assistants help to take care of the crew, making sure that work is ready and available for them to begin, ensuring that the delivery schedule is met, and checking that the necessary materials, equipment and references are available. They assist in keeping progress reports up to date and distributing them to the relevant people. Production Assistants may progress to become Production Co-ordinators, or into technical roles if that is more appropriate to their talents and skills. This can be an entry-level role in the production department.

Responsibilities

Production Assistants are responsible for assisting in the smooth running of the production. Their precise responsibilities vary depending on the studio, the Animation technique and the size of the production, and may include: taking notes in production meetings and distributing reports to the appropriate people; operating equipment for viewing tests and dailies; co-ordinating and logging incoming and outgoing materials; and maintaining a database for tracking work progress. If a production is animated overseas, they may be responsible for assembling, photocopying and packing the storyboards and any associated documentation, for shipping. In general, Production Assistants help to facilitate the work of the production, liaising between members of the crew and the various departments.

Skills

Production Assistants must be bright, responsive communicators and good organisers. They should be able to prioritise, multi-task, use their own initiative and have a good memory. They must be numerate, literate and capable of taking accurate notes. It is a role in which specific skills have to be learned quickly, on the job. Good typing and IT skills are essential; some progress management work utilising spreadsheets and databases is usually required. Production Assistants must be able to take direction and to work as part of a team. In all techniques of Animation, attention to detail and diligent follow up are vital.

Qualifications/Experience

No degree qualifications are required, although it is very useful for Production Assistants to have some knowledge of Animation, or of how studios operate. This can be a good hands-on entry-level job for recent graduates of Animation, Computer, Film or Media courses, who want to gain experience in production; some Runners are also promoted to this role. Good IT skills are essential and a knowledge of Photoshop can be an asset.

Render Wrangler

In CGI, Rendering is the process of converting computer data and out-putting it as a sequence of viewable images.  Render Wranglers monitor and control the rendering process and manage the render farm.  They can work on a project from previs at the start of production until the final material is delivered for compositing.  

What is the job?

Render Wranglers supervise the rendering process which can involve monitoring anything from a few computers to a major render farm of, perhaps, a thousand machines.  Artists from various departments submit completed data for rendering.  This is placed in a queue for Render Wranglers to prioritise the work and allocate machines.  They continuously check the computers to ensure there are no technical or machine problems which might interfere with a successful output.  

Render Wranglers may receive directions from Producers, Supervisors, Co-Ordinators or Resource Managers and have contact with artists in various CG departments, particularly to sort out problems that  they are unable to resolve themselves.

Rendering can be required in the planning stages and throughout production, including development and tests for models, animation, effects, lighting, etc. Although Animators usually check their own work in progress, animation may need to be rendered to view subtle movements such as facial expressions.    Render Wranglers liaise with the Compositors about the delivery of final rendered CG elements.

As new entrants, Render Wranglers can expect to shadow more senior colleagues for a limited period before starting on day shifts with supervision.  With more experience, they can also expect to be assigned to night shifts.  Rendering Departments work on rota systems; there are usually three shifts over 24 hours so the job can involve long and anti-social hours.

Typical career routes

This can be an entry level job, particularly suitable for new entrants with good computer skills.  Render Wranglers may be graduates with relevant degrees or specialised training, or Runners with suitable aptitude who are promoted to this role.  Depending on individual talent, skills and interests, the job can lead into most 3D departments, including Layout, Modelling, Animation, Effects, Matte Painting, etc., or into Co-ordinating.   

Essential knowledge and skills

This role offers a good opportunity to gain professional experience and acquire a broad based knowledge of CGI procedures within a production environment.    

Key Skills include:

• high degree of computer literacy;
• knowledge of at least one of the relevant 3D packages (eg. Maya, XSI or 3D Studio Max) currently in use by the industry (and familiarity with other programmes can be an advantage);
• ability to learn new software quickly, and learn on the job, if necessary;
• enthusiasm to learn and develop professionally;
• ability to analyse and problem solve;
• capacity to take responsibility and ability to manage and prioritise their time and workload; 
• ability to record information accurately and produce reports;
• ability to take instructions and work as part of a team, with the capacity to work with a minimum of  supervision, when required; 
• ability to work under pressure if required;
• experience in scripting is desirable but not essential;
• respect for the procedures and requirements of a particular studio, production or pipeline;
• knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications

Render Wranglers are likely to have gained a degree in Computer Animation, Computer Science or similar, or in an art-related subject.   Even with a less appropriate degree, they may have chosen to acquire some CGI training on specialised short courses, some of which may be programme-specific.  Applicants will be expected to provide a relevant CV with a covering letter.

Match Move Artist - 3D CG

Also known as Matchmovers or 3D Trackers, Match Move Artists translate and imitate the camera movements contained in live action shots and, using the appropriate software, match those movements in 3D.

As this involves working on previously shot live action footage, the role more often exists on special effects work, within facility houses or on projects that combine live action and computer graphics. This job can involve long and anti-social hours.

What is the job? 

Match Move Artists position tracking points on live action shots and, using those tracking points, they work out the co-ordinates in the relevant 3D programme. The information they provide enables the CG geometry to fit accurately and convincingly into the live action plates when the various elements are composited.

It is vital that Match Move Artists use a high degree of accuracy; without accurate match moving, the later stages of production will not work. Depending on the production, it is likely that Match Move Artists will be working on Maya, Shake or one of several 3D tracking programmes including 3D Equalizer, Maya Live or Boujou.

They will need to train or re-train as software develops.

Typical career routes 

This can be an entry level job, particularly suitable for new entrants with a technical bias. Match Move Artist is one of the junior positions in the CG Department and they can expect to spend between 12 and 24 months in the role before progressing to Junior TD (Technical Director).

The work is more technical than creative but, depending on individual talent, skills and interests the role can lead in various directions including Layout, Modelling, Texture, Rigging or Effects.

It is worth noting that, although Match Moving is often an entry level role in the UK, in many American studios it can be regarded as a career.

Essential knowledge and skills 

This role can offer a good opportunity to gain professional experience and learn more about using the software within a production environment. In most cases, the following will need to be demonstrated within a portfolio or showreel submitted for a Match Move Artist position:

• evidence of experience on relevant software;
• evidence of interest in Computer Graphics and/or Computer Animation;

Key Skills include:

• ability to be accurate, thorough, methodical and pay attention to detail;
• understanding of maths and physics;
• ability to communicate with colleagues and work as part of a team;
• ability to take direction and willingness to address comments and make changes;
• ability to deliver on schedule, working under pressure if required;
• respect for the procedures and requirements of a particular studio, production or pipeline;
• enthusiasm to learn and develop professionally;
• knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications 

Match Mover Artists are likely to have gained a degree in a 3D discipline, such as Computer Graphics or Computer Animation.

Depending on their ultimate objectives, the specific degree may not be relevant at entry level but could affect the direction they take at a later stage.

It is possible that a period of professional production experience, for instance as a runner, may replace an academic qualification providing that a portfolio or showreel can demonstrate the necessary talent and skills.

At entry level, personal work showing talent and commitment may be considered as an alternative to either a degree or previous production experience. Training in at least one of the relevant software packages currently in use by the industry is desirable, and familiarity with other programmes will be an advantage.

However, it is unlikely that knowledge of a specific programme will affect employment if the applicant has made a good overall impression.

CG Modeller

Modellers build three-dimensional computer models of everything that is needed for a CGI project. As they develop their skills and interests, Modellers may concentrate on different areas such as characters, objects, environments or special effects. 

Further on in the process, Riggers will rig the models to enable them to be animated and Texture Artists will apply texture which will be further enhanced at the Lighting stage when tone and depth are added. 

What is the job?

From designs, concept drawings and any other available reference material, Modellers create three-dimensional models using whatever software is applicable to the production.

They work to established designs and need to produce an accurate translation of the reference, staying on model (in style). There may be occasions when Modellers will need to do their own research or scan in a maquette or sculpture as reference.

The models they produce need to meet the creative requirements of the Production Designer and/or Art Director and/or Client, but it is just as important that they should satisfy the technical needs of the CG department and be efficient, reliable, to scale and easy to rig and animate.

It is important that Modellers understand and appreciate what will be required of their models in the later stages of production because this can affect the work they produce. Information about the action that is going to be required from a model will be provided by a Director, Supervisor or Animator, or can be found in the storyboard or layouts. 

On smaller productions, Modellers may also rig, build textures and create lighting. On larger projects, they may be required to liaise with riggers, texture artists and lighters.

Typical career routes

There are several levels of Modeller from a new entrant taken on as a trainee or junior, through to a Senior Technical Director or Supervisor. This job profile relates to a mid-level Modeller. Modelling can be a good career choice or can lead on to other roles, such as rigging or texture. 

Ideally, Modellers combine both modelling and texture skills which give them flexibility when progressing through the CG Department. With the appropriate talent and skills, a successful Modeller/Texture Artist may aim, eventually, to be either a CG Supervisor or a VFX Supervisor.

Essential knowledge and skills

One of the most important skills is to be able to think in 3D. In addition, it will be necessary to demonstrate at least some of the following within a portfolio submitted for a Modelling position:

• ability to follow design reference accurately and work in a range of styles;
• ability to create moderate to complex and organic models;
• ability to model characters, props and environments, working to a good level of finish, if required;
• good drawing skills including use of light and shadow and a good understanding of anatomy;
• strong sense of scale, form, weight and volume;

Key Skills include:

• good understanding of modelling with either Polygons or NURBS; 
• ability to do UV mapping;
• ability to problem solve;
• ability to communicate with colleagues and work as part of a team;
• ability to take direction and willingness to address comments and make changes;
• ability to work with a minimum of supervision and capacity to function as team leader, if required;
• ability to deliver on schedule, working under pressure if required;
• respect for the procedures and requirements of a particular studio, production or pipeline; 
• knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Modellers are likely to have gained a degree in one of a variety of different disciplines including Mechanical or Civil Engineering, Industrial Design, Architecture, Computer Graphics, Computer Animation, Sculpture, Woodwork, Metalwork, Ceramics, etc.

It is possible that a period of comparable professional experience, or working up from a trainee, may replace an academic qualification providing that a portfolio can demonstrate the necessary talent and skills.

Modellers will be expected to have solid experience in at least one of the 3D CG packages regarded as standard by the industry. Maya is currently the most widely used programme for film, television and facility houses in the UK. However, it is unlikely that knowledge of a specific programme will affect employment.

Some studios may provide the necessary re-training if modelling talent and skills are well established in a portfolio; alternatively, Modellers will need to upgrade their own skills and take training on the relevant software. Life drawing and experience of sculpting or traditional model building are an asset.

Production Designer - Animation

Production Designers are responsible for creating the 'look' of a project, visually interpreting the script, developing characters and environments that will both illustrate the narrative and enable Directors to realize their vision.

In the early stages of a project, this is likely to be done in partnership with the Director and, sometimes, in conjunction with the Producer and/or Client.

While establishing the stylistic theme, Production Designers also have to consider the technical resources available on the production and any budgetary and scheduling restrictions.

What is the job?

Production Designers consider the script/treatment, and any other form of brief, when producing the original designs. While being aware of the likely method of animation, in the early stages of a project they will use whatever technique is appropriate to demonstrate the proposed designs.

For most types of animation, designs are often developed initially in a 2D format and presented as drawings or paintings regardless of the final technique, even for projects that are destined for CGI.

On some smaller productions, the Production Designer's role may be combined with that of Art Director which means an ongoing involvement with the project. They may also function as the Character Designer and/or Background Designer.

Either alone or with a team, they will establish the environments, characters, props, colour schemes and any other design elements required for the production. The amount of work required from Production Designers in order to style a project will vary depending upon the requirements of each production and the size of the Art Department.

On some projects, the Production Designer may also be the creative head of the Art Department, often supervising the work of a team which may include art directors, concept artists, character designers, sculptors, prop designers, background artists, set designers, model makers, set builders, set dressers and pre-vis (pre-visualisation) artists. (Storyboard and Layout Artists are usually working for the Director but can sometimes be regarded as part of the Art Department.)

It is likely that the Art Director, together with the Production Manager and/or Co-ordinator, will cover the organisational running of the department. In some cases, Production Designers will be commissioned to produce only key designs that define the style of the film and this work will be implemented and supervised throughout production by Art Directors.

Typical career routes

There are no typical career routes. If a project is based on an existing book or comic strip, the creator of that original work may become the Production Designer; depending on the project, an illustrator or graphic designer may be chosen as good 'casting' based on their previous work, regardless of the medium.

Ideally, Production Designers will have worked their way through the Art Department, possibly starting as character or set designer and working their way up to Art Director.

The experience gained via this route will enable Production Designers to appreciate more than just the design aspect of the project and enable them to make a greater contribution both to the technical realisation of their work and the efficient running of the art department.

Essential knowledge and skills

Production Designers need imagination, artistic flair and talent to produce the design solutions for a project. They must be able to understand not only what will be appropriate in terms of design, but also what is going to be achievable further down the line by the animation and post-production teams.

They need to be able to work to a schedule and budget and, in some cases, provide budget information regarding art department costs to the production team. If Production Designers do not have an animation background, they should ensure that members of their team are able to provide any technical expertise that they may lack.

Key Skills include:

• design talent;
• good people management and leadership skills;
• good communication and presentation skills;
• ability to manage schedules and prioritize their own work and that of others;
• ability to take direction, give direction and work as part of a team;
• ability to work without supervision;
• ability to receive and address comments;
• ability to interview and assess work of potential art department members;
• ability to work long hours and, if required, function under pressure;
• knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Production Designers are likely to have an established track record and be selected on the basis of the suitability of their style and work, and their sympathy for a particular project. It is likely they will have art-related or design degrees but may or may not have any experience of animation.

Many famous artists have created production designs not only for opera and theatre but also for animation. However, an understanding of both animation in general, and the technique of a particular project, will be extremely helpful.

Series Director

Directors provide the vision and creative leadership for a project. They determine and guide the narrative content and visual style of a production, and are sometimes the creator of the original designs. In the early stages of production, they work closely with the Producer(s), Scriptwriter(s) and Production Designer. In principle, the role is similar for all techniques of animation although certain technical skills may vary.

Responsibilities

Directors are responsible for the creative planning and design of the production as a whole. They are responsible for interpreting or incorporating clients', producers' or commissioners' comments and for the quality of the final delivered product. Directors must be aware of any relevant restrictions that might affect production and, in conjunction with the producer, can be involved in both schedule and budget management. They have creative responsibility for the entire production team and may be particularly involved with the design, storyboard, layout, animation and post-production departments, or wherever creative choices and decisions are required. 

It is likely that the director will be active in all aspects of the soundtrack, including casting and directing the actors and guiding the musical direction. Directors may be involved in crew selection and technical choices, although they do not necessarily have a technical background themselves. On smaller productions they may produce the storyboard and either animate themselves, or direct other animators.

Skills

Creativity, imagination and artistic flair are all essential, combined with storytelling skills and film literacy. Project management and leadership abilities are necessary to direct and manage the story, design, layout, animation and technical teams. Excellent communication and presentation skills, and the ability to keep to deadlines and respect budgets, are also required. Directors may need huge reserves of tact and drive in order to achieve a balance between creative desires and production requirements while still managing to deliver the best possible products. 

Qualifications/Experience

Directors are more likely to be employed on the basis of their talent and track record than on any formal or academic qualifications. They must be able to demonstrate not only the creative quality of their previous work, but also their leadership skills. Many directors have progressed through various departments within their chosen animation technique and are likely to have initially graduated from an Animation, Art, Computer or other relevant degree course. An apprenticeship experience provides a useful understanding of all aspects of the production process.

Lighting TDs/Lighters

Lighting TDs/Lighters add the lighting that creates atmosphere, adding realism, tone and depth to a scene; visually balancing individual elements to enable the compositors to produce a convincing image. They need to use technical skill and aesthetic judgement in order to create images that not only look good but are easy to render (output; translating computer data into images).

Lighting is a fundamental skill required by generalists who cover more than one role when working on smaller projects. On larger productions, there is likely to be a team of dedicated Lighting TDs/Lighters. 

What is the job?

Lighting TDs/Lighters make sure there is consistency in lighting, colour balance and mood between the various elements of a shot or scene. When appropriate, they ensure the CG looks photo-realistic to match the live action plates. Not only do Lighting TDs/Lighters emphasise drama or narrative, they also establish and clarify location, weather, time of day, etc. 

It is likely that there will be an established design theme for a sequence or a project which Lighting TDs/Lighters need to respect. They refer to the relevant production designs and apply that visual style as faithfully as possible, taking care to maintain continuity.

On some projects, a Lighting TD/Lighter may be involved in the research and development of different effects for the Art Director or Lighting Supervisor. In a large company or on a larger project, Lighting TDs/Lighters are often part of a team, but they need to be able to work with a minimum of supervision, understand the tools available and know how to utilise them to create the desired effects. On smaller productions, the role of Lighting TD/Lighter may be combined with that of Modeller or Texture Artist.

Lighting TDs/Lighters need to work closely with the Rendering and Compositing Departments to understand and appreciate what is required at the next stage and ensure their material is easy to use and delivered on time. 

Typical career routes

There are several levels of Lighting TD/Lighter from junior through to a Senior Technical Director or Supervisor. This job profile relates to a mid-level grade. There is no traditional route into the Lighting department but it is unlikely there will be suitable jobs for new entrants.

Lighting TDs/Lighters with artistic interests may tend towards 'look development' while those with more technical skills may find shader -based work is more appealing. Sometimes a Shader Writer makes the move into Lighting. Lighting Designers from the theatre, Photographers or Fine Art Painters, all with technical understanding of computer processes, can become good lighters.

The senior position within the department is the Lighting Supervisor and experience at this level could, eventually, lead on to CG Supervisor or VFX Supervisor.

Essential knowledge and skills

• strong sense of light and shadow demonstrated by artwork, photography, theatre, film or CG work;
• knowledge of colour theory (Art History can be useful);
• ability to follow design reference and sympathy with wide range of styles;
• ability to light characters and environments, interior & exterior, different times of day, etc ;
• an understanding of composition and the ability to enhance mood by lighting; 
• good working knowledge of computer animation packages, particularly Maya.
• good working knowledge of 2D Paint software and various industry-standard rendering programmes, such as Renderman, Mental Ray and Brazil;
• good working knowledge of palettes and CLUTs (Colour Look Up Tables);
• ability to do UV mapping;
• good understanding of maths and physics;
• understanding of the principles of cinematography including depth of field, density, use of filters; 
• ability to problem solve;
• ability to communicate with colleagues and work as part of a team;
• ability to take direction and willingness to address comments and make changes;
• ability to work with a minimum of supervision and capacity to function as team leader, if required;
• ability to deliver on schedule, working under pressure if required;
• respect for the procedures and requirements of a particular studio, production or pipeline:
• knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Ideally, Lighting TDs/Lighters will combine art and maths qualifications. In fact, they are most likely to have gained a degree in Computer Graphics, Computer Science, or one of a variety of different disciplines including Art-related subjects, Photography, Computer Animation, Maths or Physics.

Once established, their work and track record will be of more value than a degree. Solid experience in at least one of the 3D packages currently in use by the industry will be expected. These include Maya, Houdini, XSI, 3D Studio Max and Lightwave and familiarity with other programmes would be an advantage.

At a more junior level, it is possible that some relevant professional experience may replace an academic qualification providing a portfolio and/or showreel demonstrates the necessary talent and skills.

Lighting TDs/Lighters

Lead Lighter

Lead Lighter will be responsible for lighting digital assets and seamlessly integrating them with background plates, 3D environments and other characters. 

Essential Duties and Responsibilities:

• Design and create lighting and the look of CG objects, scene images, effects and programs for digitally composited sequences to reach the vision of the Director, Production Designer, Art director and VFX Supervisor.
• Set up, light, rig and establish key shots for a given sequence.
• Work closely with Directors, Production Designer, Art Directors, Visual FX Supervisor and Cg Supervisor, to set a reference for the sequence. Address all lighting comments, clarifying artistic direction when unclear.
• Define standards and techniques for lighting a sequence that maximizes efficiency and ensures quality. Optimize setups for rendering.
• Creative responsibility to keep the continuity of the sequence consistent with the key shot.
• Provide leadership for production lighting team both creatively and technically. Foster good working atmosphere and ethics. Lead by example and promote good morale.
• Ensure that lighting setups are clean, well documented, modular and easily applicable to other shots.
• Troubleshoot creative and technical issues as they arise.
• Initiate, set up, organize and document any lighting - tools, adbs, scripts or processes on a global or sequence level.
• Lead meetings to hand off the sequence to production lighters before they start. Using the key shots, clearly explain and give direction as to the technical and aesthetic challenges of the sequence. Similarly, hands-off the set ups to other teams that need to deal with common elements, such as environments or FX.
• Create and maintain sequence feedback devices such as mov lists and contact sheets.
• Mentor production lighters and ensure that they technically and aesthetically achieve look of the sequence.
• Collaborate with Cg Supervisor and Head of FX timely FX integration for a sequence.
• Collaborate with CG Supervisor timely matte painting integration for a sequence.
• Manage personal shot load, meeting all deadlines of milestones to final film delivery, based on the schedule for a given sequence.
• Help facilitate CG character visual development. This can include working with surfacing, setting materials or shader parameters.
• Attend creative reviews such as Dailies or Art Director rounds.
• Assist Cg Supervisor when needed. This can include helping with shot assignments, prioritizing renders, reviewing surfacing.
• Work closely with Art Directors for direction and clarity on props/sets and lighting withing sequence.
• Responsible for informing Production Supervisor and CG Sup of any scheduling and quota issues.
• Help bid sequences.
• Assist with interviews and recruiting.
• Attend sequence breakdowns and kick off meetings.
• Be able to run DDR and playback devices in CG Supervisor’s absence.

FX Lead

The FX Lead will oversee and provide continuity for a team of FX artists who will be designing and implementing a variety of fx elements, ranging from particle simulations and fluid solves to rigid body dynamics and other fx techniques. 

Management Responsibilities:

• Primary interface in communicating with other departments for their sequences.
• Ensure all FX work for their sequences adheres to pipeline standards.
• Work with Head of FX and Production Supervisor in bidding FX for the sequence.
• Work with Head of FX and Production Supervisor to track the progress of all of the FX in a sequence and flag potential problems.
• Review the current state of the sequence on a weekly basis.
• Work with Head of FX and Production Supervisor to coordinate timely FX integration with the Lead Lighter and/or CG Sup of the sequence.

Artistic responsibilities/Animator mentoring:

• Be present at Rounds and to collaborate with the Head of FX to give technical feedback.
• Be available to answer technical questions but is not an additional approval step between Head of FX and artist.
• Maintain a database of artwork and reference materials for their sequences.
• Ask for Directors’/VFX Supervisor launches as needed.
• Work with Head of FX to ensure that Rounds and Dailies comments are understood and addressed.
• Provide feedback to the Head of FX and Production Supervisor on performance reviews.

Meetings/Rounds/Creative Reviews:

• If possible, attend FX-related meetings for the assigned sequence and be able to speak on behalf of the department in the event that the Head of FX and/or VFX Supervisor are not present.
• Work with Production Supervisor and Production Coordinator to schedule inter-department meetings for the sequence.
• Work with Production Supervisor and Production Coordinator to determine if the creative notes given during reviews can be made within established bid times.

Prioritizing:

• Unless specified by the Production Supervisor, the Sequence Lead role is the first priority, followed by shot work.
• Work with the Production Supervisor to prioritize FX Animator and overall sequence tasks.

FX Animator / FX Artist

Essential Duties and Responsibilities:

• Designs and creates images, elements and effects (such as fire, smoke, crowds)
• Solid understanding of Maya to be able to use it for particle systems, fields, expressions, MEL scripts, soft bodies, rigid bodies, cloth dynamics and particle instancing/flocking
• Develop EFX system independently for production use
• Effectively use in production an EFX system that another FX Animator developed (i.e. bubbles, Creatively solve problems and achieve art direction given to them for a shot
• Work with other departments and other FX animators to achieve the goals of art direction given
• Solve minor problems independently 
• Strong artistic vision and ability to be creative and expand upon the art direction given
• Strong sense of design and composition
• Strong understanding of Animation and how things should look, feel and move
• Some experience writing scripts and/or programming is preferred
• Ability to multi-task on multiple shots whether similar or different
• Prioritize tasks
• Work on shots independently and efficiently
• Patient and willing to answer questions and mentor other artists
• Stays abreast of current technologies and attempt to implement them effectively
• Shows follow thru and is punctual at dailies

Qualifications, Education and/or Experience

• Experience involving simulations of natural phenomenon, particle systems, procedural modeling, procedural animation, hard and soft body dynamics and other similar effects
• Must have visual and technical skills 
• Ability to work collaboratively in a high-end software and production environment
• A background in computer programming, preferably in C or C++ and UNIX
• An understanding of physical dynamics and natural phenomena is key