XMAS assignment

Runner

As a runner, you’ll act as a general assistant, working under the direction of the producer and other production staff to undertake whatever basic tasks are required to ensure the smooth running of the production process.

This role provides the opportunity to gain vital experience and knowledge of the production process, offering valuable networking opportunities, and is often seen as the first step on the ladder for people aspiring to roles in broadcasting media.

Runners may also be known as production assistants or production runners.

Responsibilities

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.

Reasons for becoming a TV Runner

This is television, dahling! The world of TV can be glamorous and incredibly rewarding with lots of perks as you work your way up the ladder. You’ll be helping to entertain the nation (or annoy them!) with new programming and as you gain experience you’ll also be given responsibilities that could be very engaging. It may involve a lot – and that’s a LOT – of work, but it could be worth every bead of sweat in the long run…


Roto artist

Roto artists manually draw around and cut out objects from movie frames so that the required parts of the image can be used, a process known as rotoscoping.
The parts of an image that are wanted after cutting out are known as mattes. Roto artists work on the areas of live action frames where computer-generated (CG) images or other live-action images will overlap or interact with the live image.
If the live-action camera is not moving within a shot, rotoscoping might involve only one frame. If the camera’s moving, roto artists trace the relevant areas of every frame within the shot so that CG can be combined accurately with the live-action. Roto artists need to have a keen eye and patience in order to complete this meticulous and repetitive work.
In addition to rotoscoping, roto artists assist in the preparation of material for compositing.
Roto artists are typically employed by VFX studios but can also be freelancers.

Responsibilities of the Roto Artist may include:

  • Liaising with lead artists and filmmakers on the sequences requiring rotoscoping
  • Interpret and apply artistic concepts as briefed
  • Maintain consistency of visuals and style throughout the production
  • Creating mattes tracing the motion of object/s
  • Shape creation and editing
  • Shape animation by hand and with trackers
  • Shape compositing, fill modes and opacity settings
  • Undertake quality assurance on completed roto work
  • Work to seamlessly integrate special effects

Software and other tools used

https://youtube.com/watch?v=rhmRzg0O1DE%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A


Animator

There are many types of animation, including 2D, stop-motion, 3D hand-drawn and computer-generated, but all roles call for high levels of creativity and passion

An animator produces multiple images called frames, which when sequenced together create an illusion of movement – this is known as animation. The images can be made up of digital or hand-drawn pictures, models or puppets.

Animators tend to work in 2D, 3D model-making, stop-frame or computer-generated animation.

Computer-generated animation features strongly in motion pictures (to create special effects or an animated film in its own right), as well as in aspects of television, the internet and the computer games industry.

The basic skill of animation still relies heavily on artistic ability, but there is an increasing need for animators to be familiar with technical computer packages.

Skills and knowledge

You’ll need:

  • knowledge of media production and communication
  • design skills and knowledge
  • to be thorough and pay attention to detail
  • thinking and reasoning skills
  • the ability to use your initiative
  • the ability to work well with your hands
  • to be flexible and open to change
  • knowledge of the fine arts
  • to be able to use a computer and the main software packages confidently

Day-to-day tasks

Your day-to-day tasks will depend on the type of animation you’re doing.

You could:

  • visualise storyboard and script ideas
  • use animation software or hand drawn techniques to create characters and scenes
  • add lighting, shading and special effects
  • paint in backgrounds and character colours
  • add textures to digital models
  • use motion capture methods to create lifelike expressions and movements
  • use stop-motion techniques to film 3D models
  • combine separate layers of animation into one to create the final product
https://youtube.com/watch?v=VYwHpGITac0%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A



Texture Artist
Texturing artists make 3D models believable by mapping textures onto the object’s surfaces. They also add an extra dimension with imperfections – rust to oil cans, scuffs to trainers, rips to fabric and reflections to windows.

They are concerned with making surfaces realistic, to help the player forget that they are in a computer-generated world. They may use a combination of hand painting, photos, digital and 3D art to create unique custom textures. They use materials, shaders, mapping and an understanding of how these interact and respond.

Responsibilities of a Texture Artist may include:

  • 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

Software and other tools used

https://youtube.com/watch?v=lF3GsgnYjfA%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A


Environment Artist

3D Environment Artists are 3D Modelers who specialize in creating indoor and outdoor settings for films or video games.

They are responsible for background visuals with which characters and objects will interact, such as buildings, roads, flora, furniture, drapes, etc.

For films or TV shows, environments are often built digitally when it is not possible or practical to film in real life (e.g. outer space, historical recreations, fantasy lands). Actors may be recorded against a green screen and their surroundings replaced by computer-generated environments built by 3D Environment Artists. 

In video games, these virtual environments have an additional layer of complexity. They must function and react according to the laws of physics and within the rules of the game universe. So characters must not be able to walk through walls, objects must react to gravity, etc (unless these are unique features of the game universe).

How do I become a Game Environment Artist? 

I would say it’s important to have a passion for video games and art in general. The first thing you probably want to do is getting familiar with all the different software tools you’ll need to create the textures and assets for your environments. It’s also important to be familiar with a game engine. Unreal Engine, CryEngine, Unity, those are all great and available for everyone. All you need to do is to download them. There are also a lot of online tutorials and documentation that will help you to understand how to get your art in game. After you’re familiar with those programs, you can start doing your first props and getting them in any of the mentioned game engines. The learning curve is pretty steep and frustrating sometimes, so it’s wise to start with simpler assets at the beginning. Once you gain more experience, you can also move over to more complex props or even whole environment scenes.As an Environment Artist, you need to be familiar with a modeling package like 3ds Max, Maya or Modo. Knowing how to use Photoshop or Substance Designer/Painter is very essential for creating your textures and materials. On top of that, you should also be familiar with a 3D sculpting program like ZBrush or 3DCoat. That’s quite a lot of different tools you need to learn and can be overwhelming at first. The good thing is that you have tons of tutorials, online documentation and forums where you can ask questions.

There are so many different ways to get in touch with other artists and that’s something you should definitely use as an advantage. It’s not uncommon for new artists to get their first job by simply posting their work on websites or just ask on Facebook if someone could forward his/her portfolio to the right people. It’s not only about good work but also about getting noticed, especially with the amount of aspiring artists these days.

https://magazine.artstation.com/2017/03/game-environment-artist/
https://www.cgspectrum.com/career-pathways/environment-artisthttps://www.youtube.com/embed/uPtJMke4LRE?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparenthttps://www.youtube.com/embed/3yD_yhmcH5A?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent


Lighting artist

Lighting artists light the scenes in an animation. Just as in live-action production, there is a director of photography and gaffer who decide what lights to use and where to place them, so there is a lighting artist in a computer-generated (CG) animation. The difference with an animation is that the lights are created through software and the lighting artist has complete control of what the effects will be.

Lighting artists use light to enhance the atmosphere, tone, depth and mood of a scene. They input different light effects depending on the factors in a frame or scene, such as the weather or the time of day. They make it clear where the light sources are meant to be in a scene.

There’s a technical side to digital animation lighting, which is sometimes done by lighting artists or by lighting technical directors (TDs), depending on the type of studio. Lighting artists light images in such a way that they are easy for the computers to render. They work to create colour keys, which are guides that indicate a range of colour hues in a scene. They use the shader settings to create effects like reflections and the appearance of wet surfaces.

What is 3D lighting? 

3D lighting helps set the tone, mood, and atmosphere of the scene and gives the scene its final look. This is done by adding light and shadows in a computer-generated 3D environment using various software applications and tools to simulate light. 

You have to choose a different combination of light sources to highlight certain parts of the scene to evoke the right emotion, use light to set the mood to a scene, and represent real-life properties of a scene – such as times of the day. 

Lighting can be done using different software applications such as Maya, Houdini, Blender, Cinema4D, and 3DS Max.

For example, here are just a few projects our students have created:

https://youtube.com/watch?v=6i8c5sc08oQ%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A


Layout artist

Layout artists begin their work at the start of an animation production, after the storyboard and the look of the project have been agreed upon. Layout artists determine the depth and perspective of what is displayed on screen. The way that this is achieved varies depending on the kind of animation being produced.

In traditional 2D hand-drawn animation, layout artists define the perspective of the animation frames by drawing the backgrounds. The relative size of the objects in the background of a flat image, as compared to the action in the foreground, influences how viewers perceive the scene. How large or small characters or other aspects of an animated scene appear to be influences how the audience feel. 2D layout artists base what will appear in the image on the storyboard, but they more clearly define what appears in an animation frame.

In 3D animation, layout artists are the directors of photography (DoPs) in a virtual space. A DoP in a live-action movie makes decisions about lenses, camera angles and camera movements. In a 3D animation, the layout artist makes the same decisions, but with a virtual camera within 3D animation software.

3D layout artists listen to the director to learn the desired style of virtual photography for the animation. Then they work from storyboards and tidy up the rough versions of the animation (known as animatics). They work out the timing and the placement of the characters at key points within each shot. This is known as blocking. They aim to keep a consistent scale to the elements within the frame, always working out how best to tell the story. They do a rough version of the lighting and produce the shots.

What’s a layout artist good at?

https://youtube.com/watch?v=GjBv_K2Kre8%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A


VFX Supervisor

VFX supervisors are in charge of the whole VFX project. They manage the VFX pipeline, including all of the VFX artists that work in this process. They have ultimate responsibility for all of the VFX elements produced for a project by their company or studio.

VFX supervisors work on a project from the early stages of preproduction. They are the main point of liaison between a VFX studio and the director or producer of the film or TV programme. Together, they decide on what VFX is needed for every shot of the film. VFX supervisors then work with the VFX artists to create prototype materials to present. These can include concept art and 3D computer-generated images (CG). The prototype materials help to inform the style of the VFX in the production.

VFX supervisors are present for filming during production so that they can see if the shots are satisfactory and ready for the VFX elements. VFX studios prefer if shots (pictures) are ‘locked’ (edited and okayed, ready to have VFX elements added to it) during filming. That means they can start working on the VFX while the rest of the film is being shot.

VFX supervisors continue to lead their team when the film is being put together during post-production. They oversee the quality of all work produced and make sure that it is in line with the vision of the director or producer.

An employee in this occupation will be responsible for:

  • Acting as the key point of contact between the client(s) and the VFX teams and will collaborate with the VFX production team on schedules and budgets, assigning work to the team as appropriate.
  • Having sole accountability for the quality of VFX assets created, ensuring these are in line with technical requirements and quality standards.
  • Upholding the attitudes, culture and creative quality standards of the company to the client as the most senior representative of the project, team and company.
  • They will need to be able to innovate and provide solutions to VFX delivery issues using their knowledge and skills of advanced coding, the techniques of film, animation and short-form production, deciding when to use technical resources such as blue/green screens, motion control or other specialist equipment.
  • They are a highly creative individual who must be able to focus on their own work for long periods, but also be able to work in collaboration within a team.
  • They must also have creative problem-solving skills both artistically and technically and maintain the standards and quality of the VFX work produced. 

This role may include out of hours or irregular working patterns when collaborating on international projects.

https://youtube.com/watch?v=viHC7Lm_JUU%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A


Compositing supervisor

Compositing supervisors are in charge of the department that puts together all the different elements of the visual effects (VFX) shots. They manage the compositors, who do this work, and check it for quality. They are also responsible for ensuring the continuity of colour between shots.

Compositing supervisors are very experienced in compositing. They are experts in taking different digital materials, like computer-generated (CG) images and live-action footage, and combining them to appear as one cohesive shot. They organise the team of compositors to meet the deadlines so the film or TV production company gets the VFX work on time. They may also composite shots themselves if needed.

Compositing supervisors tend to be employed by VFX companies or studios rather than being freelancers.

Responsibilities: 

  • 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 

Job requirements

  • Previous experience in a leadership role
  • Excellent communication skills (with immediate team and other departments of the visual effect pipeline)
  • Deep understanding of film VFX processes and pipeline
  • Knowledge and experience in stereoscopic projects – native and post stereo
  • Knowledge of OCIO
  • Several years experience in Compositing predominantly in film or TV and commercials
  • Expert user of Nuke plus other compositing software
  • Critical eye for detail and a beautiful compositing showreel
  • Able to work well under pressure
  • Proven artist management and leadership skills
  • Highly organized
  • Lighting photography core skills

Desirable Skills:

https://youtube.com/watch?v=UFL_bQL7ukc%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A


FX TD (Effects technical director)

Effects technical directors (FX TDs) create physics-based digital effects, such as explosions, smoke and water, that the animation artists can use in their shots and sequences. They make sure the effects look believable and also consistent with the style of the animation so that they blend seamlessly with the other art assets.

The role is both artistic and technical and so is ideal for problem-solvers with a good eye. FX TDs aim to meet the director’s vision, in terms of digital FX, with the resources available to them.

FX TDs work for animation companies or studios.

https://www.youtube.com/embed/LagVTESaoDs?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparenthttps://www.youtube.com/embed/-1n1LAB11cM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&start=1&wmode=transparent


TD (Assistant technical director)

Assistant TDs help to identify and fix problems and make sure everyone in a visual effects (VFX) production pipeline has the tools they need. They have a very good understanding of how VFX pipelines work and of different VFX job roles. Their expertise also includes understanding the software used by VFX artists and the needs and limitations of different departments.

Assistant TDs assist pipeline TDs and other TDs to gather information on the needs of each department. They design solutions for problems that arise and also use coding skills to create small-scale tools needed by the VFX artists. They deal with minor bug reports so that pipeline TDs to deal with bigger problems, such as rendering errors.

Assistant TDs are also responsible for data management, archiving and restoring and tracking data and converting and resizing files where needed. They help to keep the project on schedule. Along with pipeline TDs, assistant TDs will work closely with research and development teams, who design and test any new software.

This role opens up opportunities to progress through DNEG’s Pipeline group as a Pipeline TD and Pipeline Supervisor, with potential opportunities in different specialisms and departments across the company.

Must Have

• Experience with Linux

• Good knowledge of Maya

• Good Python scripting skills

Nice to Have

• Previous work experience in Visual Effects, Games or another related industry

• Experience with a variety of DCC packages such as Houdini, Katana, Nuke or Clarisse

• A degree in Computer Science, Computer Graphics or related field

We would not be able to produce award-winning work without our Production Technology department, which is committed to nurturing an inclusive, diverse and exciting workplace. Our technical directors have a variety of backgrounds and originate from a number of different countries, working across the globe at the forefront of technology in the industry.

https://jobs.jobvite.com/double-negative-visual-effects/job/oZwz5fwT
https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/assistant-technical-director-td/
https://www.youtube.com/embed/vpGNlv6j00Y?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparenthttps://www.youtube.com/embed/vsEtkMZ4emY?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent


Software Developer 
The role of a software developer engages in identifying, designing, installing and testing a software system they have built for a company from the ground up. It can range from creating internal programmes that can help businesses be more efficient to producing systems that can be sold on the open market. Once software developers have delivered the final software system, they will also help in maintaining and updating the programme to ensure that all security problems are fixed, and it operates with new databases. In a role of a software developer they create the applications that allow people to do specific tasks on a computer or mobile and others develop the underlying systems that control networks.

Software Developer Duties & Responsibilities

Developers can work in systems software or in applications such as those for mobile devices, but their duties are similar in many cases.1

https://youtube.com/watch?v=leOX1ehXHNM%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A


Pipeline TD (Pipeline technical director)

Pipeline TDs make sure a VFX project runs smoothly by identifying and fixing problems as they arise. They make sure each department has the software tools that they need to complete their part of the project to the best standard possible. They have a very good understanding of how VFX production pipelines work and the roles within them.

They communicate with VFX artists across the team to understand their needs. They then put things in place to ensure the project runs smoothly and the artists’ needs are met. If the project isn’t running smoothly, they identify what kind of tools need to be developed to fix this. Issues that arise might be technical ones to do with 3D art, or productivity issues. Their job involves writing or modifying code to solve problems. They also provide face-to-face technical assistance. Pipeline TDs will work closely with research and development teams, who design and test any new software.

RESPONSIBILITIES

  • Develop pipeline tools and processes to meet production needs
  • Work with the Head of R&D to design and prioritize production needs
  • Ensure tools and processes meet the global pipeline framework and tracking systems
  • Test and debug tools and process to ensure stability and usability
  • Act as a liaison for communicating technical issues to Production, R&D and IT
  • Educate artists on how to work with the pipeline
  • Create and update documentation explaining our processes and tools

REQUIREMENTS

  • 3+ years of experience in animation or visual effects for film or television
  • Experience developing for Shotgun, FTrack or other production tracking software
  • Experience developing for Maya, Nuke or Houdini
  • Strong experience in Python
  • Excellent communication, troubleshooting and debugging skills
  • Ability to work independently and as part of a team

STRONGLY PREFERRED

https://youtube.com/watch?v=YdRvIxBw2d0%3Fversion%3D3%26rel%3D1%26showsearch%3D0%26showinfo%3D1%26iv_load_policy%3D1%26fs%3D1%26hl%3Den%26autohide%3D2%26wmode%3Dtransparenthttps%3A

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