Category Archives: Visual Effects FundamentalsⅠ
Week 8|Shader Development TD, Creature TD, Pipeline TD, R&D Programmer
Shader Development TD
- Alias: Lookdev TD, lighting artist
- Technical department
- Entry requirements: Computer Graphics related degree, programming skills, proficiency in using C language
In computer graphics, a shader is a type of computer program originally used for shading in 3D scenes to produce light, darkness, and color in a rendered image. Nowadays shaders can also handle other special effects as well.
Most shaders are coded for and run on a graphics processing unit (GPU), though this is not a strict requirement. There are a bunch of shading languages out there for different platforms, but since they’re all adapted to run on the GPU, they’re all very similar. The official OpenGL shading language is OpenGL Shading Language, also known as GLSL, and the official Direct3D shading language is High Level Shader Language, also known as HLSL. Apple released its own shading language called Metal Shading Language as part of the Metal framework.
Unity and Unreal Engine include node-based editors that can create shaders without the need for actual code, which lower the threshold of shaders for artists.
Shader development TDs are focusing on writing the algorithm to alter and create different shading effects to match the need of the project.
Shader development TDs may have related experience in lookdev TD or lighting artists. They are familiar with CG lighting, and good at programming at the same time. In some companies, the roles of lookdev TD and shader dev TD are combined.
Creature TD
- Alias: Character TD, Creature effects (FX) TD, Groom TD
- Technical department
- Entry requirements: sufficient experience in VFX industry, programming and coding skills(e.g. Python), proficiency in using 3D software packages such as Houdini, Maya, Ziva Dynamics
Creature TD is a more senior role in VFX companies. They develop and program the software that enables VFX artists to create realistic fur, feathers and skin on their creature models, such as dinosaurs, animals or magnificent beasts. Creature creation is one of the most difficlut parts in the project and creation TDs need to keep up to date with the most cutting-edge technology to overcome the obstacles and find solutions.
Creature TDs need to have thorough knowledge of an area of creature specialisation and a broad understanding of the other areas, which include rigging and enveloping in Maya, cloth, hair, flesh, rigid body destruction, crowd simulations etc.
Creature TDs are also required to have strong visual and artistic skills to reach the aesthetic requirements for the project. They always work with other modelling artists and animators. Also, they are involved in the development of departmental tools and techniques, so they need to report to pipeline TDs on time.
The scope of the creature TD role varies depending on the size of the studio. In some studios, the role includes rigging, the skeletons and muscles that they created will be passed to animators to work on as a basis. In larger studios, the role of creature TD is focussed on creating the fur, hair, feathers, skin. Though the task is challenging, they need to be comfortable with the more technical aspects of creature work where appropriate.
Pipeline TD
- Alias: Pipeline technician
- Technical department
- Entry requirements: knowledge of scripting languages such as Python and C++ and software such as Maya or Houdini, experience as an assistant technical director role in VFX industry, proficiency in Linux
VFX industry is an arts field involving in cutting-edge technology, especially with computer graphics. There are so many digital tools in the industry and various instructions are applied across the field. For the same software package, the version is upgrading all the time, so this cause art workers to face loads of problems during the work.
Additionally, the problems that they may encounter are always across multi-departments, sometimes, experts in one field may not be familiar with another strategy. In this case, recruiting a pipeline engineer who has good problem-solving skills with strong math and computer knowledge combined with a flair for the arts will be a solution.
A Pipeline TD will work with a range of people, including 3D Animators, Riggers, Modellers, Lighters, and Compositors. They communicate with VFX Artists across the team to understand their needs. If the project that they are working on isn’t running smoothly, then it is the Pipeline TD’s responsibility to identify what kind of tools need to be developed to get the issue fixed. Issues that arise might be technical ones to do with digital art, or productivity issues. Their job involves writing or modifying code to solve such 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.
Pipeline development is a complex and ongoing process. Ideal technologists develop coding tools and APIs(application programming interface) to simplify the workflow of artists and TDs.
Gradually these processes become the standard in the industry and can be reused and improved rather than starting from scratch on each new project, which significantly enhances the efficiency.
R&D Programmer
- Alias: Software developer, Research and development programmer
- Technical department
- Entry requirements: strong coding skills, Python and C++ languages, high familarity with VFX pipeline, a degree in computer science or related fields
R&D Programmer have a great understanding of computer graphics and strong programming skills to actively participate in the development and integration of creative tools into an overall production pipeline. They not only research, design, implement, test, provide technical documentation and support CG software systems and tools for the studio, but also need to ensure that new tools fit within the existing software systems at the same time, which enables the efficient passing of assets from one VFX process to the next.
Software developers are responsible for identifying and optimizing bottlenecks in algorithms and workflows as well as finding optimized solutions to support, and collaborate with other VFX artists.
They are always staying up-to-date with industry trends and new technologies, being accountable for further improvement of software tools and technology development, and finding innovate ways to enable the artists within the pipeline to complete their work as fast and as well as possible.
Reference:
https://en.wikipedia.org/wiki/Shader#Programming
https://www.screenskills.com/careers/job-profiles/visual-effects-vfx/technical/software-developer/
Week 7|Production Manager, VFX Producer, Animator, Effects TD
Production Manager
- Alias: Line producer, VFX line producer, VFX production manager, Scheduler
- Production management department
- Entry requirements: experience in runners, production coordinators in studio, relevant study in business, film, media.
Production managers ensure that VFX prouction run reliably and efficiently. They follow the decisions that have been made by the VFX producer, plann and organise project schedules, assess project and resource requirements and look after the budget.
They supervise and oversee the work of the production coordinator, re-negotiate timescales or schedules as necessary. They might also be involved in casting or hiring people for different departments and drafting contracts.
Production managers are responsible for liaising with the VFX artists and technical directors (TDs) from all parts of the VFX pipeline to make sure that work is completed on time. They are also important in communicating with the producer of company shooting the live-action footage and producing the film or TV programme.
VFX Producer
- Alias: Executive VFX producer, Show producer, Bidding producer
- Production management department
- Entry requirements: sufficient experience in VFX studio such as runners, production coordinators, production manager; relevant study in business, film, media.
VFX producers manage the whole process of creating the VFX for film or TV, they lead their VFX teams and ensure that the projects gets completed on time and on budget. Also, they work closely with the live-action production crew and the post-production editor to make sure the project reach the expectation because their goal is to make the client come back for next project. In this case, it requires them to have great communication and management skills to be a producer.
VFX producers write the bid; the document through which they persuade the film or TV series’ producer to take their VFX studio on to do VFX work on a project. For example, if any requests come in that are out of the original scope awarded, VFX producer will provide client production with a bid for what the additional work would cost.
VFX producers put together the team of VFX artists and other technical staff. They are the overall decision makers. They set the schedules for the work and they manage the budget. Their job plan is an ongoing process throughout the whole project, due to client changes or studio needs changing.
In larger companies, they hand over the day-to-day management of the prject to a manager. In smaller companies, they do the project management themselves.
Let us watch how a VFX producer introduces their team’s project:
Animator
- Alias: CG animator, 3D animatormanager
- Computer-generated (CG) department
- Entry requirements: proficiency in using VFX software, particularly Maya, V-Ray and 3ds Max.
In VFX industry, animation refers to moving images in computer-generated imagery. There are two types of computer animation: 2D and 3D. However, 3D computer graphics has been widely used to generate two-dimensional animation in recent years. 3D animation allows the creator to add on and modify the movable elements which are not available for shotting in live-action site, it can be a dancing character or a spinning electric fan. Their motion will be displayed frame by frame on computer monitors, usually 24, 25, or 30 frames per second.
For 2D figure animations, separate objects and separate transparent layers are used with or without that virtual skeleton. Then different parts of the figure are moved by the animator on key frames. The deformation are calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.
For 3D animations, models are built and textured in 3D software packages such as Maya and are rigged with a virtual skeleton. Different parts of the figure are linked with associated bones and joints, stimulating the relationship between skin and skeleton in reality. Animator can make the body move by controlling the skeleton.
However, making a realistic motion is not an easy task, as people’s eyes are sensitive to such human-like movement. In VFX industry, people are using motion capture techniques to record actors’ movement by setting loads of motion trackers on their skin-tight suits, so that the movement and expression of their performance can be captured digitally and translated into a different-looking character animation model.
There is one of the most challenging fields in CGI which is called facial animation, which requires a lot of data to process in computer. Since facial expression refers to a type of detailed art, especially on realistic characters, any artifacts will be exaggerated on the screen.
Animators in the VFX industry usually produce work to be integrated into the live-action footage of a film or TV programme. They animate 3D objects as dictated by background film plates, which means that there is footage and a set camera position that they must work to. They need to match their animation to the reference footage.
Effects technical director (FX TD)
- Alias: Technical producer
- Technical department
- Entry requirements: Knowledge of scripting languages such as Python and C++ and software such Maya or Houdini, some years’ experience working in VFX
The creation of effects like explosions, billowing smoke and rushing water are fully supported by effects technical directors. All TDs are problem-solvers. They helped the visual effect artists to put expected effects in shots, they are also stay up-to-date with the latest research and techniques and develop software technological boundaries.
It is the FX TD’s responsibility to make sure the physics-based digital effects that they create look believable and are also consistent with the style of animation, to ensure that they blend in seamlessly with the live action components of the film or TV programme. They aim to meet the Director’s vision in terms of digital effects, using the resources available to them.
FX TD is both an artistic and technical role in VFX studio. As a senior role, a FX TD is responsible for providing guidance to more junior Artists, giving face-to-face technical help to all Animation and Lighting Artists, as well as keeping communicating with other departments.
References:
https://en.wikipedia.org/wiki/Computer_animation#Animation_methods
Week 6|Environment Artist, Look Development Artist and Lighting Artist
Environment Artist
- Alias: matte painter
- Computer-generated (CG) department
- Entry requirements: having experience in art-related careers such as illustrators, proficient in both traditional and digital painting skills
Environment artists create or improve the realistic environments which cannot be produced on-site for any reason, such as a landscape, a distant location, by using both traditional painting techniques, software packages such as Zbrush and animation programs such as Maya.
In other words, the job of matte painters is to make virtual backgrounds and make them look true to life. A matte painter need to master the principles of drawing, lighting, colour, composition and familiar with the rules of perspective, in order to keep a balance with other elements which will be composed in the same footage.
Sometimes, environment artists are known as matte painters. In large-scale companies, the work of matte artists might be divided into two tasks assigned to environment artists and texturing artists, however, one modelling artist need to manage both modelling and texturing in smaller studios.
Here is an introduction video to environment artists in video games:
Look Development Artist
- Alias: Lighting artist, Look dev, Lookdev, Lookdev TD (technical director), Visual development artist
- Computer-generated (CG) department
- Entry requirements: a strong portfolio and showreel that illustrate the abilities, degrees in art/design/graphics, experience in related industry, proficient in using 3D software packages including Maya, C4D, Nuke
Look development artists ensure the consistency of all the artefact in the project by determining the look of computer-generated creatures or objects in differing conditions, for example how it will look when reacting with liquid or fire, as well as in different times of a day. The visual style of all artistic elements that they need to care about include layouts, environments, characters, objects, assets, which means the look dev artist is a professional role in CG department.
Look development artists finish the artwork done by texture artists, adding shading, special effects, contours, etc to illustrate the development of the vision. In this case, they should oversee and ensure the atmosphere from the final work helps in storytelling. This is known as rendering process. When the visual style is approved by VFX director, it will be set as a reference across the studio.
In some companies, look dev artists play a supervisor role in keeping a balance between modelling/texture artists and lighting artists. However, some studios tend to combine them with lighting artists.
Here is a showreel by the lookdev artist:
Lighting Artist
- Alias: Lighter, Lighting TD
- Computer-generated (CG) department
- Entry requirements: work experience in VFX, film lighting , proficient in using renderers and digital paint software, programming skills using Python or C++
Lighting in VFX is the collection of techniques used to simulate light in computer graphics scenes. Compared with film lighting, CG lighting cannot be produced without a patch of 3D lighting software such as V-Ray, Arnold, Redshift and Renderman, hence proficiency in these computer-based packages is the threshold.
There are a variety of light sources, interactions, models, shading techniques, and effects which can be chosen to suit the needs of each application.
Light sources can be divided into 4 types: point, directional, spotlight and ambient.
Point sources emit light from a single point in all directions, with the intensity of the light decreasing with distance. An example of a point source is a standalone light bulb.
A directional source (or distant source) uniformly lights a scene from one direction. Unlike a point source, the intensity of light from a directional source does not change with distance, as the directional source is treated as though it is extremely far away from the scene. An example of a directional source is sunlight.
A spotlight produces a directed cone of light. The light becomes more intense closer to the spotlight source and to the center of the light cone. An example of a spotlight is a flashlight.
Ambient light sources illuminate objects even when no other light source is present. The intensity of ambient light is independent of direction, distance, and other objects, meaning the effect is completely uniform throughout the scene. This source ensures that objects are visible even in complete darkness.
In CG lighting systems, the overall effect of a light source on an object is determined by the combination of the object’s interactions with different components. The three primary lighting components are diffuse, ambient, and specular.
Diffuse primarily contributes to the object’s brightness and forms the basis for its color.
Ambient is directionless. Its intensity determined by the strength of the ambient sources and surface’s ambient reflection coefficient.
Specular gives objects shine and highlights. It is based on the its intensity and the specular reflection coefficient of the surface.
Lighting artist aim to produce lighting for computer-generated (CG) scene and match it to the real world. Moreover, they need to create light to achieve practical or aesthetic effects for particular shots. For example, they can add realism and depth by adjusting the colour, placement and intensity of CG lights to create atmosphere, they are also able to analyze live-action footage as reference. Therefore, it requires a blend of artistry and scientific knowledge to be a good lighting artist.
The role of the lighting artist varies depending on the size of the VFX studio. In larger studios, lighting artists light the shots while a lighting technical director aims to overcome the technical challenges and create the software tools that the lighting artist needs. In other studios, those two roles are usually combined.
Here is a video about how lighting artists work at Naughty Dog:
Reference:
Week 4|Assistant TD, Production Coordinator, Modelling Artist and Texturing Artist
Assistant technical director (TD)
- Alias: Junior pipeline TD
- Entry level in Technical department
- Entry requirements: strong coding and 3D software skills, degrees in computer science or an apprenticeship in related fields
Assistant TDs deal with all the problems that the team members are facing when using the softwares. For this purpose, they need to understand the principles of VFX softwares as well as the needs and limitations of different artistic tasks. They solve minor bugs by programming to help pipeline TDs focus on larger issues.
Assistant TDs always work with other TDs such as pipeline TDs to collect the information from departments, keeping the whole project on schedule. They are also responsible for simple work of supplementary property such as data tracking and sorting, converting files.
Production Coordinator
- Alias: Production assistant, VFX coordinator, Bookings assistant
- Production management department
- Entry requirements: experience in VFX industry or background in film production, strong organizational skills, business background
Production coordinators work for production manager to manage the whole VFX studio operate under control. They are responsible for daily schedule as well as information and material exchange across different departments. They need to arrange regular meetings to ensure that the production progress from different teams is up-to-date.
The main duty of production coordinators is to keep everything along the VFX workflow on time and on budget, in this case, they need to completely understand the operation of the VFX pipeline and have strong organising, communicating and reporting skills.
Modelling Artist
- Alias: CG modeller, Character artist, Modeller, 3D artist
- Entry level in Computer-generated (CG) department
- Entry requirements: a strong portfolio that illustrates your abilities, proficient in using 3D modelling and sculpting software (Blender, 3ds Max, Maya, Mudbox, ZBrush, Substance Painter, Substance Designer, Quixel, RenderMan), degrees in graphic design or approved qualification from VFX-specific courses
Modelling Artists create 3D characters and objects in the computer graphics software such as Maya, Blender, Zbrush, Mudbox, 3ds Maxs. They have deep understandings to art anatomy for organics and mechanical structure for hard surfaces. They need to turn 2D elements into 3D, given the reference such as concept design and photographs, which means it is crucial to have a good sense of measurement in 3D space with x-y-z coordinates, as well as sufficient experience.
The first step of their work is to sculpt on a ‘mesh’ of the object, which outlines its rough shape. Secondly, they need to create the details on the mesh to make their 3D work resemble the reference as closely as possible. Their tools vary, ranging from digital pens to cursor mice. Currently, there is an important process known as ‘retopology’ in modelling, which means recreating the surface of the final sculpture in order to reduce the unnecessary faces as many as possible, otherwise it will cause a waste of video card memory. High-polygon or low-ploygon are created for different uses, such as video games or mobile games.
These days, mature technology allows AI to generate 3D modellings from input 2D images. Scanning technology is widely used currently to create high-polygon objects, people use them to retopologize and make any changes if necessary.
In general, a good modelling artist is also a texturing artist. Many studios do not separate these two jobs. However, there might be specific assignments to these two roles regarding to a large-scale production.
Here is a speed modelling and sculpting tutorial video in Maya and Mudbox, rendered in Arnold:
Texturing Artist
- Alias: Texture painter, Texturing artist, 3D modelling and texturing artist
- Entry level in Computer-generated (CG) department
- Entry requirements: a strong portfolio that illustrates your abilities, proficient in using 3D modelling and sculpting software (Blender, 3ds Max, Maya, Mudbox, ZBrush, Substance Painter, Substance Designer, Quixel, RenderMan), degrees in graphic design or approved qualification from VFX-specific courses
Texture artists create the skin for the models that has been finished during modelling process. The properties of the surfaces(skins) depend on multiple factors such as color, diffusion, reflection, alpha path, which can be controlled by adjusting the parameters in computer graphic softwares. It is important that each texture artist is fairly understand the principle of the certain materials, including both realistic ones and imaginary ones. They may work on photography or painted images to create the textured surfaces. They can also create detailed surface using mapping, especially for low-poly models. When the textured surface is finished, they can ‘bake’ it and use the baked one directly for the next time.
There are different types of mappings, such as normal mapping, bump mapping, displacement mapping. Normal mapping is a three-colour arrangement, it is derived from bump mapping. Bump maps are one of the oldest form of image map types. Bump and displacement maps both use black and white imagery to create relief data for a model.
Displacement and bump maps are both height maps.
Displacement maps can create edge details wheras bump maps cannot, hence displacement maps need higher-resolution meshes to work with for longer time to get more a more stunning result.
Normal maps do not contain any height information. Instead, they contain angle information, hence they are widely used in games.
Many texture artists are also modelling artists, they are both called 3D modelling and texturing artists, their tasks might be a little different in certain cases such as a broad-scale project.
Here is a video about a texture artist working in a VFX studio:
Here is a beginner guide to texturing 3D models:
Reference:
https://cgcookie.com/articles/normal-vs-displacement-mapping-why-games-use-normals
https://www.creativebloq.com/features/a-beginners-guide-to-displacement-and-bump-maps
Week 3|Concept Artist, Matte Painter, Prep Artist and Compositing Artist 2D / 3D
Concept Artist
- Alias: art director
- Pre-production department
- Entry requirements: having experience in art-related careers such as illustrators, proficient in using relevant softwares (such as Zbrush, Photoshop, etc.), showing potentil artistic talent
Concept art convey a visual look and set the tone for an entire artefact, usually appearing in game or film industry. It helps art workers keep in line with the theme as a strong reference point throughout the project. It is divided into mutiple categories including character design, creature design, environment design and prop/asset design.
Concept artists create the concept art to help storytelling, they are sometimes required to work with exisiting design or to develop a brand new with their personal unique art styles. The way of creating includes using traditional and digital tools, and the artefact ranges from 2D to 3D. The development of digital tools enhances the efficiency and variety in art industry.
A concept artist is a typical freelance job with high-level specialised skill, but some of them also play crucial roles connecting VFX studio and film team in a large-scale company.
Concept artists are different from illustrators, the former is to create work as reference for use across the pipeline, wheras the latter is for advertisement or promotion. While, it depends, as some work from concept artists is only for internal use, some may be published as visual displays.
Here are concept arts in Princess Mononokea (1997), using traditional paiting tools in 2D
Character design in Princess Mononokea (1997), using traditional paiting tools in 2D Environment design in Princess Mononokea (1997), using traditional paiting tools in 2D
These are concept arts in game Gujian 3 (2018), using digital softwares in both 2D and 3D respectively:
Here is a video talking about the differences between illustrators and concept artists:
Matte Painter
- Alias: environment artist
- Computer-generated (CG) department
- Entry requirements: having experience in art-related careers such as illustrators, proficient in both traditional and digital painting skills
Matte painters create or improve the realistic environments which cannot be produced on-site for any reason, such as a landscape, a distant location, by using both traditional painting techniques, software packages such as Zbrush and animation programs such as Maya. The work that they create is called matte painting.
In other words, the job of matte painters is to make virtual backgrounds and make them look true to life. A matte painter need to master the principles of drawing, lighting, colour, composition and familiar with the rules of perspective, in order to keep a balance with other elements which will be composed in the same footage.
In large-scale companies, the work of matte artists might be divided into two tasks assigned to environment artists and texturing artists, however, one modelling artist need to manage both modelling and texturing in smaller studios.
Here is an example of digital matte painting showreel:
Here is a video recording the matte painting process:
Prep Artist
- Alias: digital preparation artist, paint artist
- Entry level in Compositing department
- Entry requirements: a strong porfolio to show the ability, extra bonus if having a degree in graphic design, or another VFX-specific course
Prep artists focus on producing a clean plate as background for the following composition, they will remove all the unwanted objects from the footage to keep a blank foreground. Their work includes image denoising, repairing dropped frames, removing dust or larger stuffs using a set of VFX softwares such as Nuke.
Cleaning-up a plate is a time-consuming process. It is easier to remove elements by using tracking techniques, therefore prep artists always denoise and grade the image sequences firstly. It is impossible to cleaning a plate without rotoscoping in most cases.
In larger companies, prep artists cooperate with roto artists to enhance the work efficiency, whereas in smaller studios, prep artists are also playing the role of roto artists.
Here is a showreel from a paint artist:
Compositing Artist 2D / 3D
- Alias: Compositing artist, Finishing artist, Visual effects (VFX) artist
- Compositing department
- Entry requirements: a showreel to illustrate the abilities, degrees in VFX, experience in VFX industry
Compositors create the final image of a frame, shot or VFX sequence. They take all the different digital materials used (assets), such as computer-generated (CG) images, live action footage and matte paintings, and combine them to appear as one cohesive image and shot.
Compositors consider visual aspects of a scene. Realistic lighting is a key one of these. Anything caused by light hitting a lens is a compositor’s responsibility. They relight in order to improve the look of the image.
Compositors do ‘chroma keying’ (also just called keying). This is where they select a specific part of an image that has a distinct colour or lighting and extract it to be used elsewhere. This method is commonly used with ‘green screen’ or ‘blue screen’ footage, where a subject has been shot in front of a singularly green or blue background, in order to be able to place the subject in a different setting or environment later, in post-production.
Compositors work as the last part of a VFX ‘pipeline’ (the name given to the VFX production process). They can be employed by VFX studios or work as freelancers.
Here is a video introducing what is called compositing:
Here is a showreel of 2D compositing:
Here is a showreel of 3D compositing:
Reference:
https://www.productionbase.co.uk/blog/2019/10/13/become-matte-painter/
Week 1|Runner, Matchmover and Roto Artist
Runner
- Alias: assistant coordinator, despatch assistant, office assistant, production assistant
- Entry level in production management department
- Entry requirements: presenting a good portfolio and showing lots of enthusiasm; no necessary relevant degree education
Runners are multi-role helpmates in a VFX studio, supporting all members in the studio and dealing with basic trifles ranging from organising meetings and plans to making coffee and tea. They transfer information and materials between departments and helping everyone working on the pipeline.
Being a runner is usually the starting point into production management, and it provides a lot of opportunities to be familiar with the whole studio.
Here is a video showing how runners work in the studio:
Matchmover
- Alias: 3D tracker, body tracker, camera tracker, tracking artist
- Entry level in computer-generated (CG) department
- Entry requirements: degree in computer graphics or a related subject, being skilled at using a variety of relevant tracking and 3D packages and compositing software
Matchmoving is the process of tracking and calibrating live footage frames to incorporate them into a virtual. Matchmovers are trying to transfer the real life camera’s movement onto a camera that exists in a CG software, in other words, is to seamlessly combine live camera shots into a 3D environment. The models are generated from your computer using matchmoving software. The target that the matchmoving artists are tracking is the motion of the camera, not the objects in the footage.
Matchmoving is a little different from motion capture, where the former is to match the camera motion but the latter is to focus on the movement of objects in a controlled environment.
Matchmovers have a good sense of orientation. They match the computer-generated (CG) scenes with live-action shots accurately to combine the virtual and real scenes together in a suitable way. They need to track the camera, body and object movements to align the relative coordinates of certain points in 3D environment perfectly and recreate the plates on a computer.
Matchmovers communicate frequently with different departments. They always work with data capture technicians (on set department) and their work will be passed to compositors (compositing department) or layout artists (CG department). They also work with the live-action team due to taking on-site measurements.
Here is a video talking about what is tracking and what is matchmoving:
Roto Artist
- Alias: Junior visual effects (VFX) artist
- Entry level in compositing department
- Entry requirements: need a good showreel to show the personal potential, degrees in related subject (art, design, graphics) are helpful as well
In VFX industry, rotoscoping is the technique of creating a matte or mask for an element on a live-action plate to prepare for being composited over another background. Industry people more often use chroma key to accelerate their work progress.
Roto artists deal with the process of rotoscoping as well as the preparation for compositing. They use a set of compositing softwares (Nuke, Adobe After Effects, etc.) to outline and cut out the targeted area as matte in a sequence of images, and the matte can be placed on other images with purposeful use. It is necessary for roto artists to be patient and attentive when rotoscoping because it needs tracing the object precisely frame by frame.
Roto artists usually work with prep artists for the preparation of the plates in compositing and work jointly with compositors for the use of matte.
Here is a video introducing the rotoscoping in VFX industry, which is a little different from the ‘general’ rotoscoping (a classic animation technique):
Here is a rotoscoping showreel:
Reference：
https://www.screenskills.com/careers/job-profiles/visual-effects-vfx/compositing/roto-artist/
https://www.screenskills.com/careers/job-profiles/visual-effects-vfx/production-management/runner/