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.