Term 2 – Maya – experimentation with liminal space builds

I recently watched a VFX Shortfilm called “The backrooms”. This shortfilm was almost completely done in 3D And was masterfully well done in recreating some images i had previously seen of a phenomenon known on the internet as “Liminal Spaces”

Liminal spaces are difficult to define, as in architecture, liminal spaces are defined as the transitional spaces between one destination and the next. This is one of the most common and widely accepted terms of what defines a liminal space, though other things can define a liminal space. There are entire accounts dedicated to the documentation of liminal spaces and liminal space images. Many of these images invoke feelings that are eerie of being alone and isolated, and some can make people feel oddly nostalgic.

As talked about in Solar Sand’s video, there have been many paintings prior to the internet that give a feeling of liminality. And one interesting thing is simply that some images can invoke a feeling of nostalgia with some people, while others do not. I tried this with a group of friends from different backgrounds across a variety of images. These were men and women from different countries and continents, and the range of what made some unsettled and nostalgic was different between each person. Here are some of the images that were shown and could be classified as liminal.

A lot of these images have reoccurring themes, many feel empty, in terms of a rule of thirds, a subject is either too small in a frame or there is a lack of subject, the lighting is either dark or even blurry, and the images can sometimes have no vanishing or focal point. This leads the images to feel almost wrong or hollow in a way. After watching the short film, i wanted to attempt to create something similar. Whether it was a recreation of some of the images, or an amalgamation of these 3D environments into one Animation or experience. I had the idea of melding together many of these environments to make something look almost like a dream. In a limited release in 1998, a game was released in Japan titled LSD: Dream Emulator.

This game uses many different 3D Models that are generated in levels that make the game more of an experience then truly a game. In which the player moves around areas that all mesh together in a dreamscape of the creator’s documented dream journal. There are dark areas, vanishing horizon points and everything feels oddly and almost creepily like a dream. I decided i wanted some environmental 3D Modelling practice, and to attempt to make some similar environments. I started with one of the most infamous liminal space images entitled “The Backrooms”

Originally i went about attempting to do a projection map in Maya to recreate the image. I changed some of my layout panels to more easily edit the camera and keep one of my views untouched to keep looking at the progress and scale.

Originally i had went about wanting to use projection mapping and matching to use textures, and using this method to create the scale of the room. However through experimentation, i figured if i was going to have the camera move at all from these points, projection mapping may not be the way to go, though i could still use the enviornment image plane through a camera to get a rough sense of what the scene would look like, and then scale the walls and space them out more properly. The walls were looking fairly bland, so i went about finding an image texture for them online, and then adding a very rough wavy geometry as a placeholder for the ground at the time, and then experimenting with setting up some more lights. I adjusted the walls to have less specular and the ground to have a higher bump and created some small trimmings around the walls bottoms.

While the original didn’t have it, i also experimented with adding in some fog to the scene similar to what i had done in my room build, though i was using much more in this build and make it much more eerie. This experimentation with the fog will most likely be used later on when experimenting more with the outdoor scenes that require lights.

Currently one of the things I’m working on is making some rudimentary overhead lights, as the original uses tube florescent bulbs, I’m working on creating some simple tube mesh lights that will stick to the ceiling and create a florescent glow on the scene, as the lighting for this scene will be one of the most important things.

Next my main focus will be on fleshing out the lighting and colour of the scene.

Critical Report – Progression and Presentation

With my critical report, I wished to talk about a new technology in the form of using LED Boards together with virtual productions, and whether this would overtake the use of green screening. This research started when i cam up with the idea of the topic after becoming interested in the Visual Effects done throughout “The Mandalorian”. I had previously heard a year ago from a fellow CG Artist about the production an behind the scenes of this, and I Had recalled other VFX Artists i knew talking about the progression of Virtual Production using Unreal Engine.

Firstly i went about watching some videos regarding the creation of the show, and then moved on to things like looking at how these virtual production sets worked in general and looking through articles. One of my starting points of researching this technology was my blogpost about emerging technologies where i mainly used articles and videos currently made about this technology. In my paper i wanted to go more in depth and explore both what this tech is used for as well as how it will in my opinion, become the next big stage in compositing tech.

I knew that i had wanted to talk about this in some way, and started analysing what i could discuss about his topic, as reiterating the new technology wasn’t what i wanted to do. I decided to go for a comparison between the current methods of compositing and this new technology, this required both the knowledge i had already researched about the tech, as well as some of the history behind previous compositing and some academic articles about the topic.

One of the ways i went about researching this was searching through articles like “Alpha and the history of digital compositing” to get a basis on the history behind some of the infancy of some of the techniques used in compositing today, as i believe this tech is in it’s infancy and will replace compositing and needed to support this with evidence of prior technology. I then went through citing and gathering resources I Would find that would benefit my research and further my point about this topic.

While writing this report, i tried to make sure to while also expressing the positives of this technology compared to traditional compositing, i also wanted to give the drawbacks this software involves, as to accurately asses whether or not this technique would become a new industry standard, i wanted both the positives and negatives.

After this i went about using the above gathered research on compositing history, some of the newest journals regarding this technology, and simply reading through chapters about digital compositing and the traditional uses of green screen in the VES Handbook, i went about structuring my argument and writing my critical report.

Below is the presentation i gave on the report.

Term 1 Showreel

I chose to compile a list of all of the renders, animations and comp work that i had liked to do the most throughout the semester, and compile these into a short showreel showcasing some of the work I’d done throughout the semester.

Emerging Technologies – LED Boards and Virtual Production

An emerging technology that i grew very interested in throughout the past year was the use of LED Walls in a Virtual Production Setting and it’s use in the industry as of late. I Originally found out about what these were and how they’re used through watching Star Wars: The Mandalorian, as the director Jean Favreau chose to use this technique after his time and experience filming virtual sets when filming The Lion King: (2019) and The Jungle Book (2016).

LED VP Sets are first and foremost defined by software. 3D Environments are created using Epic Game’s Unreal Engine. 3D Artists can create realistic and easily editable virtual environments that can be changed on the fly with a stage manager who controls the backdrop then projected on to these LED Boards. The boards are set on to a large circular dome like stage in which anything can be placed on the screens.

One might wonder, why not just use a green screen? LED Board virtual sets are very expensive, while a green screen set can be much cheaper. However, the long term gains of an LED Board VP set can outweigh a green screen set in the long run. Greenscreening must be lit properly, chroma keyed in post production, and will often have despilled light on actors that will need to be cleaned in post production, as well as actors having to imagine what is going to be added in post.

An example of despilling taken from https://luismpla.com/2016/05/18/despilling-expressions/

The benefits of a virtual set using LED Boards are realistic lighting, as light is being produced from the actual boards and can be tweaked easily from a control panel, scenes can easily be changed instead of building new sets, there are costs saved due to filming all being in one location, and actors don’t have to imagine being in a location. As actress Neshe Demir explains in the RoeVisual article “Successful Virtual Production Showcase uses Roe Visual LED Screens”; “You’re directly in the right environment depicted in the scene, so you don’t have to visualize it. I could feel that my body reflections reacted to the environment shown, making the acting much more natural and easier.”

Green screen being added in specific areas of an LED Board VP Set via https://www.fxguide.com/fxfeatured/art-of-led-wall-virtual-production-sets-part-two-how-you-make-one/

One of the main benefits of using this technology is that the Boards work in tandem with the camera whenever the camera moves. If the camera rotates side to side, the board will use the Camera’s info to move the image being projected on the board, creating a realistic parallax effect as explained in Vox’s video on the subject.

The question has to be asked as to whether or not this will remove the need for green screens entirely. In a video interview from Insider, Richard Bluff the Visual Effects Supervisor at ILM, one of the leading pioneers in this new form of virtual production, explained that “Eventually of course we hope to never use green screen, But i still see that there will be a future for it in the short-term, because there’s likely always a need to remove people, to add additional action behind them. But we are getting to the point where the amount of green screen that’s being used is massively reduced and the sky is the limit right now.” Green Screen can still be added on these sets, but can be targeted to certain areas, thus keeping the lighting data from the surroundings and keeping the green background. Time will tell whether or not this technique will overtake traditional green screen entirely, or if it will be used in tandem with green screen to create seamless backgrounds and sets.

Sources:

SEYMOUR, M.I.K.E. (2020) Art of (Led Wall) Virtual Production Sets, Part Two: ‘How You Make One’ [online]available from <https://www.fxguide.com/fxfeatured/art-of-led-wall-virtual-production-sets-part-two-how-you-make-one/>

CADE, D.L. (2019) Incredible Real-Time Visual Effects Tech Replaces Green Screens with LED Walls [online]available from <https://petapixel.com/2019/08/22/demo-of-incredible-real-time-visual-effects-using-massive-led-walls/>

Anon. (n.d.) Roe Visual LED Screens for Successful Virtual Production Showcase [online]available from <https://www.roevisual.com/nl-en/news-and-events/news/successful-virtual-production-showcase-uses-roe-visual-led-screens>

Insider. (2020) YouTube. available from <https://www.youtube.com/watch?v=Ufp8weYYDE8&ab_channel=Insider>

Vox. (2020) YouTube. available from <https://www.youtube.com/watch?v=8yNkBic7GfI&ab_channel=Vox>

Nuke – Week 10 Scenarios in Production and QCing

In this class we talked about the real world aspects of VFX, such as the scenarios a VFX Artist may encounter, how to handle them and some of the pitfalls some artists may make and how to avoid them.

We started with a talk about specifically how critical it is to review your own work, regardless of the deadline, regardless of the stress, it’s always important to re-check things or it will cause problems later on. I’ve had this issue prior working on jobs where due to time and stress, i did not check graphic properly before handing it off to artists and had to redo entire files as something was wrong i i didn’t check for. This is a lesson that needs to be learned and followed to create error free shots or files when working with other artists.

Next we talked about the compositing workflow, that being temps where files are created for clients so that clients can ask for removals or roto needed for a shot, trailers where a trailer will be created for said film or tv show, finals where shots will begin to go into iterations asked for by the client, and narrowing things down to a final shot to be approved. Lastly is QC Or quality control in which either a QC Team or a VFX Supervisor will meticulously check a shot and and scrutinize a shot to give needed revisions.

We then discussed how to review shots and organize shots, some of the softwares used in this is simply just google docs, ftrack and shotgun. These are used in sharing files, keeping track of projects and shots and getting things quality checked.

We discussed some of the roles in production, that being Line roles in which they gather information regarding problems with shots or giving information to the producer. The producer’s role regards around completing the project, managing the budget and setting deadlines.

Next we talked about VFX Dailies, dailies include a meeting where everyone meets to review shots and give feedback and info regarding shots to keep them going in the right direction.

A process of tech checking occurs when someone checks all the notes regarding a shot, comparing the versions of a shot, checking editorial, checking if there is any retime on a shot, making sure that the shot has the latest CG and FX, making sure the match move and tracking is the latest version, writing personal comments if you have any before submitting, checking for alternatives and doing a QC.

Xmas Work – Week 11 Final Thoughts

Previously when working at a VFX Company, we had a very small team of around maybe 13 people. The roles in this company were different, as with a small company, many roles described in my research here i was surprised to learn were different. We had VFX Producers who were also Runners, Runners would be a role of Data Management, VFX Editors, Assistant TD’s and even occasionally prep and roto artists. While some of these roles may blend together at certain companies i feel as if I’ve gained a greater understanding of how the industry operates through the research. In terms of which job interests me the most i would have a difficult time answering. Previously i was very interested in becoming a Motion Graphics Artist, which in some companies isn’t an official role and is a hybrid between a CG Artist and a Compositor. However this role is more in line with compositing and animating on a 2D style scene with usually illustrator or flat assets.

This was a role I was interested in for a while, however now I’m fairly interested in being a compositor. Compositing is the job i was being trained for in Industry using Flame Prior, and it’s a role I found to be the most fun overall. When i dipped my toes into that role so to speak, it was a mix of compositing, match moving, roto and a Layout artist. However i truly enjoy Compositing as I can now Using Nuke and Occasionally After Effects. I enjoy coming up with solutions to the problem of how I’m going to track a shot, how I’m going to blend things together properly and what tools I might learn along the way. I’m also very fond of doing 3D Modelling, and enjoy the progression I get from doing 3D Models, though i’m not overly fond of texturing and UV’ing.

Overall i would say that the roles that interest me the Most are Modelling, Compositing and Roto Artist. While compositing and Roto artist are both in the same department of compositing, 3D Modelling is a bit farther out there, though i do enjoy it. I think i’ll need to develop my skills more over the coming semesters to truly decide between the 3, but this will come with time, experience and more familiarity with the programs and research on the industry.

Final Collaborative Project – Progression

For our Final collaborative project so far, I have worked very closely with both the Producerl Louis and the Creative Director; Tony, To try and make a story to be used in a collabritive VFX Project that we would all like.

The first portion of where i came in was at the beginning, we held a class meeting where some classmates would show off their ideas for a project, and while these were all good ideas, when a vote was called we decided to go with Tony’s project. Afterwards we collaboratively worked to create a very rough story of what we wanted, with a light emphasis of the story.

After this, Me, Louis and Tony went about drawing out some rough artboards for all to see in the classroom,

With this we knew about approx which locations we wanted so on our own time Me and the producer, louis went about going to go see the locations in person to get a scale of approx when we should film, how much area we would have, how the VFX Shots would integrate properly etc.

After this, i went about adding on to the original script we had as it needed to be fleshed out more. We had all met again and had a rough detail of each shot, though this needed to be expanded upon. I went about detailing what we would need for each shot, what VFX Elements would be included, and what time of day / colour correction the shot should have.

After this we planned out our days of filming, met on the days and went out for shooting, we had many issues, including small spaces to film in, daylight fading quickly for the shots we wanted, camera batteries dying quicker then anticipated, and other such issues. We used a Blackmagic pocket cinema, plus a gimble for filming shots.

After shooting, i went about creating a rough cut as unfortunately there were no volunteers to do this and we had a deadline approaching. This was a very simple, ungraded sequence i had put together in davinci. A lot of work arounds had to be done in terms of salvaging footage, as some shots were either not filmed properly, were too dark or simply didn’t quite work in what we wanted for the film.

After this progress slowed down on the project, however i organized a meeting for rough cut edits and colour in which Alessia and Louis attended and gave feedback on some feedback for the rough cut, as unfortunately being a director and the editor can very much turn into an echo chamber between yourself. We went about getting the pacing done for each shot, and even used some fusion for a transition on one of the shots. Fusion very much feels similar to Flame to me, and it’s something that while it’s a bit difficult to use, i can see myself using at some point in the future for certain projects.

After this i went about doing a grade for each shot, the original footage of this was set to linear log footage so that we could use LUT’s later on and get a better colour tone, i ran through some issues with using a lot of blue colour temperature scaling as a lot of the footage was very yellow and orange toned and needed to be corrected. Each shot presented it’s own issues, as some shots needed a lot more care then others, however the basic workflow was to add a LUT, use the histogram to make sure nothing is clipping on the footage, and adjust the primaries accordingly. After doing the primaries, i would move on to colour temperature and contrast adjustments, and then if the shot needed more correction i would go into more extremes like desaturating the luminance channels of certain colours or saturating certain rgb values on certain colours.

After this we had our Rough Cut version 2 with a grade.

Xmas work – Weeks 8 – 10

Production Manager – VFX Editor

There are two different roles when it comes to a VFX Editor with a Client side VFX Editor being similar to a VFX Supervisor on set, making sure everything is being captured so that VFX Elements can be implemented later, with a client side VFX Editor also relaying these concerns or details to In-house editors who create workflows that make it so that VFX Supervisors can provide feedback to how a shot is coming along. The VFX Editor is also responsible for passing shots along inbetween the client approving shots and the team working on them.

The VFX Editor will need to have goo leadership, teamwork and communication skills to effectively communicate with directors on set and artists in house, and should be knowledgeable of both the VFX Post production pipeline and how on set works. The average salary is around 32,094 Pounds a year.

Production Manager – Data input/output technician

Data input technicians are responsible for managing, storing archiving and unarchiving files, and keeping the servers clean. DMT’s are responsible for using file transfer systems for processing of large scale files and knowing what file formats are best for what type of project. DMT’s are also responsible for delivery and transferring of files, whether they need encryption or not. They are also responsible for knowledge of all formats from different versions of cameras and also the conversions of files into other formats, examples being conversions of ProRes files into MP4 Files for easy web access in client postings.

A DMT needs to be knowledgeable in file formatting, conversion and what is best of compression, they should be knowledgable in Photoshop, Premiere, Media Encoder and Handbrake. This was part of my job as the previous role i was in and can contain long hours and DMT’s can be needed at the drop of a hat. DMT’s must be very organized to keep things together. The average salary of a DMT is around 27,277 pounds per year.

Sources: Role Info: Data input/output (I/O) technician (also known as data technician) in the VFX industry – ScreenSkills Salary Info: Salary: Data Input Technician | Glassdoor

Pre-production – Concept artist

Concept artists are responsible for bringing the Director’s vision to life and create visuals to help conceptualize the story. The concept artist must create visuals that can properly be matched by storyboard artists and CGI and VFX Artists. Concept artists will use concept art to create characters, creatures, building vehicles and locations.

https://www.youtube.com/watch?v=UpsYAfz-WCg

Concept artists will use a combination of hand drawn on pen and paper, tablet drawings using things like Photoshop and illustrator, or even simple 3D Renders to visualize the concepts presented and turn them into proper visual references. Concept Artists should be proficient in Photoshop, Illustrator, PaintToolSAI, ZBrush, substance painter and other tools used for drawing. They should have excellent communication skills to properly communicate with the relevant departments and bring then filmmaker’s vision to life. This is the most traditional art role available through VFX and film-making and the salary sits at around 28,906 pounds per year.

Sources: Role Info: What is a Concept Artist? | VFX Visuals Blog (vfxpro.com) More Role Info: Concept artist in the VFX industry – ScreenSkills Salary Info: Salary: Concept Artist | Glassdoor

Pre-production – Previsualisation Artist

Pre-Visualization works to create 3D Reference that is usually animated to give the director a visual reference for what a scene will look like in visual effects, specifically in the placement of actors, the placement of the camera in the scene and the look of the set. This can be used in pre-production to create a visual reference for directors, vfx artists, and production crew on set such as actors and camera crew. Previs is not meant to be a finished animation, but a reference for what a scene will look like.

An example of a lot of previs would be shots in Doctor Strange, where many shots needed a lot of different Pre-vis to get a reference of how the character would look like when floating or moving around an ever changing mirror styled scene. A Pre-vis artist must be good at doing 3D Animation, especially in a very short time frame and creating simple models for use in pre-vis. Pre-vis artists usually use programs like Blender, Maya or Cinema4D, and the average salary of a Pre-Vis artist is around 32465 pounds per year.

Sources: Role Info: How To Make Your VFX Look Incredible With Pre-Visualization (animationkolkata.com) More Role Info: Previsualization: Why you need to see your scene before shooting it (srushtivfx.com) Even more role info: Previsualisation (previs) artist in the VFX industry – ScreenSkills Salary Info: Salary: VFX Artist (January, 2022) | Glassdoor

Xmas work – Week 7

Technical – Rigging Technical Director

Rigging TD’s work with the CG Department and are given the CG Models to create bone structures and rigs to be used in the animation of these models for use in animation. These rigs will determine the way a 3D Model will move and operate. Rigging artists will create a myriad of different poses, facial features and systems for Animators to work with in use of animating a CG Model. Rigging Artists will send these rigged models to the Animators, the animators will then voice concerns or feedback, and both will work together until the Animator has a fully rigged model they are happy with to use in Animating. Rigging is essentially creating a structure to make the 3D model or puppet move around for an animator.

Rigging TD’s need to be good at both using technical software like Maya, communication in terms of communicating with animators, and need to have a fundamental knowledge of Anatomy and how a body works and moves to create realistic rigs that will result in organic movements. A Rigging TD will usually use programs like Maya, Houdini and 3DSMax and a Rigging TD can make around 28,811 pounds per year.

Sources: Salary Info: https://www.glassdoor.co.uk/Salary/MPC-Rigging-Technical-Director-Salaries-E139949_D_KO4,30.htm Role Info: https://www.careersinscreen.ie/role/rigging-technical-director/ More Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/rigging-technical-director-td/

Technical – Creature Technical Director

A Creature TD works on making fur feathers or skin on their creatures in use for CG, In some studios a creature TD may also include the rigging of a creature, though this can vary from company to company and usually depends upon the size of the studio. Creature TD’s must sometimes work off of a concept artist’s sketches to create a matching set of fur, hair, feathers or skin, whatever is called for or looks the most realistic in a scene.

A creature TD will work with the VFX Supervisor as well as modelling artists, riggers and animatiors and should be versed in both 3D software like Maya or Unreal Engine, And texturing programs like substance painter. Sometimes Coding knowledge is also needed to develop systems for fur to work interactively and the Creature TD will need to work closely with a pipeline TD. the salary for a Creature TD can go up to around44,218 Pounds per year.

Sources: Salary Info: https://www.workopolis.com/jobsearch/creature-td-jobs?job=nKddv_GUaijXy_sYNCiZq8M9khWMfmRum-CZf0v-sA5MNYs3pGoBIQ Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/creature-technical-director-td/

Production Managment – VFX Producer

A VFX Producer is responsible for managing all of the processes included in creating VFX. This role serves to go work with a client and director to usually find out how much a VFX Shot will cost and create bids to convince a tv, advertisement, or film’s producer to take on the VFX Studio as the studio that will produce the VFX Shots for the film. VFX producers will also keep the client up to date on any changes or incurring costs and track the progress of a project to update the client properly.

A VFX Producer will need to have excellent organization skills, as they will be organizing things like client details, scheduling meetings between clients and directors and have good client service and communication skills. A VFX Producer will essentially be the line between the artists, directors and clients and communicate these details to the artists. A VFX Producer should be knowledgeable of the whole VFX Pipeline and the average salary for a VFX Producer is around 63,083 pounds a year.

Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/production-management/vfx-producer/ More Role Info: https://axisstudiosgroup.com/careers/jobs/vfx-producer/ Salary Info: https://www.glassdoor.co.uk/Salaries/london-vfx-producer-salary-SRCH_IL.0,6_IM1035_KO7,19.htm

Production Managment – Production Manager

A production manager will look after both the budget and the schedule made by the decisions of a VFX producer.. A Production manager also oversees the production coordinator and is important in communicating with the producer shooting the live action footage for use in VFX.

A production manager will work on handling any problems on set and making sure things are set and up and running on set as well. A production manager needs to be good at communication, have a history of on set production, and good at handling problems as they arise. The average salary of a production manager is around 44,356 pounds per year.

Sources: Salary Info: https://www.glassdoor.co.uk/Salaries/vfx-production-manager-salary-SRCH_KO0,22.htm Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/production-management/production-manager-visual-effects-vfx/

Xmas work – Week 6

Technical – Effects Technical Director

The effects technical director work to make sure that anything requiring effects like water, fire, explosions or computer generated effects will work well within the VFX Shot, the FX TD will work with the VFX Supervisor to make sure these effects can be done in the sets in production, and are responsible for creating the tools for their VFX Artists to use to create these Effects in a scene. It’s an FX TD’s job to make sure that effects look seamless on a plate when composited, such as creating smoke or fire on an object.

An FX TD must be excellent in problem solving as every project will have a unique and different way of solving it. FX TD’s must also have good time management and researching skills, as they’ll need to build these ways to create FX On time before a shot is needed. FX TD’s should be proficient in things like Houdini, Substance painter and Maya, but also things like C++, Java and Python in creating tools. The average salary for a TD FX is 66,842 pounds per year.

Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/effects-technical-director-fx-td-visual-effects-vfx/ More role info: https://www.cgspectrum.com/career-pathways/fx-technical-director Salary Info: https://www.glassdoor.co.uk/Salaries/uk-vfx-technical-director-salary-SRCH_IL.0,2_IN2_KO3,25.htm

Technical – Assistant Technical Director

Assistant Technical Directors are the trouble-shooters and problem solvers of a VFX Studio and work to assist pipeline TD’s to get a pulse so to speak on each department and gather info. While an Effects TD Solves large problems related to FX, Assistant TD’s solve problems that arise for artists and deal with bug reports / creating small scale tools for artists, while pipeline TD’s deal with larger issues like rendering errors that may be caused from a fundamental flaw in the renderer or project file. Assistant TD’s also work as data management similar to what some runners do, resizing files when needed, archiving files and restoring data and keeping the servers clean and spacious.

Assistant technical directors will need to be problem solvers, providing support for artists and designing scripts for use in software. Assistant TD’s are expected to be profficient in computer science, Linux OS, Python scripting and be excellent in communication to communicate properly with artists. The average salary of an Assistant TD is around 26,279 pounds per year.

Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/assistant-technical-director-td/ More Role Info: https://jobs.jobvite.com/double-negative-visual-effects/job/oc0Uefw4 Salary Info: https://www.glassdoor.co.uk/Salaries/assistant-technical-director-salary-SRCH_KO0,28.htm

Technical – Software Developer

Software Developers are the coders of a VFX company and design the systems in which TD’s use to help Artists with their needs for a VFX Shot. Software Developers will create scripts (Usually Python) For use in shots or needs on projects that work in programs like Maya, Nuke, Flame or Unreal to create systems that improve workflow. These software developers will mostly do RnD to create ways for artists to work more efficiently. Below is an example of some of the RnD done by a software developer.

A software developer must be good at innovating and creating things, while also taking into account other’s perspectives like the VFX Artists. Software developers should be proficient in computer science and python, and can make up to 70,000 to 80,000 pounds per year.

Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/software-developer/ More Role Info: https://levelup.gitconnected.com/break-into-the-visual-effects-animation-industry-as-a-software-developer-d32592bbb202 Salary Info: https://www.client-server.com/job/Software-Developer-Python-VFX-3/

Technical – Pipeline Technical Director

A Pipeline Technical Director makes sure the train runs smoothly so to speak when going through the pipeline of VFX in regards to the technical side of things, Pipeline TD’s will make sure that all artists technical needs are and work to solve them, they work closely with the RnD of software developers to make sure they stay on top of new technologies, and monitor what is the most effective way for the studio’s pipeline to run. An example of this would be in which a VFX Company I previously worked at, an artist had an issue with animating a system of different objects together, we didn’t have a pipeline TD, however this artist created his own python script to assist in making this animation a lot easier. With a pipeline TD, this problem would have been solved by them as opposed to the artist taking his time to address this issue.

A Pipeline TD Must have a fundamental knowledge of the Program they are attempting to solve issues for, and must have excellent problem solving and communication skills. A pipeline TD Should be proficient in Python and C++, As well as any other coding languages that may be dependant on what the studio uses. A pipeline TD’s average salary is around 50,224 pounds per year.

Sources: Role Info: https://www.ftrack.com/en/2021/09/what-is-a-pipeline-td.html More role info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/technical/pipeline-technical-director-td/ Salary info: https://www.glassdoor.co.uk/Salaries/pipeline-technical-director-salary-SRCH_KO0,27.htm