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.
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.
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.
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.
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/
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
The VFX Supervisor is responsible for the whole VFX project in it’s entirety. They manage all the VFX Artists in a process and are responsible for all VFX elements that are produced. While a CG Supervisor supervisors the whole CG Team, the VFX Supervisor is present on set during production to oversee the production and voice any VFX Concerns that may occur, working with both the Producers and Directors to mitigate problems in VFX Before they happen to save time prior in post production. VFX Supervisors are also responsible for deciding on what VFX Is needed for a shot, or if the shot can be done practically by other means such as special effects.
Due to a VFX Supervisor being both involved on set and being the go between for the VFX Studio and the producers / directors on set, a VFX Supervisor needs to know at least the fundamentals of production work on set such as lighting, camera basics, cinematography and on set experience combined to provide the people they are working with the knowledge to make accurate decisions about the visual effects needed for a film or shot. VFX Supervisors should be excellent at communication and leadership, and have knowledge of the VFX Pipeline and how it works. A VFX Supervisor’s average salary is around 29,339 pounds per year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/on-set/vfx-supervisor/ More role info: https://www.productionbase.co.uk/blog/2019/10/14/become-vfx-supervisor/ Salary Info: https://www.glassdoor.co.uk/Salaries/vfx-supervisor-salary-SRCH_KO0,14.htm
On set – Data Capture Technician
A Data Capture technician’s work is primarily based around collecting all information for a VFX Shot to work properly. This data would include things like the lens used, focal length, filters, focus and colour temperature, which usually show up in a camera’s metadata, however a Data capture or data wrangler will also record things like camera height, distances from cameras to actor and anything that will help in the translation of the camera and set into a 3D Space by the CG Department for creating accurate environments and camera angles for a VFX Shot. An example would be measuring the distance between an actor and the camera and then using those measurements in Maya to create a realistic depth between the virtual camera and a CG Element.
A Data Capture Technician should be extremely well organized for delivery of data and files to a VFX Studio, have on set experience and knowledge of how a production set operates, and be good at communication with crew members to get accurate measurements. The average salary of a data capture technician is around 27,277 pounds per year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/on-set/data-capture-technician/ More Role Info: https://jobs.smartrecruiters.com/Technicolor/743999762486297-data-capture-on-set Salary Info: https://www.glassdoor.co.uk/Salaries/data-capture-technician-salary-SRCH_KO0,23.htm
Compositing – Compositor
A compositor’s job is to take everything created together from the CG Department and finalize the picture or frame. A compositor overlays CG Footage onto live action and uses a combination of matte painting and other tools to achieve a proper finalized result. For example if we had a green screen footage of a girl that was needing to interact with a CG character in a scene, a Compositor would create a Chroma Key to remove the green colour from behind the actor, and go about tweaking the cut out or alpha of the character to make them into a single layer. The compositor would then go about using colour and lighting effects to make this layer look like it’s in the live action footage, and do the same with the CG Element that has been rendered out to them via the CG Department.
Compositing can be used in both film and television, as well as used in advertisements. The software involved can vary, though the primary softwares that are used are Nuke, photoshop and after effects, Shake, Maya, Flame and BlackMagic Fusion. A compositor must have an immaculate attention to detail to accurately combine multiple pieces of media together to create a realistic and cohesive final picture. A good way to think about it are that compositors are the professional photoshoppers of the VFX world. The average salary for a compositor is around 52,347 pounds a year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/compositing/compositor-visual-effects-vfx/ More Role Info: https://www.cgspectrum.com/career-pathways/compositor Salary Info: https://www.glassdoor.co.uk/Salaries/london-compositor-salary-SRCH_IL.0,6_IM1035_KO7,17.htm
Compositing – Compositing Supervisor
If CG Supervisors are meant to oversee all of the CG Elements to completion, a compositing supervisor is essentially a similar role in which a Compositing Supervisor will do quality checks of each shot, make sure the colour is maintained and have continuity, and organising all other compositors, assigning them shots and making sure shots get done on time. It’s specified that they also work on shots if needed sometimes, and in my previous work place, this was the case especially with very difficult shots, where other compositors would work on easier shots while the compositing supervisor would both help artists with issues on shots and tackle the harder shots that needed a more experienced artist’s hand.
A Compositing Supervisor will need all the skills of a Compositor as well as all the knowledge of these programs, plus a fundamental knowledge of CG And 3D Work. A Compositing Supervisor also needs to be a very good leader and communicator, as well as a good planner and problem solver to make sure shots are done on time and come up with solutions to difficult problems on shots. A compositing supervisor will also need to be good under pressure and have a lot of experience in compositing obviously. The average salary of a Compositing supervisor is around 55,389 pounds per year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/compositing/compositing-supervisor/ More Role Info: https://jobs.jobvite.com/double-negative-visual-effects/job/o9Sv7fwn Salary info: https://www.glassdoor.co.uk/Salaries/london-compositing-supervisor-salary-SRCH_IL.0,6_IM1035_KO7,29.htm
A layout artist can almost be thought of as the cameraman or director of photography of the 3D Space. Layout Artists will determine where the virtual camera is in a scene and where characters in a CG characters will be choreographed in the position of a shot and where they will move around. While a director would work with actors and where they would be on a production set, a layout artist determines where virtual cameras would be and where those 3D Elements would be in scene. Layout artists must keep a consistent scale throughout their scenes for use in VFX shots and the scale of CG Elements down the line, as well as things like the lighting and composition of a scene.
A Layout Artist must have a good reference of where characters will be in the scene, an understanding of cameras and their functionality, and a basic understanding of physics so that cameras will work in ways that do not deny physics (aside from some abstract reasonings) A Layout artist should be proficient in 3D Modelling, with most common 3D Software used like Maya. The average salary of a layout artist is around 33,442 pounds per year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/layout-artist-visual-effects-vfx/ More Role Info: https://vfx-montreal.com/job/layout-artist-3/ Salary info: https://www.glassdoor.co.uk/Salaries/layout-artist-salary-SRCH_KO0,13.htm
CG Department – Matchmove Artist
When you have your 3D Models ready to go and rigged, a 3D environment is needed to place them in, if this is live action footage they need to be implemented into the scene properly, A matchmove artist’s job is to make that a reality by recreating the camera’s movements in a 3d Space by tracking points, and then using that camera data to build out a 3D Environment to match the shot for things in use of the scene like character’s shadows, destruction to surrounding enviornment or other things in a scene.
Matchmove artists use software like Maya, 3DEqualizer, After Effects, PFTrack and Vodoo. Matchmove artists must be very meticulous with their work to create realistic tracking so that the CG Objects implemented seem real and authentic and don’t look like two layers overlapping each other. A Matchmove artist’s average salary is around 33,442 pounds a year.
Sources: Role Info: https://mountcg.com/what-is-matchmoving-and-what-does-a-matchmove-artist-do/ More role info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/matchmove-artist/ Salary Info: https://www.glassdoor.co.uk/Salaries/matchmove-artist-salary-SRCH_KO0,16.htm
CG Department – Lighting Artist
A lighting Artist’s job is meant to match the lighting of a scene in 3D Either on set or per a Layout Artist’s layouts in a 3D scene. A lighting artist uses tools in 3D To make a model look like it’s on set by matching the lighting used on set when in a film, such as light intensity, colour or even matching down to the light’s falloff.
A lighting artist must be proficient in both 3DM Modelling and knowledgeable about the layout of a scene, as well as have a strong basis on physics and how light works, such as it’s dispersion on objects and reflectivity. A lighting artist will usually be working with many other roles such as directors, CG asset leads, and production coordinators. Lighting artists will use programs such as Maya and Nuke, and the average salary of a lighting artist is around 31,099 Pounds per year.
Sources: Salary Info: https://www.glassdoor.co.uk/Salaries/lighting-artist-salary-SRCH_KO0,15.htm Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/lighting-artist-visual-effects-vfx/ More role info: https://www.careersinscreen.ie/role/lighting-artist-2/ Even more role Info: https://vfx-montreal.com/job/lighting-artist-2/
CG Department – CG Supervisor
A CG Supervisor is the head of the CG Department, and thus responsible for the delivery and quality of all CG elements of a VFX Project. CG Supervisor’s jobs decide just about everything, from the order of which work needs to be done, to what work may need to have RnD create ways to achieve a look in a shot, to finding out what tools and program would need to be used on a shot (An example being using the physics of a program like Houdini as opposed to Maya for a shot)
A CG Supervisor is someone who knows all facets of a CG Department and can help people in these various areas if they are to run into any problems, as well as plan out meticulously what is needed and how things will run. A Cg Supervisor should be an expert in 3D Software and other industry software and should also have excellent communication skills to communicate effectively with their team and producers / directors. The average salary of a CG Supervisor is around 72,598 pounds per year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/computer-graphics-cg-supervisor/ More role Info: https://jobs.jobvite.com/double-negative-visual-effects/job/o1ntafwL Salary info: https://www.glassdoor.co.uk/Salaries/london-cg-supervisor-salary-SRCH_IL.0,6_IM1035_KO7,20.htm
CG Department – Look Development Artist
A look dev artist keeps everything consistent throughout a project. A lookdev artist works with the texturing artists, Lighting artists, character artists and concept artists to make sure that when for example a character is places in a rainy area and needs reflections that they can establish different looks for the character and make the character covered in rain and wet while still maintaining the overall look of the character.
A look development artist must be very keen to detail for maintaining the overall quality of a model and perform quality checks on anything that goes between the texture artists and modellers to the lighters to maintain the visual style of the project being worked on. A look dev artist should be proffecient in Maya, 3DS Max, Photoshop, Substance Painter, Arnold, VRay and Nuke. The average salary for a lookdev artist is around 33,442 pounds a year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/look-development-artist/ More Role info: https://www.cgspectrum.com/career-pathways/look-dev-artist Salary Info: https://www.glassdoor.co.uk/Salaries/look-development-artist-salary-SRCH_KO0,23.htm?countryRedirect=true#:~:text=The%20national%20average%20salary%20for,Artist%20salaries%20in%20your%20area.
Modelling Artists are the artists that create 3D Models to be used in compositing, design or other areas, these artists can be broken into around 3 categories, Those being:
Environment Artist – Specializing in the creation of Maps, Layouts or environments used in a 3D Setting, there are even two subsets of this role, those being Asset creation and Layout for even further specification when creating jobs. These environments could be used in film for cityscapes, Maps for video games, or even outside of the normal media industry, such as environmental design for interior design, urban planning or even use in crime labs.
Character Artist – While environment artists specify on areas or small non organic assets, character artists specify on creating characters or creatures. This role would usually be used within the media industry as opposed to non film or game related industries.
Vehicle Artist – A vehicle artist is similar to a character artist’s role, however this role is dedicated more to creating non organic vehicles like star-ships, weapons, robots or cars.
A Modelling Artist is primarily focused on specifically sculpting and modelling these 3D models, with UV’s texturing and shading, while still important, is a separate role entirely, however in some roles, a Modelling artist can also be doing texturing, Uv’s etc. However 3D modelling artists are primarily focused on the actual shape and form of what they are modelling.
A 3D Modeller’s role will usually use programs such as ZBrush, Maya and Mudbox, with artists needing a firm grasp on both the software and a Model’s real-world scope and proportions. The average salary for a modelling artist is around 30,987 Pounds a Year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/modelling-artist/ More Role Info: https://www.yellowcat.london/vfx-modelling-artist-breakdown/ More Role Info: https://www.axisstudiosgroup.com/careers/jobs/modeling-texturing-artist-vfx/ Salary: https://www.glassdoor.co.uk/Salaries/uk-3d-modeling-and-texturing-artist-salary-SRCH_IL.0,2_IN2_KO3,35.htm
CG Depratment –Animator
If we were to think of the previous role in the form of creating a puppet, this role would be then making the puppet move. An Animator’s job includes using Rigs on a 3D Model to go about animating a character to make movements for integration into a visual effects shot or a character’s movement in an animated film. In some instances, motion capture is also used for films to capture an actor’s performance and tweak their appearance in the shot, such as adding a different outfit on the character in post.
An Animator must be both versed in the 3D Animating software and have a solid grasp of real movements to be order to make realistic movements for an animation. Animators usually work in Maya, Blender, 3Ds Max or Cinema4D. The average Salary For an Animator is around 35,780 Pounds a year.
Sources: Role Info: https://discover.therookies.co/2019/05/22/job-titles-in-3d-animation-visual-effects-and-what-they-actually-mean/ More Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/animator-visual-effects-vfx/ Salary Info: https://www.glassdoor.co.uk/Salaries/london-3d-animator-salary-SRCH_IL.0,6_IM1035_KO7,18.htm
CG Department –Texture Artist
A texture Artist’s job is in essence to create a “skin” to be used on a Modelling Artist’s work a texture artist works to create the colour, transmission, reflection and all other elements to enhance a model and make it look the way that it looks. A texture artist may sometimes work from scratch to create a texture, or be given an image as reference to work off of. Think of a regular Model as a blank white wall. A Texture artist is the artist that uses the paint on the wall, gives it colour and makes the wall have its sheen and reflection. A texture artist must have both a firm understanding of modelling and UV’s, as well as doing digital compositing and digital painting, an example being photoshop compositing work and use of blending modes.
A Texture artist must be knowledgeable in UV’s and modeling, and have an understanding of basic light theory, how it refracts off of objects or passes through them, and have some fundamental understandings of anatomy, such as blood passing through ears and creating a red glow when light passes through the thinner areas. Texture artists usually use Substance Painter, Photoshop, ZBrush, Body Paint and other programs to achieve good texturing. The average salary of a texture artist is around 36,203 Pounds per year.
Sources: Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/texture-artist/ More Role info: https://www.cgspectrum.com/career-pathways/texture-artist Even more role info: https://www.foundry.com/insights/film-tv/texture-artist-mari Salary Info: https://www.glassdoor.co.uk/Salaries/texture-artist-salary-SRCH_KO0,14.htm
CG Department –Environment Artist
An Environment artist as described prior, is primarily an artist that works on the environment of a 3D area, this can be used in Interior Design, Exterior Design and Urban Planning, Game Design, Film and Advertisements, and any area or industry that requires the creation of an environment either for reference or for use in something. Environment artists usually work off of either photos provided from photos, concept artist sketches or line drawing sketches. Environment artists should be proficient in 3D modelling and have a sense of geography, architecture and even have a basic understanding of physics.
An environment artist may use many different software depending on the facet of the industry. However the main overall tools include Maya, ZBrush, 3D Studio Max, Mudbox, Unity and Unreal Engine. The average salary of an environment artist is around 29, 754 pounds per year.
Sources: Role info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/computer-generated/environment-artist-visual-effects-vfx/ More role info: https://www.cgspectrum.com/career-pathways/environment-artist Salary info: https://www.glassdoor.co.uk/Salaries/3d-environment-artist-salary-SRCH_KO0,21.htm
Production Management –Runner / Production Assistant
Previously when i worked in the Industry, i was originally a Post Production Assistant, which upon researching Runner, is one of the names known for runner. This role is entry level and the duties of this role can vary from Company to company. This job can sometimes entail things like being or helping with client services ie. running out and getting lunch for artists or clients, cleaning, doing data management, doing graphic design, keeping servers clean and files organized, or organising meetings and schedules for other artists. This is a role with very low pay, high hours and depending on the company you’re working for can be one of the most soul draining experiences you will ever experience, however this role comes with the potential to learn from artists and is easily the best way to get a feel for the way a company operates and the pipelines involved in a VFX Company. It’s often that a role like this can be many roles put into one, with potentially taking on the roles of client services, graphic design, data management, IT or anything else that may be needed, this role acts as a catch all for things that need to be done.
The runner role has an average salary of around 18,464 Pounds a year according to Glassdoor , however some places like the VFX Subreddit place it at around 14-15K a year. This role requires very flexible hours on the behalf of the runner and the runner essentially needs to be available almost 24/7, 7 days a week at some companies.
A Prep artist will do the lower level jobs of a compositor and “prep” footage for effects to be layered by a compositor, Prep artists would be similar to the role of some of the roles i’ve seen in the industry like Flame or Nuke assistants, in which these prep artists will remove small things from a plate that needs to be removed such as lens scratches, boom mics, logos or very small things that are needed to be removed from a plate. This job can also deal with things like creating VR Stitches when used in VR Videos or Stitches used in HDRI Photography or even sometimes doing roto work. A prep Artist’s bread and butter will essentially be the clone stamp tool in almost any program, usually in Nuke. However a Prep artist’s job can also occassionally include
Prep Artists, similar to Runners may have long hours dependant on what jobs are being worked at the time and what is needed at the time. The average salary of a Prep artist is around 33,000 pounds per year according to glass door.
Sources: ( Role Info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/compositing/prep-artist/ More role info: https://framestore.recruitee.com/o/preppaint-artist Salary Info: https://www.glassdoor.co.uk/Salaries/prep-artist-salary-SRCH_KO0,11.htm )
Compositing – Roto Artist
A roto artist’s job is very similar to a prep artist’s job, with both being entry level compositing jobs, however a roto artist’s job is more in line with specifically in creating mattes as opposed to clean plates creates in Prep artists, meaning cutting out objects in a frame, such as creating a matte of a character or a scene that needs to overlap on a separate plate or have something layer in a scene. Roto artist need to be very patient as roto work can take hours to refine even seconds of a matte, depending on certain things in the shot like detail from subject to background, or rotoing more difficult things like hair. Roto artists will separate different objects into sections to create one full matte. Rotoscope artists sometimes work in house, freelance or in some cases similar to where i previously worked, would be contracted specifically to rotohouses that would have a team of roto artists all working to create a matte in a short timeframe. Roto artists can be very repetitive work, however roto artists will need to have an eye for detail as to keep mattes clean and not make mistakes.
Roto artists usually work long hours as roto work can take a long time to do with creating a matte frame by frame, and can take entire teams to create even a 5 second detailed matte. The average salary for a roto artist is around 33,442 pounds per year.
Sources: (Role info: https://www.screenskills.com/job-profiles/browse/visual-effects-vfx/compositing/roto-artist/ More role info: https://www.cgspectrum.com/career-pathways/roto-artist Salary info: https://www.glassdoor.co.uk/Salaries/roto-artist-salary-SRCH_KO0,11.htm )
