WEEK 4
1.Layout artist job
A layout artist designs the shot frame, camera paths and angles, depth, perspective, scale, and lighting for an animated sequence. They act as the eye of the cinematographer and gaffer in animation, working with directors to translate storyboards into sequences of action.
In an animated environment, the point of view of the audience is replicated by a virtual camera which is imagined by the layout artist. They frame out establishing shots, action, blocking, and character expression through the traditional screen language of close up, mid shot and wide shot to tell the story in the most compelling way.
The layout artist works in collaboration with the director to establish the camera angle, lighting and point of view of each shot of an animated sequence. They are the stylistic and technical eye of the entire shot, as well as choreographers of character action.
Layout artist teams interpret storyboards and animatics to their final iterations. They determine the position of characters within frame according to the dialogue and action of the script.
Layout Artists primarily work with animation and film editing software such as: Renderman, Avid,Final Cut,Adobe After Effects, Photoshop, Blackmagic Fusion,Maya,3D Studio Max, Nuke,Mental Ray
,TVPaint,Blender
https://www.youtube.com/watch?v=N8Gu88cFCNQ
2.matchmove artist
Matchmove artists match computer-generated (CG) scenes with shots from live-action footage so the two can be convincingly combined.They recreate live-action backgrounds (plates) on a computer in a way that mirrors the camera on the set in every way, including lens distortion. They do this by tracking the camera movements to make sure the real and virtual scenes appear from the same perspective.Sometimes matchmove artists go to the film set to take measurements and put up tracking markers. Then they use these markers to track the camera movement and work out the relevant coordinates in the 3D scene. They do this using 3D tracking programs like Maya or 3DEqualizer.
Matchmove artists also do body and object tracking, using markers to recreate the movements of people, vehicles or other objects in CG. The motion files created (camera, object or body track) are then passed on to other departments via the VFX pipeline, so that, eventually, they can be seamlessly combined by the compositor.
The work of a Matchmove artist is highly accurate and detailed, and proficiency in the use of 3D software is fundamental, as is a proficient understanding of camera movement in virtual 3D space, filming techniques and lenses, including the principles of distortion, parallax and overscan, to ensure accurate modelling to reconstruct the scene.
3.lighting artist
Lighting artist enable depth and realism to be added to a computer-generated (CG) scene through lighting, just as a director of photography (DoP) does in a live-action film.
They adjust the colour, placement and intensity of CG lights to create atmosphere, add realism and depth. Using reference photos taken on set or location, they match the illumination of virtual 3D objects to the look of the on-set production and cinematography.
Lighting a shot requires a blend of artistry and scientific knowledge of how light falls on objects. It also involves reflecting the look and style set out by the director of the film or TV programme. This can create technical challenges.
The role of the lighting artist varies depending on the size of the VFX studio. In larger studios, lighting artists light the shots while a lighting technical director works with the pipeline TD to overcome the technical challenges and create the software tools that the lighting artist needs. In smaller studios, those two roles are combined, so the lighting artist needs considerable technical skills as well as artistic ones.
4.Computer graphics (CG) supervisors
Computer graphics (CG) supervisors are ultimately responsible for the delivery and quality of the 3D computer-generated (CG) elements of a VFX project.Before a film goes into production, CG supervisors identify areas of the VFX work that need to be researched by software developers. They design the VFX pipeline – which means they decide the order in which the work needs to be done. They manage the team of technical directors (TDs), helping decide which digital tools need to be created to streamline the pipeline.Once production is under way, they supervise the creation of all CG imagery and manage the artists creating it.
CG supervisors work with the VFX producer and VFX supervisor to review budgets and schedules. They might also have discussions with the producer and director of the production company making the film.
In pre-production, they may identify areas of the VFX work that need to be researched and developed by software developers. They manage the TDs, such as effects (FX) TDs and rigging TDs and lighting TDs. They are also responsible overall for the output of VFX artists such as modelling artists.
5.Look development artists (look devs)
Look development artists (look devs) define the look of computer-generated creatures or objects to ensure all the art in the film or TV programme is consistent.
If a concept artist draws an alien, then the look development artist works out what the skin of the alien will look like in different conditions – when it’s raining, when it’s dark, when the creature’s angry. They work with lighting TDs, texturing artists and creature TDs to establish the different looks, balancing the processes of texturing, lighting and rendering to match reference images and real footage.
The looks that the look development artist creates are signed off by the CG or VFX supervisor. All the artists in their VFX pipeline then use these looks when they create their assets. This ensures consistency and quality.
Artists need to be adept at using relevant programs such as Arnold, Blender, Maya, Mental Ray, Photoshop, RenderMan, Substance Painter, V-Ray and ZBrush. strong artistic skills are required, with a good understanding of form, colour and texture, and an awareness of how these elements work together. Also understands the science behind colour, space and creating realistic lighting and has a deep knowledge of lighting techniques. And the ability to collaborate is required in order to be able to work with other VFX artists, sharing ideas and expertise and reaching consensus on looks