WEEK 7
1.Rigging TD
Rigging technical directors create digital skeletons for 3D computer-generated (CG) models. They program these ‘rigs’ or puppets so that they move in a realistic way. This underlying skeleton is then used by animators as the basis for their movements.
Rigging TDs typically receive a 3D CG model in a static pose, drawn by a modeller. They may also receive facial shapes and expressions of the characters. They then work out how the bones move when the character runs or smiles and create a computer programme that simulates that.
Animators test rigs and then give feedback to rigging TDs, who will complete any requested fixes and the process will continue until both parties are happy with the rigged models (the 3D puppets).
Rigging TDs can be employed by VFX studios or work as freelancers.
What’s a rigging TD good at?
Programming and coding skills: have advanced knowledge of programming in C++ and Python with a very high level of technical ability, be able to use a variety of relevant software such as Houdini, Maya and Nuke
Working to deadlines: work within given time frames, be able to complete work under pressure, be organised
Collaboration and communication: be able to work with other VFX artists, use each other’s resources effectively and efficiently
Science: have a good understanding of anatomy, physics and how things move
Problem-solving: find solutions as quickly as possible to support the needs of modellers and animators, relating to the rigging process
Who does a rigging TD work with?
Rigging TDs work under the management of a VFX supervisor. They regularly communicate with the production management department and VFX supervisor about schedules and deadlines.
They also work with modelling artists to refine and improve upon the 3D models so they are best fit for purpose. And they work with animators, who test the rigs to check that they offer the right kinds of articulation and movement for the given project.
2.Creature TD
Creature TDs build the software that enables artists to create believable fur, feathers and skin on their creatures.
They develop and program the digital tools for all the artists who work on digital dinosaurs, animals or magnificent beasts, helping them to be as efficient as possible. They then work with pipeline TDs to incorporate the tools into a VFX production pipeline.
The scope of the creature TD role varies depending on the size of the studio. In some studios, the role includes rigging, which involves creating systems of skeletons and muscles which are then used by an animator as the basis for the creature’s movements. In larger studios, the role of creature TD is focussed on creating the fur, hair, feathers, skin. The goal is the same, to make sure the effects look convincing and blend seamlessly with the other VFX and live-action components of the film or TV programme.
Creature TDs can be employed by VFX studios or work as freelancers.
What’s a creature TD good at?
Problem-solving: be able to come up with solutions and overcome obstacles, use the most cutting-edge technology to find new ways to achieve a creative vision
Collaboration and communication: be able to work with other VFX artists, use each other’s resources effectively and efficiently, be able to receive feedback in a constructive way
Programming and coding skills: be able to use a variety of relevant software such as Houdini, Maya and Ziva Dynamics, be able to understand and use script languages (Python as preference, Mel and C++ as optional)
Working with Linux or Unix operating systems: know how to work with these operating systems, which are different from Microsoft Windows or macOS (Apple)
Working to deadlines: work within given time frames, be able to complete work under pressure, be organised
Who does a creature TD work with?
TDs report to the CG supervisor and VFX supervisor. They regularly communicate with the production department about schedules and deadlines.
They work closely with the other VFX artists working on creatures. These can be modelling artists, riggers and animators. TDs also work with effects (FX) artists and lighting TDs.
3.VFX producer
VFX producers manage the whole process of creating the VFX for film or TV. They make sure that the client, usually the film or TV series’ producer or director, is happy with what the VFX studio makes.
VFX producers write the bid; the document through which they persuade the film or TV series’ producer to take their VFX studio on to do VFX work on a project. VFX producers put together the team of VFX artists and other technical staff. They set the schedules for the work and they manage the budget.
While filming is happening, VFX producers work closely with the live-action production crew. They also work with the editor in post-production. They communicate between the crew and editor. How much they interact with the client varies between studios. They might report to them on a weekly or even daily basis.
What’s a VFX producer good at?
Organisation: effectively plan and manage the project using VFX production pipeline organisation software, be able to budget accurately
Leadership: be confident in giving direction and leading a team, communicate well with everyone, create a positive atmosphere within the team
Knowledge of VFX: understand all aspects of VFX pipelines, know the processes, the creative challenges and the software used by the artists
Problem-solving: anticipate any issues that might occur during the project, adapt to changing timescales and technical issues
Working with clients: communicate well with the film and TV producers, keep them informed it things don’t go to plan, be diplomatic, keep good relationships
Who does a VFX producer work with?
VFX producers communicate with the producer or director of the production company making the film. Within their own studio, they work closely with the VFX supervisor, who oversees the creative work. The VFX producer then works with the production manager and production coordinators to make sure the work is done on time.
https://www.shotgridsoftware.com/blog/wth-does-a-vfx-producer-do/
4.Production manager
Production managers act on the decisions that have been made by the VFX producer. They create the detailed schedule for the project and look after the budget.
They oversee the work of the production coordinator in scheduling the work and might also be involved in casting or hiring artists and drafting contracts. They liaise with the VFX artists and technical directors (TDs) from all parts of the VFX pipeline to see that work is completed on time.
They are also important in communicating with the producer of company shooting the live-action footage and producing the film or TV programme.
Production managers tend to be employed by VFX companies or studios rather than freelancers.
What’s a production manager good at?
Communication: keep in contact with the various departments on a production in order to inform them of their schedules, relate to your colleagues and explain yourself well
Organisation: plan, prioritise, multitask and use your own initiative to manage schedules
Anticipation: listen and be one step ahead of what’s going on, enable everyone to be able to get on with their job
Leadership: be confident in giving direction and leading a team, communicate well with everyone, create a positive atmosphere within the team
Knowledge of VFX: understand all aspects of the VFX pipeline, know the processes, the creative challenges and the software
Problem-solving: anticipate any issues that might occur during the project, adapt to changing timescales and technical issues
Who does a production manager work with?
Production managers work under the VFX producer. They manage the production coordinators and sometimes the VFX runners.