Visual Effects, VFX for short, is a big ocean and covers numerous jobs. Last time, in part 1, I explored several roles including previs artists, data wranglers, research & development, math moving, compositing, roto/paint artists, and technical directors. Each plays a smaller part towards a larger goal. I’m here to help make sense of all those roles to give you a better informed decision if you plan to heading into VFX, or at the very least, offer some clarification to some of those more obscure sounding roles. So with that, let’s start with the fur groomer!
*Take Note* Each role header is a link that leads to a related creative reel or article going more in depth on the material. Enjoy!
This title kind of makes me giggle whenever I read it, but actually this name is quite apt given their role. A grooming VFX artist is the person who specifically focuses on fur, hair, and feathers. Designing them in 3D, controlling how they move throughout the elements, and all other physical parameters surrounding those points. Most grooming artists are well versed in Maya and similar 3D modeling and shading programs.
This artist, as you might have guessed, is the person who creates the 3D models of people, creatures, etc. using various 3D modeling software such as Maya, Cinema 4D, or 3DS Max.
Similar to the Modeler (and most modelers market themselves also as environment artists), this artist develops the digital 3D landscapes found in some CG films, TV shows, and video games.
As the title sounds, this artist creates the textures that go on the 3D models and environments. This can be anything from human skin, scales, cobblestone roads, or a brick and mortar castle exterior.
A matte painter creates digital paintings of a landscape or set and is then composited into the background, giving the illusion of an environment that did not exist at the time of filming. Sometimes, the scene could have been shot in a green screen room, and an environment artist could develop the 3D foreground. Then a matte painter would create the 2D painting composited in the background. Sometimes, instead of flying to Paris for that one shot, a matte painter will develop a French landscape that is then composited into the background of a live action shot giving the illusion the actors are sitting at a café in Paris with the Eiffel Tower perfectly positioned in the background.
The rigger then takes the 3D model created by the modeler and creates the skeleton – the physical structure, joints, flexibility, range of motion, etc. – that defines how the model moves and interacts with its world.
The animator then takes the rigged model and breathes life into the object by moving it around as required for the specific scene. This can be anything from walking, talking, blinking, breathing, pointing, or any number of specific movements and actions. It is not uncommon to have a team of several animators working on a single model to create the most realistic motion.
Aside from an animator, motion capture is another process to breath life into a rigged model. This process is a bit more physical as a performer wears a motion capture suit that is covered in marker points that correspond with similar marker points on the models rig. Therefore, when a motion capture artist moves their arm in real time, the model moves its arm. This method has been gaining popularity over the last decade with memorable performances from actors like Andy Serkis playing the role of Golem in Lord of the Rings.
Visual Effects Supervisors work directly with the director on and off the set to ensure planning and execution of the final image is achieved. The coordinator works directly under the supervisor and makes sure the artists work smoothly and coherently with the same vision the director and supervisor are working towards. For instance, the supervisor works with the director to create the physical space with all the correct markers and camera movements to have a dragon destroy a village. The supervisor then has the coordinator coordinate the team of artists to execute that vision (environment artist creates the town, matte painter designs background, modeler designs dragon, texture artist designs the scales, rigger builds the dragons skeleton, etc. etc. …).
I hope this post has helped educate you on some of the most crucial roles in the big machine that is visual effects. Each role is a small cog in a much larger working device – each equally important and necessary to reach the final goal. If you have any questions or comments about any of the roles I mentioned, or if I’ve forgotten a role you wanted to learn more about, then leave a comment below!