Responsible for sequence painting from supplied source frames, removing markers from the footage employing various techniques (depending on the project), cleaning up the footage and chroma key to help with key pulling as well as wire and rig removal on static or basic camera movement. 

Work with colour correction and grading to match plate, removes objects when camera movement is minimal, as well as corrects facial imperfections and fixes prosthetics. Prep artist also cleans up and prepares the plate for further work, manages the grain, organizes script and works with rendering. 

Working closely with Compositors, paint and roto artists help integrate CG and live action by preparing the footage for further work. They are responsible for creating mattes as well as removing various elements such as wires, rigs and tracking markers, they also create roto mattes for further development as well as de-grain and later re-grain the footage. Some other responsibilities of this role include working with and ensuring the correctness and steadiness of 2D and 3D tracking and reconstructing plates.  

Paint and Roto artists also complete basic comp as well as work with basic keying, grading, re-timing and screen insertion. 

The job focuses on creating professional quality models, stylised or photorealistic, depending on a project, as well as meeting the deadlines and working as a part of team, ensuring the models are functional and up to brief.  

Requires modelling skills as well as experience with posing and working with expressions. The department is also responsible for right topology of the models, as well as clean output to make sure the next stages have no issues with further work on the model.  

Works under a CG Supervisor, alongside rigging team and asset supervisor to ensure characters are prepared correctly for rigging. 

Reporting to the Head of Animation, animators work in a team to supply quality animation for variety of projects. Works alongside the Animation Supervisor, Animation Lead other animators, and Production stuff, providing animated rendered sequences required by project. Expected to work in various styles and with various subject matter (creatures, realistic humans, motion capture, vehicles, etc.) depending on projects. Animators are expected to know commercial software’s as well as to investigate and keep up to date with newly released technology. 

The job requires constant communication with Production and Leads as well as efficient workflow within a team as well as individually and appropriate response to notes, comments and suggestions.  

This role is assigned the responsibility of painting 3D assets in terms of creating the illusion of reality with a photoreal texture, it involves work on environments, characters, creatures, vehicles and other props to creative address the brief. 

It involves creating textures, ensures the consistency of UV mapping, quality control of the existing texture maps, presenting models for progress review and suggesting changes or adjustments when required. 

Reports to Leads, Supervisors and clients themselves as well as keeps a line of communication with other departments to ensure the created texture works right and meets the relevant requirements 

Reporting to the Head of Environments, Environment Artist works within a team providing quality assets for variety of projects.  

Responsible for photorealistic set extensions as well as digital environments and props (CG). Sometimes required to do basic work with lighting, texture, creation, modelling and rendering or partial or complete environments. 

Can be required to assist with other work, such as shaders, lighting and rendering assets. 

Reporting to the Head of Layout, layout artist is required to recreate camera movements to allow 3D integration into the live action later down the line, working alongside animation department they ensure that correct camera animation. Responsible for sets and camera recreation (in the correct scale) in 3D to match the live action reference images and data. They also adjust camera takes (edit, merge, extend etc.) when required and ensure the right match and consistency between shots as well as work with match move to match the live action footage. Can also be required to work with some track and distortion correction as well as trouble shoot technical difficulties and compose the assets within the intended environment, which contains basic posing of the characters according to the storyboard.  

Reporting to the Match move Supervisor match move artist is required to reproduce live action shot within 3D software (geometry, camera movement, object movement etc.). They provide quality tracks, camera motion and distortion, as well as recreate its parameters in live action plates, furthermore they establish the movement of the virtual camera to match the live action for both single shots and environments (more than one cameras). The match move work is finalized with a layout and setup in 3D software (Maya). 

Lighting Artists work on the lighting and subsequent rendering of the required elements for quality VFX finish. They are responsible for assembling the CG scenes with correct assets from multiple departments, lighting and rendering shots (include setting up render engines to optimise farm usage). They work closely with shot Compositors to ensure right fit of the CG lighting with the one from live action as well as replicating the light and colour qualities of real-world again, to match the live action. 

Report to Visual Effects/CG Supervisor as well as work closely with CG Supervisors in case of troubleshooting and creating the required final look of the project. 

Compositors are expected to have extensive technical and creative knowledge of compositing, most often in Nuke, as well as have proven to work efficiently and successfully under pressure and in a fast-paced environment. They are required to problem solve as well as procreativity contribute to the team and project. 

They are required to possess working knowledge of colour principles and efficiently balance creative and technical aspects of the project as well as work closely with Supervisors and Producers. 

Rigging Technical Directors are responsible for designing, creating and maintaining highly accurate and efficient rigs for high end visual effects films. Riggers work closely with Modelers and Animators to develop and refine rigs that meet the specific requirements of a VFX pipeline. They are required to prototype, create and refine skeleton, cloth and mechanical rigs as well as troubleshoot them if needed and further refine according to a creative feedback. 

 Riggers are also sometimes required to provide technical assistance to team members within a CG Department. 

Creature TD’s working under the guidance of Rigging and Creature CG Supervisors, are responsible for skin, muscle, cloth and hair preparation on creature models. Their primary job is to tackle the difficulties of working with complex deformations that are associated with creatures, by developing tools and techniques that make the workflow more efficient. They are tasked with the design and improvement of creature simulation pipelines in terms of solving challenges associated with the area. 

They also work closely with asset, rigging and animation teams to ensure the development of efficient PB simulation elements. 

Charged with creating art describing the concepts the teams further are supposed to work with. Those artworks inspire the final look of the project, by setting client approved guidelines to the Creative teams. 

Beginning with a brief they design all the main aspects of the project, based on previous research done around the main aspects. The Concept Art Lead supports the Art Director and Art Leads (primarily World and Character departments), as well as provides direction to Concept Artists. A Lead would also support the development of junior artists. 

A Concept artist is required to communicate clearly mainly through visuals and work closely with Production team to ensure fulfilling clients requirements. 

Previs department creates previsualisation of complicated shots that need perfect planning as they would be too expensive to repeat, they define composition, staging, lighting and camera language (movement, lens, framing, angles). They are also required to produce techvis (technical diagrams or animated schematics) base on previs. 

Strong knowledge and understanding of cinematic language and technical terminology, alongside with character and camera animation are required. Ability to work with motion and/or performance capture data, understanding methodology and the ability to apply it in practice as well as ability to translate virtual cameras and animation to a real-life situation and problem solving (troubleshooting) is also expected.