Rigging TD (rigging technical director)

A Rigging TD (Technical Director) is responsible for creating digital skeletons for 3D computer-generated models. They work to program these digital skeletons so that they move in a realistic way, and this is then used by Animators as a basis for their character’s movements. 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).

What’s a rigging TD good at?

• Experience of programming and coding
• Knowledge of Python and C++
• Organised and able to work to deadlines
• Ability to work under pressure
• Good communication skills
• Ability to collaborate with other individuals and other departments
• Good problem-solving skills

To become a Rigging TD, you need to have a few years’ worth of experience working in VFX, as it is a fairly senior role. A good starting point is to gain experience in a relevant position, such as a Modelling Artist or a Texturing Artist, or even as a Runner in a VFX studio. Simply gaining some experience working in a similar working environment can provide you with some of the key skills required.

As the role of a Rigging TD uses a fair amount of technology, knowledge of scripting languages such as Python and C++, as well as software such as Maya is essential.

Creature TD (creature technical director)

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. 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.

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

The role of creature TD involves a mix of art and technological competencies. You need to develop both technical skill and an appreciation for existing VFX. Knowledge of scripting languages such as Python and C++ and the software Maya and Houdini is essential.

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 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.

To become a good VFX Producer, you need to be 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.

VFX producer is a senior position so you’ll need a lot of experience in VFX first. Some get to the role of VFX producer by working first as a runner in VFX and then as a production coordinator and then a production manager. Others come in through a VFX art route; you can start off as a junior VFX artist and then gain experience to become a compositor or technical director (TD) and then move into production management.

You need to have excellent leadership and organisation skills. A degree in VFX or a related course is a good idea for this role. VFX producers have excellent project management skills.

Production Manager

The existence of this post plays a supervisory role, 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.

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

A good route to become a production manager is to start off as a VFX runner, then gain enough experience to become a production coordinator and then a production manager. Another point of entry is working as a production runner in an animation company, and them following a similar route of progression. See the VFX runner job profile for details about this role. Or you could get onto ScreenSkills’ Trainee Finder scheme and work in the production department of a live-action film. You can then transfer your skills to the production department of a VFX project at a later point.