VFX Editor

There are two different types of VFX Editor which is employed by the studio or employed by the film or TV production company.

Client-side VFX editor:
Client-side VFX editors work on set, while the live-action footage is being shot. They check everything is being captured in a way that makes it possible for the VFX to be created and integrated effectively. They keep track of the director’s notes and make sure that the VFX editor employed by the VFX studio knows about any changes that will affect the way the VFX need to be created. The client-side VFX editor bring drafts of the shots together so that the director can see how they will look with the VFX incorporated and make sure the footage all comes together to create a cut of the film or TV programme that’s in keeping with what was signed off in previsualisation.

In-house VFX editor:
In-house VFX editors work closely with client-side VFX editors, but are responsible for ensuring that the VFX artists at the VFX studio have everything that they need to create their work.

Both types of VFX editor all need to good at?

• Attention to detail: be meticulous with a strong eye for detail, making sure all shots are of the highest possible quality
• Editing: have a good understanding of story-telling and be adept at using editing software
• Communication: have excellent communication skills, understand exactly what the desired effect is in each shot and give effective direction to achieve that, keep clients informed on progress
• Organisation: be on top of the work that needs to be done and its progress with a good understanding of the pipeline, keep track of any changes in the project and keep all staff informed
• Working to deadlines: have very good time-management skills, make sure the project stays on track for its deadline and cope well with working under pressure towards tight post-production deadlines at the end of the project

VFX editor is a senior role so you will need to gain experience of both working in VFX production pipelines and doing editing work. 

Data input/output (I/O) technician

Data input/output (I/O) technicians are responsible for organising, transferring and storing the computer files and data for a VFX production company.

They manage the computer storage and retrieval systems, including company hard drives. VFX companies process large amounts of data because they deal with high-quality video files and digital 3D animation files. They know different digital camera formats, for instance, Alexa, Cannon, Phantom and Red. Data I/O technicians troubleshoot any issues that come up to do with file storage. Data I/O technicians ensure that all of transferring and storing of data is done securely and that files are encrypted wherever necessary. They follow company protocols to comply with safety standards. They make logs of all of the files that they receive and perform quality control checks on these files to see if there are problems or if the files are corrupted. They use file transfer programs in order to perform their role.

What’s a data I/O technician good at?

• Programming and coding skills: have knowledge of programming in C++ and Python with a high level of technical ability
• Computing technical skill: be able to work in Microsoft Windows, macOS (Apple), Linux or Unix operating systems, understand how the data sharing application FileMaker Pro works and be able to use it, understand file transfer protocols (FTPs)
• Understand the VFX pipeline: know the process of how VFX get created
• Communication and teamwork: communicate well with the other data I/O technicians, and VFX artists, when necessary, so that there is a cohesive and structured file storage system
• Organisation: be attentive to the detail of the files and data that you process and store, maintain a working system of file storage
• Efficiency: work quickly and accurately, organise and prioritise your tasks

Concept artist

Concept Artist Concept artists are not only work in film industry, but also can work in game industry. They create artwork to inspire the look of the visual effects (VFX) in a film or TV production.They draw the characters or creatures and environments as well as vehicles, props and buildings.  They begin with a brief, which might be a script, or the original concept of a film as told by its filmmaker. They carry out research and create mood boards, which they use as a starting point to create lots of versions of their designs. The artwork that concept artists create helps other members of a production, or in the VFX pipeline, to have a shared vision.

What’s a concept artist good at?

• Illustration: have a great ability to create inspirational art, understand image form, colour, composition and lighting
• Interpretation: understand the key aspects of the source material, translate into artwork
• Design appreciation: have a general cultural interest in design, architecture and film
• Software knowledge: be able to use computer illustration software and 3D VFX software to create concept art
• Flexibility: respond well to notes from senior creative production members and adapt and update artwork accordingly

Concept artists often enter the role having first worked as illustrators outside of the industry, or they might have worked in an entry level role in a film’s art department, or in a VFX production company. Some VFX companies have a junior concept artist role, but you will be expected to have learned the skills to effectively use the relevant software, as well as having the desired artistic talent, before they will take you on in this position.

Previs Artist (Previsualisation artist)

Previsualisation (previs) artists help to plan out what a film is going to look like. Previs is the process of visualising a scene before creating it.They generally takes the form of a 3D animatics, namely a rough version of a scene or scenes. Previs artists usually start with a 2D storyboard from a concept artist. They create draft versions of the different moving image sequences and they put it all together using their compositing and editing skills.

The previs process is used to plan shots, work out the scale and timing and to show roughly where the characters are going to move. It’s used to map out how the visual effects (VFX) will fit into an otherwise live-action scene. Creating previs can save films and television series and shows valuable time and money on set or in post-production.

What’s a previs artist good at?

• Cinematography: have a good artistic eye for composition, particularly for camera shots and movements
• Creativity: be able to tell a story in the previs work that you produce, come up with original ideas for what the shots should look like and spark the director’s imagination
• 3D software: have a high level of skill using 3D animation and VFX software and a strong understanding of form and volume (the way that objects exist and move in 3D), coding skills are also useful
• Basic editing skills: have basic video editing skills as well as some knowledge of rendering and compositing, which you can use to create animatics
• Organisation: have excellent organisational skills, stick to production schedules and budgets, be on top of your data management
• Communication: work well within a team, understand and help to achieve the director’s vision

To become a previs artist you need to understand the VFX production pipeline and have a high level of skill in using 3D software. You might progress to this role by first becoming an assistant technical director. Or you might go the route of becoming an environment artist and later transferring your skills to previs. Previs artists often obtain a degree in animation, computer science, film production, or a related discipline. The most important thing to do is to develop a strong portfolio which demonstrates a talent for cinematography and visual storytelling.