Have the ability to visualize a film script in a series of panels somewhat like a comic strip. They are able to convey the essence of story line, scene structure, character emotion and create action and humor in alignment with the overall direction of the film. Ability to quick sketch, a mastery of human and animal anatomy, a filmic sense and a design-caricature ability are all necessary requirements.
Visually explore a concept, which may include Character Design and/or Environment Design for animated films, shorts and special projects. Visual Development Artists will experiment with the diverse elements of film presentation to manipulate dramatic story moments, plot thrusts, moods, character conflict and place-time motifs to capture the emotional connection to the story's theme. A rich imagination, a sense of caricature and design, strong color sense, a mastery of human and animal anatomy, architecture, the ability to work in different mediums and the versatility to conceptualize visually in a variety of techniques are required. Children's book illustration, fine art and/or illustration skills are a plus.
Responsible for creating complex organic models needed for character animation; prop elements for effects; and environmental sets and structures. A mastery of human and animal anatomy, perspective, weight, volume, proportion and/or architecture, industrial design or automotive design are required. Previous experience with traditional sculpting is a plus.
Responsible for the staging and set up of each shot. Layout Artists should demonstrate a strong sense of place and environment and be well-versed in principles of cinematography. Attention to perspective and composition is critical in developing a variety of environments for characters to live in.
Responsible for constructing 3D character rigs, animation interfaces and establishing muscle, skin and clothing behaviors (i.e. range from broad squash and stretch to realistic physical simulations). Traditional drawing, design and sculpture abilities are applicable, as is knowledge of anatomy, kinematics and physical behaviors.
Responsible for bringing characters to life. To be a successful candidate, Character Animators may have a background in any of the following animation disciplines: traditional, cg, stop motion or claymation. Prior training should cover anatomy, perspective and composition, including solving problems in weight, balance, movement, space, construction and proportion. Animators must be able to demonstrate their understanding of animation principles such as timing, clear staging, squash and stretch, anticipation and follow-through, and secondary action.
Create the final environment for our characters to live in. A strong sense of design and compositing, color and proportion is essential in developing 2D and 3D backgrounds.
Work with other Look Development staff to achieve the look of complex 3D elements (i.e. characters, props and environments) in the show. This could include painting texture maps (e.g. color maps, specular maps, displacement maps, etc.), working with TDs to enhance the look and creating lighting setups. Look Development Painters typically have previous production experience and have demonstrated exceptional skills/abilities in 3D artwork.
Work as part of a Look Development team that defines all the technical aspects needed to create the look of a 3D element. This may include the development and writing of custom shaders, applying texture maps, or developing other custom software to accomplish the art-direction goals of an element or environment.
Work with the Model Department, Look Development, Animation and Software teams to create art-directable dynamic simulations for character hair/fur and clothing in 3D feature animation production. Production experience with procedurally generated objects and dynamic simulations, a thorough understanding of 3D computer programs and exceptional artistic skills/abilities in 3D/traditional artwork are required.
Add natural, and sometimes supernatural phenomena, to an animated film. An understanding of physical dynamics and natural forces is key, as it aids in producing a believable world and setting the mood for the story. An Effects Animator must take direction easily, work well with an artistic team and deliver scenes in a timely fashion.
Responsible for assembling the elements of a shot into a final composite and composing the digital lighting of the scene. Shot Finalers must have an understanding of color, contrast, and lighting design, along with a solid familiarity with 3D lighting in a production environment. Shot Finalers also possess a strong visual sense and the ability to distinguish subtle differences that affect the matching of elements created in multiple mediums.
Found in each artistic department on a production, they support digital artists and/or TDs. They must possess a working knowledge of Linux, the ability to work in a collaborative environment, as well as a basic understanding of modeling, lighting, compositing and animation. Taking direction from TDs and/or artistic supervisors, they may be expected to support and execute various production tasks including muscle and skin dynamics simulations, particle simulations, cloth simulations, Shell or MEL scripting, shader writing/support and rendering pipeline support.
Responsible for analyzing the procedures and problems of animated film production, evaluating the effectiveness of existing systems and making recommendations to improve output, efficiency and workflow. Areas of specialty for a Graphics Software Engineer may include rigging and animation, dynamics, paint, effects, look development and/or rendering tools. They partner with production personnel to determine user needs and review system capabilities to decide what changes can be made within the existing systems and when new systems must be added. They will often work with developers and/or end-users on multiple films. Design responsibilities include the creation of new C, C++, MEL, Perl or Python code or the modification of existing code, whichever meets productions needs in the timeliest manner. Regression testing and analyzing of software, code check-in/integration and distribution are also part of the software engineer's implementation responsibilities.
Responsible for the development and support of productivity tools for the production of animated films. They are responsible for analyzing production software procedures and problems, evaluating the effectiveness of existing systems and making recommendations to improve output, efficiency and workflow. Their areas of specialty include databases, schedule and shot tracking tools, pipeline asset management tools and quality assurance testing.
Responsible for the configuration, tuning and troubleshooting of various systems in our production infrastructure. The Systems Administrators have a particular focus on UNIX/Linux, but also support Windows and Macintosh systems. They perform hardware and software maintenance on workstations and servers as well as data protection. Systems Administrators interact with a variety of production, systems and software teams.
Provide software, hardware, systems support and customer service to our crew. The TSA team requires excellent customer service skills; technical problem solving abilities; an understanding of animation or visual effects production; strong skills in commercial graphics packages such as Maya, Shake or Photoshop; and developed Linux, Macintosh and Windows skills for navigating a heterogeneous computing environment.
Responsible for understanding production's render pipeline and supporting proprietary production techniques. They monitor and troubleshoot the render queuing system and rendering workload. Tasks include troubleshooting and correcting failed tasks, image quality control, technical advice/support and interfacing with artists, systems administrators and production management to ensure production deadlines are met.