Job Roles

Role (Job)
Descriptions
Pack.
RCAA5010 / Collaboration 2017/18 10

CG Modeller
The lowdown
Builds three-dimensional computer models of everything that is needed

for a CGI project.
Is this role right for me?

To do this role, you will need to:
be able to think in 3D
be able to follow design reference accurately and work in a range of styles
be able to create moderate to complex and organic models
be able to model characters, props and environments, working to a good
level of finish, if required
have good drawing skills, including use of light and shadow, along with a
good understanding of anatomy
have a strong sense of scale, form, weight and volume
have a good understanding of modelling with either Polygons or NURBS
(Non-uniform rational basis spline)
be able to do UV mapping
have good problem-solving skills
have good communication skills
have good team-working skills
be able to take direction and be willing to address constructive feedback
be able to work with a minimum of supervision
be able to function as team leader, if required
be able to deliver on schedule, working calmly and efficiently under
pressure
show respect for the procedures and requirements of a particular studio,
production or pipeline
have knowledge of the requirements of the relevant health and safety
legislation and procedures
What does a CG Modeller do?

Modellers build three-dimensional computer models of everything that is needed
for a CGI project.
They work to established designs and need to produce an accurate translation of

the design reference, staying on model (in style). They may do their own

research or scan in a maquette or sculpture as reference.
The models they produce need to meet the creative requirements of the
Production Designer and/or Art Director and/or client, but it is just as important
that they should satisfy the technical needs of the CG department and be
efficient, reliable, to scale and to be easy to rig and animate.
Further on in the process, Riggers will rig the models to enable them to be
animated and Texture Artists will apply texture which will be further enhanced at
the lighting stage when tone and depth are added.
It is important that Modellers understand what will be required of their models in

the later stages of production because this can affect the work they produce.
Information about this will be provided by a Director, Supervisor or Animator, or
can be found in the storyboard or layouts.
On smaller productions, Modellers may also rig, build textures and create lighting.
On larger projects, they may be required to liaise with Riggers, Texture Artists
and Lighters.
Modellers are also required to layout UVs accurately and efficiently ready for the
texture artist and rigger to apply further processes.

Director (Animation)
The lowdown
Provides the vision and creative leadership for an animation project.

Determines and guides the narrative content and visual style of a
production.
Has creative responsibility for the entire production team.

be creative, imaginative and have artistic flair

possess storytelling skills and film literacy
have project management and leadership skills to direct and manage the
story, design, layout, animation and technical teams
have excellent communication and presentation skills, including tact and
diplomacy
be able to meet deadlines and stay within budget
be able to help the team balance their creative desires with the
requirements of the production
What does a Director do?

Directors provide the vision and creative leadership for an animation project.
They determine and guide the narrative content and visual style of a production,
and are sometimes the creator of the original designs. In the early stages of a
production, they work closely with the Producer(s), Scriptwriter(s) and Production
Designer.
Directors are responsible for the creative planning and design of the production
and for the quality of the final delivered product. They must be aware of any
restrictions that might affect production and, in conjunction with the Producer,
can be involved in both schedule and budget management.
They have creative responsibility for the entire production team and may be
particularly involved with creative choices in relation to the design, storyboard,
layout, animation and post production departments. They may be involved in
crew selection and technical choices, although they do not necessarily have a
technical background themselves.

It is likely that the Director will be active in all aspects of the soundtrack, including
casting and directing the actors and guiding the musical direction.
On smaller productions they may produce the storyboard and either animate
themselves, or direct other Animators

Production Designer
The lowdown
Creates the look of an animation project, develops the characters,

environments, props, colour schemes and any other design elements.
On smaller productions can undertake the role of Art Director also.

have imagination, artistic flair and talent to produce the best design
solutions for a project
be able to understand what is going to be achievable further down the line
by the animation and post production teams
be able to work to a schedule and budget, and prioritise their own work
and that of others
have good people management and leadership skills
have good communication and presentation skills
be able to take direction, give direction and work as part of a team
be able to work without supervision
be able to receive and address constructive feedback
be able to interview and assess work of potential art department member
be able to work long hours and, if required, work calmly under pressure
What does a Production Designer (Animation) do?

Production Designers create the 'look' of an animation project, visually
interpreting the script, developing characters and environments that will both
illustrate the narrative and enable Directors to realise their vision.
In the early stages of a project, they are likely to work in close collaboration with
the Director and, sometimes, in conjunction with the Producer and/or client.
They start with the script/treatment, and any other form of brief, when producing
the original designs. For most types of animation, they develop designs in a 2D
format initially and present then as drawings or paintings regardless of the final
technique, even for projects that are destined for CGI. Either alone or with a team,

they will establish the environments, characters, props, colour schemes and any
other design elements required for the production.
While establishing the stylistic theme, they also consider the technical resources
available on the production and any budgetary and scheduling restrictions.
On some smaller productions, the Production Designer's role may be combined

with that of Art Director which means they have an on-going involvement with the
project. They may also function as the character designer and/or background
designer.

Animator
The lowdown
Using specialist software to produce three-dimensional images which, in
sequence, create the illusion of movement

have a feel for movement and timing

possess creative and artistic qualities, along with the appropriate technical
skills
have observational skills and acting talent, for character work
have good organisational skills
pay close attention to detail
be able to take direction
What does an Animator (3D computer animation) do?

Computer Animators produce images which, when recorded in sequence and
projected, create the illusion of movement.
In character animation, they may be cast, like actors, for their special talents -
comedy, dialogue, song and dance, action, men, women, children, animals,
simplicity, etc. On other projects, they may be selected for their particular
technical skills and ability.
In principle, the role of Animator is the same for all techniques of animation. The
differences are in the tools used, and in some of the skills required.
Depending on the project, Computer Animators follow a brief from a Director,

Animation Director or Lead Animator. They refer to established designs, layouts,
models and existing characteristics when creating the movement which will
appear on screen.

Producer (Animation)
The Lowdown
Managing the animation team during a production

Sourcing and managing the budget
Ensuring the creative process is going smoothly and to schedule
For this role, you will need to:
Have plenty of experience of working in the animation industry

Have a good business sense
Have a great understanding of finance
Make sure creativity isnt stifled regardless of budget and deadline
Be able to keep yourself and your team motivated
Be a good negotiator
Solve problems in a creative and logical manner
Have an in-depth understanding of the animation process
Prepare and control the production budget
Have excellent communication skills
Have an in-depth knowledge of codes of practice, and ensure everything
complies with regulation
What does a Producer do?

A Producer has overall control and responsibility over an animation project's
production. They are typically in charge of managing the artists and directors,
making sure everyone is working to the best of their abilities while staying within
time and budget constraints.
Producers will also be in charge of sourcing all the assets needed for an
animation project to be completed. Whether this is software or art materials, a
Producer will need to know whats needed, where to get it from and how much it
will cost.
A Producer may also be required to source the budget as well. This would mean
theyd need a key understanding of how much the production will cost, and have
great negotiating skills when talking to investors and broadcasters.
While they are the highest authority on a project, they would be directly
underneath the executive producers at a studio, and would be their main point of

contact. This means if the project is running over budget or is coming in late, the
Producer will be the person in charge of explaining the situation and the causes
to the executive producers.
However, despite their responsibilities to their bosses, a Producers real skill is

being able to balance the upstairs demands and restraints with the ability to give
the animation team artistic freedom and room for creativity. Being able to balance
time, budget and a room full of buzzing creatives is a tough job, making Producer
a key role in animation.

Layout Artist (3D Computer Animation)
The lowdown
Breaking down 2D storyboards into 3D shots

Staging every shot and plotting the action that will take place within each
scene
Ensuring that everything that is going to be animated is set up properly

be highly film literate and able to meet the filmic needs of a production
have proven artistic skills including a strong sense of composition and
perspective, good use of light, shadow and colour
be able to create atmosphere
have a good understanding of editing
have strong IT skills
understand the principles of cinematography including use of lenses,
positioning and moving the camera, etc.
be able to apply motion capture to computer-generated models
pressure
What does a Layout Artist (3D computer animation) do?
In most cases, Layout Artists break down 2D storyboards into 3D shots. They
use production designs and models as reference to build locations and major
props, to block in the position of characters, to select camera angles and to plot
camera moves. They are responsible for staging every shot and plotting the
action that will take place within each scene.

They ensure that everything that is going to be animated is set up properly,
including not only characters, but also any props or parts of the background that
need to move (e.g. an opening door).
Layout Artists may also be responsible for establishing the lengths of shots within
a scene. It is likely that the Director and Editor will view and make comments on
a low resolution first pass of a layout reel so Layout Artists can make any
changes before the scene is passed on to the animators.
There is a later stage of Final Layout, after the animation is complete, when set
dressing is added, background models are built in high resolution and final
adjustments are made to camera moves and shot lengths.
The role of Layout Artist exists within some areas of CGI and not in others. In
animated features, the layout department plays an important and creative role
which can be related to that of the Cinematographer's team in live action
filmmaking. A mid-level Layout Artist could be equivalent to a Camera Operator.
In television, where roles may not be as specialised, the size and structure of the
production dictates whether there will be dedicated Layout Artists.
They will generally work most closely with the Director and Storyboard Artists but
may also work with other departments.
In post production facility houses, if the job exists at all, Layout Artists may be
called Layout TDs or Set Up TDs (Technical Directors) and perform a more
technical role. It is more likely that CG Animators will pick up whatever
information they need about camera moves and proposed action from previs
(previsualisation) than from layouts.
Depending on the size of the project, final layout can become the responsibility of
Lighters/Compositors.

Lighting Technical Director
The lowdown
Ensuring there is consistency in lighting, colour balance and mood

between the various elements of a shot or scene
Making sure the computer-generated imagery looks photorealistic to
match the live action
Adding the lighting that creates atmosphere, and adds realism, tone and
depth to a scene

have a strong sense of light and shadow demonstrated by artwork,

photography, theatre, film or CG work
have knowledge of colour theory, including through art history knowledge
be able to follow design reference and have sympathy with wide range of
styles
be able to light characters and environments, interior and exterior,
different times of day, etc.
have an understanding of composition and the ability to enhance mood by
lighting
have a good working knowledge of computer animation packages,
particularly maya
have a good working knowledge of 2D paint software and various
industry-standard rendering programmes, such as Renderman and Mental
Ray
have good working knowledge of palettes and CLUTs (Colour Look Up
Tables)
have a good understanding of maths and physics
understand the principles of cinematography including depth of field,
density, use of filters

pressure
What does a Lighting Technical Director or Lighter do?

Lighting TDs/Lighters make sure there is consistency in lighting, colour balance
and mood between the various elements of a shot or scene. When appropriate,
they ensure the computer-generated imagery looks photorealistic to match the
live action plates.
Lighting TDs/Lighters add the lighting that creates atmosphere, increasing

realism, tone and depth in a scene and clarifying location, weather and time of
day. They balance individual elements to enable the compositors to produce a
convincing image. They refer to the production designs and apply that visual
style as faithfully as possible, taking care to maintain continuity.
They match technical skill with aesthetic judgement to create images that not
only look good but are easy to render (i.e. output; translating computer data into
images).
On some projects, they may be involved in the research and development of

different effects for the Art Director or Lighting Supervisor. In a large company or
on a larger project, they are often part of a team, but they need to be able to work
with a minimum of supervision, understand the tools available and know how to
use them to create the desired effects. On smaller productions, the role of
Lighting TD/Lighter may be combined with that of Modeller or Texture Artist.
Lighting TDs/Lighters need to work closely with the rendering and compositing
departments to understand what is required at the next stage and ensure their
material is easy to use and delivered on time.
On smaller projects, lighting is a fundamental skill required by generalists who

cover more than one role. On larger productions, there is likely to be a team of
dedicated Lighting TDs/Lighters.
In many companies in the UK, particularly facility houses, Lighters are called
Lighting TDs (Technical Directors) and can work their way up through the lighting
department, starting from Junior TD. In feature animation, they are known as
Lighters or Lighting Artists.

Storyboard Artist (Animation)
The lowdown
Illustrating the narrative, planning shots, and drawing panels to

demonstrate action and maintain continuity between scenes of an
animation

be able to tell a good story

be highly film literate, with a good understanding of layout, composition,
sequential drawing and editing
have excellent drawing skills and the ability to adapt to a wide range of
styles
be able to work either independently or as part of a team
be able to take direction, and be prepared to make changes to your work
in response to constructive feedback
be able to follow established designs and produce consistent work, drawn
on model
have good communication and presentation skills
have good computer literacy
be familiar with relevant storyboard, graphics and editing software
be conscious of any relevant technical or budgetary restrictions
be able to work calmly and efficiently to tight deadlines
What does a Storyboard Artist (Animation) do?

Storyboard Artists illustrate the narrative, plan shots, and draw panels to
demonstrate action and maintain continuity between scenes. They work closely
with the Director and, possibly, with the scriptwriter, Producer, client or
Storyboard Supervisor, to visualise and tell the story.
They may be required to prepare the storyboards for production, including

indications of dialogue, character performance and camera moves, and could be
asked to produce their work either as rough or cleaned-up drawings.
Clean panels are less likely to be required for a computer-generated film, where
tight drawings of a character may not be relevant. However, on a project where
all the animation is being produced overseas, it may be necessary to present the

characters very accurately.
They may need to revise their work to reflect a changing script or comments from
the Director, Producer or client.

Compositor
The lowdown
Constructing the final image by combining layers of previously-created

material, including rendered computer animation, special effects, graphics,
2D animation, live action and static background plates


have the talent to make artistic judgements
have the technical skills to make practical decisions
be able to analyse and solve problems
possess extensive knowledge of current compositing software such as
after effects
have knowledge of various other programmes including Photoshop
understand the 3D animation process, particularly lighting
have a good eye for composition, colour, light and shadow
have good knowledge of the keying process
have a methodical and thorough approach to work
pay close attention to detail
be able to work as part of a team
pressure, if required
have respect for the procedures and requirements of a particular studio,
What does a Compositor do?

Compositors are responsible for constructing the final image by combining layers
of previously-created material. They work at the end of the production process.
They receive material from various sources including rendered computer
animation, special effects, graphics, 2D animation, live action and static
background plates.

Although it is primarily a 2D role within the 3D world of CGI and VFX (Visual
Effects), Compositors need a thorough understanding of the computer-generated
animation process combined with relevant artistic skills.
They creatively combine all the elements into the final image, ensuring that the
established style of the project is respected and continuity is maintained. To
achieve this they enhance the lighting, match blacks and other colour levels, add
grain where required, add motion blur where required, and create convincing
shadows. They make sure levels combine together seamlessly, keying,
rotoscoping and creating mattes where necessary.
They work closely with Lighters and need to have technical knowledge of how 3D
lighting works in order to understand the 'multi passes' that the Lighters create.
They also work closely with Render Wranglers to progress work through the
department.

Render Wrangler
The lowdown
Supervising and controlling the rendering process (converting computer

data and outputting it as a sequence of viewable images) and managing
the render farm

have a high degree of computer literacy

have knowledge of at least one of the relevant, industry-standard 3D
packages (eg. Maya or 3D Studio Max)
be able to learn new software quickly, and learn on the job, if necessary
have strong analysis and problem-solving skills
be able to manage and prioritise your own time and workload
be able to record information accurately and produce reports
have experience in scripting, ideally
be able to take direction and work with minimal supervision
pressure
What does a Render Wrangler do?

Render Wranglers supervise the rendering process. In computer-generated
imagery (CGI), rendering is the process of converting computer data and
outputting it as a sequence of viewable images. Render Wranglers monitor and
control the rendering process and manage the render farm. They can work on a
project from previs (previsualisation) at the start of production until the final
material is delivered for compositing.
Rendering can be required in the planning stages and throughout production,

including development and tests for models, animation, effects and lighting.
Although Animators usually check their own work in progress, animation may
need to be rendered to view subtle movements such as facial expressions.

Render Wranglers deliver the final rendered computer-generated (CG) elements
to Compositors.
Artists from various departments submit completed data for rendering. This is
placed in a queue for Render Wranglers to prioritise the work and allocate
machines. This can be anything from a few computers to a major render farm of,
perhaps, a thousand machines. They continuously check the computers to
ensure there are no technical problems which might interfere with a successful
output.
Render Wranglers may receive directions from Producers, Supervisors, Co-

ordinators or Resource Managers and have contact with artists in various CG
departments, particularly to sort out problems that they are unable to resolve
themselves. When they are new to the role, Render Wranglers can expect to
shadow more senior colleagues for a limited period before starting on day shifts
with supervision. With more experience, they can also expect to be assigned to
night shifts. Rendering Departments work on rota systems; there are usually
three shifts over 24 hours so the job can involve anti-social hours.
This role offers a good opportunity to gain professional experience and acquire a
broad based knowledge of CGI procedures within a production environment.

Rigger
The Lowdown
Creating the skeleton for a 3D model

Responsible for making sure characters and objects can move realistically

Be knowledgeable in anatomy, muscle and bone structure

Have solid animation experience
Be able to communicate with animators and artists, and create the best
work as a team
Have an eye for detail
Be a creative problem solver
Understand the basics of animation as a whole, not just rigging
Comfortable in researching various anatomies, or even creating whole
new systems
Be fluent in a 3D animation suite
Experienced in writing Python, and understand how workflows can be
optimised with scripts or automation
What does a VFX Rigger do?

A VFX Rigger is responsible for creating the skeleton of a 3D model, ensuring
that all the joints and muscles work correctly and accurately so the animators can
start to position the models creatively.
This process is done by using a 3D Animation software like Maya or 3D Studio

Max. You create the skeleton by manipulating a model and placing joints where
necessary, making sure everything fits and looks natural as you do so. A rigger
will have to work closely with the modeller to make sure the models design
allows for the type of movement a rigger will seek to implement.
In smaller studios, animators will be expected to model, rig and animate the
characters and objects on their own.
The job can be very trying, and it requires a very patient creative mind to make it
work. The end result however, like most creative work, is very rewarding.

Editor
The lowdown
Working closely with the Director to craft the finished film

Working in an edit suite for long hours
Running a team of assistants and trainees on big productions
Have technical aptitude

Have wide experience of the post production process
Be familiar with a variety of computer editing equipment
Understand dramatic storytelling to create rhythm, pace and tension
Be creative under pressure
Have imagination and an understanding of narrative
Have excellent communication and interpersonal skills
Have highly developed aesthetic visual awareness
Be able to lead a team
Have patience and attention to detail
Have good organisational skills
Understand the requirements of relevant health and safety laws and
procedures
What does a Film Editor do?

The Editor works closely with the Director, crafting the daily rushes into a
coherent whole. To ensure that the story flows effortlessly from beginning to end,
each shot is carefully chosen and edited into a series of scenes, which are in turn
assembled to create the finished film.
Editors work long, unsociable hours, often under pressure, in an edit suite. They
are employed on a freelance basis by the Producer (sometimes with the approval
of the film's financiers), based on their reputation and experience. Editors often
work on television drama, as well as on feature films.
The Editor works closely with the Director before shooting begins, deciding how
to maximise the potential of the screenplay. Editors check the technical
standards, as well as the emerging sense of story, and the actors performances.

Because scenes are shot/made and edited out of sequence, Editors may work on
scenes from the end of the film before those at the beginning, and must therefore
be able to maintain a good sense of how the story is unfolding.
During the post production period, the Editor and the Director work closely
together, refining the assembly edit into the Director's Cut, which must be
approved by the Producers, until they achieve picture lock or Fine Cut (when the
Director and/or Executive Producer give final approval of the picture edit).
Editors usually work in a supervisory role during the subsequent music and track
laying, and sound mix.

Sound Designer
The lowdown
Creating sounds effects for giant explosions or car crashes

Creating more subtle sounds to enhance mood and feeling
Managing the Sound Post-Production process
To do this role you will need to:

Have a genuine enthusiasm for sound and film,
Have a good understanding of acoustics
Have an expert knowledge of sound recording and editing techniques
Have excellent listening skills
Have creativity and imagination
Be able to work conceptually
Have excellent communication skills
Be able to work under pressure to tight, changing deadlines
Have good organisational and financial skills
Understand the relevant health and safety laws and procedures
What does a Sound Designer do?

A Sound Designer (previously known as Sound Effects Editors or Special Effects
(SFX) Editors) is responsible for providing the sound for screen action.
Depending on the films budget, Sound Designers usually start work at the same
time as the other Sound Editors. On a big effects film, this may be before
shooting begins. On a modest budget production, it could be when the Director
and/or Executive Producer have approved the final picture edit (picture lock).
The first task for Sound Designers is to identify the three main kinds of sound
effects needed. These may be gunshots, clocks, doors closing, dog barking (spot
effects) or rain, wind, traffic, birdsong (atmosphere effects). There are also
specialist sound design effects such as dinosaurs, aliens, spaceships or
computers. Sound Designers source these different sounds and often create and
record original new material.
They spend time manipulating the original recordings using synthesizers,

samplers and audio plug-ins. This is a highly creative, experimental part of the

job. For example, they might use a slowed down voice in reverse with added
reverb to create the roar of a dinosaur.
When they have all the desired sound effects, Sound Designers lay them all onto
a computer using the latest software. The next step is called the Premix, when
the Sound Designer works with the Re-Recording Mixer to smooth out all the
effects tracks. This is followed by the Final Mix. This is when dialogues, ADR
(Automated Dialogue Replacement), Foley, atmosphere, music and special
effects tracks are blended together.
Most Sound Designers are also Supervising Sound Editors, so they usually
oversee the deliverables. These include the Music and Effects version of the
film which allows the dialogue track to be replaced with different language
versions.

Screenwriter
The lowdown
Researching and developing story ideas

Writing screenplays


Have an in-depth understanding of story, plot and narrative
Understand the different ways that films affect audiences
Be familiar with current formats for presenting screenplays
Be able to demonstrate creative imagination
Be able to bring to life the individuality of characters
Be able to write visually, using sound and dialogue to support action
Be dedicated and well organised
Be able to work as part of a team
Be able to work to strict deadlines
Be able to handle frequent rejection
Be ambitious
Be realistic
What does a Screenwriter do?

Screenwriters create screenplays for films. They provide the blueprint for the
creative input of the Producer, Director, Production Designer, Composer and
Editor, cast and crew.
Screenplays should allow whoever is reading it to imagine how the film will work
on screen. It should feature fascinating characters, an exciting plot, and a great
idea for a marketable film. It should also fit in with basic principles of dramatic
construction, and fit the format and style expected in the industry.
Screenwriters have to produce highly creative writing, to strict deadlines. They
work with a script development team to create a finished product that is likely to
be financed and made. Sometimes producers bring in an additional Screenwriter
to improve certain aspects of the screenplay. In this case, the Screenwriter may
share a credit with the original Screenwriter. Or they may be credited for
Additional Dialogue, or as a Story Consultant.

In some cases the original Screenwriter may be replaced entirely by another
Screenwriter. In this case the original Screenwriter may then receive a
"Screenstory by..." credit on the finished film.
Screenwriters are almost always freelancers. They either pitch original ideas to
Producers in the hope that they will be optioned or sold. Or they are
commissioned by a Producer to create a screenplay from a concept, true story,
existing screenwork or a novel, poem, play, comic book or short story.
Many more screenplays are commissioned than films are made. Only a few top
UK Screenwriters make enough money to sustain themselves entirely through
writing screenplays.

Texture Artist
The lowdown
have good traditional drawing and painting skills, including use of colour,
light and shadow, along with a good understanding of anatomy.
have a strong sense of scale, form, and surface properties
have good attention to detail
be able to follow design reference accurately and work in a range of styles
be able to think in 3D
have a good understanding of modelling (Polygons or NURBS)
pressure
What does a Texture Artist do?

Texture Artists are responsible for the creation of textures, colours and organic
surface qualities required for computer-generated organic or hard-surface
models used in production. This is a highly skilled area which requires knowledge
of colour, materials, science (surface properties), and stylistic design (cartoon /
animation) language.
Texture Artists work closely with the CG Modeller(s), the art director, and
production designer throughout the production.

Art Director
The lowdown
Realising the Production Designer's creative vision for all the sets and
locations that give productions their look and feel
Project managing the work of the art department
Also undertaking the role of Production Designer on smaller TV
productions
have a good all-round knowledge of interior design and architecture and

the history of both
have a practical understanding of building and construction
understand the work of other TV/film departments, such as camera,
lighting, sound, props, and to know how your set designs affect their work
have a good knowledge of computer budgeting software
possess a full clean driving licence
have excellent free-hand drawing, perspective and technical drawing skills
possess a good eye for decoration and detail
be able to conceptualise ideas
be able to think visually
have a methodical approach to work
have strong leadership skills, to motivate and direct a team
be able to see the broader picture and to co-ordinate effectively
show diplomacy and sensitivity when working with artists and crew
be willing to work long and irregular hours
understand the requirements of the relevant health and safety legislation
and procedures, particularly relating to potentially hazardous working
conditions or materials
be aware of and sensitive towards different working practices and cultures
when working in other countries
What does an Art Director do?

It is the Art Director's job to realise the Production Designer's creative vision for
all the sets and locations that eventually give productions their unique visual
identity. They work on feature films, commercials and some types of television
productions.

On feature films, they act as project managers for art departments and are
usually appointed by the Production Designer. They are responsible for the
Assistant Art Director, the Draughtsmen (the term is used for both men and
women), the Art Department Assistant(s), Graphic Designers, Storyboard Artists,
Model Makers and all Construction personnel.
In large art departments on television productions, Art Directors are also

responsible for the work schedule and making the best use of the art department
budget. On some TV dramas the art department may consist of only the
Production Designer, Art Director, and Production Buyer, while on smaller
television productions the roles of Production Designer and Art Director are often
combined.
The Art Director starts work when they receive the script and final schedule,
detailing the precise shooting order of the scenes. They analyse the script to
identify all props or special items that may require longer lead times. At the same
time, they oversee the drawing up of plans of sets and locations by Draughtsmen
for the use of the Construction Managers and their teams. On a big budget film or
TV production, this can start four to five months before shooting. On low budget
productions, it can be as little as four weeks.
It's important for the Art Director to work across departments. They work with the
relevant teams about any visual or computer-generated effects that may be
required. They are involved in the use of any vehicles (from cars to horse-drawn
carriages) and animals, and their on-set requirements, including kennelling in
studios. They liaise closely with the Location Manager to negotiate about when
locations can be prepared. On big productions, they have weekly meetings with
the Accountant. They must find cost-effective creative solutions which also
provide practical answers to construction and decorating problems.
During production, Art Directors oversee the construction, dressing and striking
(dismantling) of all sets. On location, they also source suitable materials to adapt
locations to meet the Designers' creative brief, working strictly to the relevant
Health and Safety legislation and procedures. On smaller productions,
particularly in television, Art Directors also monitor every scene as it is shot. After
the production wraps (shooting is completed), in collaboration with Location
Managers, Art Directors must ensure that any remaining sets are struck and
locations cleared and that the art department budget is balanced.
Where more permanent sets are required for television productions the designs
and construction must be more robust and durable, e.g. as studio backgrounds
for news or back-lot builds for soap operas. In these circumstances, Art Directors
may have to negotiate with planning authorities and structural engineers. Art
Directors are also responsible for the maintenance of such sets, and must
monitor scripts for any changes or rebuilds in fixed sets.

Media Planner
The Lowdown
Planning which media channels should be used for a clients campaign

Researching and analysing the clients target audience and best ways to
reach them
Presenting plans to the client and keeping them updated on the
campaigns progress

Be an analytical and strategic thinker

Have strong numeracy skills
Be able to understand, interpret and use complex and varied sources of
data and statistics
Have strong communication skills
Be well organised, with strong attention to detail
Have a keen interest in trends in media research and technology, with the
ability to translate these new opportunities for clients
Research and analyse data to understand the clients target audience and
the best ways to reach them through a variety of media channels
Create media plans which detail and justify the media channels to be used
Work with Media Buyers to ensure that media plans are feasible
Present media plans to the client and later keeping them informed of the
campaigns progress
Work with the buying team to ensure media plan is executed on time and
to budget
Analyse campaign effectiveness
Keep track and report on industry developments relevant to their accounts,
including the activity of key competitors
Maintain a detailed awareness of relevant media research and new
opportunities within different media channels
What does a Media Planner do?

Media Planners develop strategies that determine which media channels should
be used to communicate with a clients target audience. These strategies come
from the brands communications strategy and often need to be developed in
conjunction with the clients creative agency.

The resulting media plans are informed by quantitative and qualitative research
data sources. Media Planners usually work in media agencies or integrated
agencies, but are sometimes employed by creative agencies too. In larger
agencies, media buying and planning are separate departments, but in some
agencies the planning and buying functions are combined in one role.
They can also be referred to as Communications Planner or Media Strategist.

Marketing Manager
The lowdown
Oversees the creation and planning of marketing campaigns for films
Liaising with the Distributor, film studios and filmmakers

To do this you will need to:
Be able to think strategically and tactically

Have a thorough knowledge of film marketplaces
Be aware of cultural trends
Have good organising and planning skills
Be a good communicator and networker
Understand costs and budgets
Be adaptable and able to respond to changing demands and events
Manage a team
Have good writing skills
Be computer literate
Have a broad knowledge of film
Be creative
What does a Marketing Manager do?

The Marketing and Publicity Managers' main responsibility is to convince the
public that this is a 'must-see' movie. Once Distributors have identified the target
audiences and potential revenue, the marketing campaign should reach target
audiences before and during film releases. When the film opens, audiences
interest should be at its peak. After release, the Marketing and Publicity Manager
needs to increase interest in the film with more promotion and troubleshoot any
problems.
Sometimes the role might involve the implementation of a campaign created by a

studio and/or the filmmakers. These must be re-tailored for different territories
according to cultural differences.
Marketing and Publicity Managers must be fully aware of the Distributors' needs
and requirements. As every film is different, every marketing campaign must also
be unique. Big budget films involving top stars usually spend more money on

marketing and publicity because they have more production costs to
recoup. Smaller 'indie' films have less to spend,
Work on a film's marketing campaign may begin over a year prior to its release,
but more usually the lead time is several months.

Researcher
The lowdown
Originating or developing programme ideas, drawing on knowledge and

understanding of industry requirements, and presenting findings to
decision makers
Identifying and selecting suitable sources for archive footage, still pictures
or audio materials.
Checking facts and briefing writers who write scripts for on-screen
presenters

be able to establish a rapport quickly with production personnel and
potential contributors
maintain up-to-date lists and be able to access relevant information from
various sources
source and suggest suitable contributors, demonstrating how their input
fits into each production
have excellent verbal and written communication skills
have excellent presentation skills
possess advanced analytical skills
pay precise attention to detail and have a methodical approach to work
be able to conceptualise ideas and think visually
show initiative and possess strong problem-solving skills
have advanced IT skills
show diplomacy and sensitivity when working with writers, producers,
actors, presenters, other contributors and crew members
have current knowledge of the relevant legislation, regulations, and
associated procedures, including copyright, data protection, public liability,
etc. and how to comply with regulatory requirements
What does a Researcher (TV) do?

TV Researchers originate or develop programme ideas, drawing on their
knowledge and understanding of industry requirements, and present their
findings to decision makers. They are also fact checkers and brief writers who
write scripts for on-screen presenters.

They work across all genres of television production. They must understand, and
work within, relevant legislation and regulations.
They may be briefed by Producers or other decision makers about programme

ideas and then carry out further development. Alternatively, they may produce
original programme ideas for consideration by Producers, broadcasters,
production companies, or other decision makers.
They identify relevant data, contributors, locations or archive material, collating

and assessing information from various sources, and ensuring that legal,
compliance and copyright requirements are met. They may also be required to
identify location requirements from scripts or programme outlines, and assess
locations for suitability and cost. They identify and select suitable sources for
archive footage, still pictures or audio materials.
Researchers may contribute to the development of scripts by writing drafts or

briefing others. They may be asked to check final written materials for accuracy.
Before production commences, they identify, negotiate fees for, and conclude
copyright clearances and legal issues relating to all bought-in materials used,
including archive materials, intellectual property or music. They must ensure that
all relevant broadcast territories are covered.
They may also be required to prepare production materials for external use, in
both print and digital formats.

Graphic Designer
The Lowdown
Creating exciting new designs using images, words and illustration

Interpreting a clients brief to create something visually striking
Have a natural artistic ability

Be fully fluent in image editing and design software
Create graphics that communicate an idea or promote a brand
Know how to compose an image to a professional standard
Be comfortable accepting client briefs
Be able to meet deadlines
Market yourself to potential clients
What does a Graphic Designer do?
A graphic designer is a person who designs a visual message for a product using
words and images for a client. From an outside perspective, it just looks like
moving things around in Photoshop, but a graphic designers job is so much
more than that.
Graphic design is something thats taken over the world. Every product,
magazine or advert has a graphic designer working out where the title should go,
how prominent the background image should be, what formatting the body text
should be, and a lot more design decisions that go into the creative process.
A Graphic Designer uses an in-depth understanding of advertising, composition,

typography, imagery, colour, and motion to help a product, article, or film visually
stand out. A Graphic Designers goal is to create engaging work which
communicates clearly and extends a visual message to a target audience. In a
film or animation marketing context a Graphic Designer is called upon to work
with the Marketing Manager and liaise with the Production Designer.

Concept Artist (VFX)
The lowdown
producing the illustrations that help Production Designers realise their

vision
making sure their drawings are accurate and clear and adapting them as
necessary during filming
using computer illustration software packages

have up-to-date knowledge of computer illustration software packages
be skilled in film imagery
understand what Directors, Directors of Photography and Editors require
from a scene
have excellent illustration skills
be a strong communicator
visualise perspective and 3D space
have a keen interest in design, architecture and film
visually interpret other people's ideas
be flexible and adapt to change when asked
work as part of a team
know about relevant health and safety legislation and procedures
What does a Concept Artist do?

Concept Artists work on big budget sci-fi, fantasy or historical films where visual
and special effects create design spectacles, fantastical creatures or other
invented elements. There are usually a number of Concept Artists, each working
on a specific element, e.g., a fantastical creature and/or scene.
Concept Artists start work at the beginning of pre-production, up to six months
before filming is due to begin.
If the screenplay is an adaptation (for example, of a book), they analyse the

descriptions in the original source material. They may work with Specialist
Researchers who also help source and supply relevant information and materials.
Concept Artists work in the art department studio alongside Draughtsmen and
Specialist Researchers and often produce their drawings on a computer using

Painter or Photoshop software. After approval by the Production Designer, the
drawings are presented to the Producer, Director and Visual Effects Co-ordinator.
Concept Artists must produce illustrations that are striking but also accurate and
clear. They work on illustrations throughout the shoot and may often be required
to change and adapt their original ideas as filming progresses.
They may also be involved in the development process, producing a series of
illustrations that help to sell the film to potential Financiers and/or Distributors.
Concept Artists work on a freelance basis. Their role is highly specialised and
there is a limited demand for this work.

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Role (Job)

RCAA5010 / Collaboration 2017/18 10

Builds three-dimensional computer models of everything that is needed

Is this role right for me?

What does a CG Modeller do?

They work to established designs and need to produce an accurate translation of

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It is important that Modellers understand what will be required of their models in

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Provides the vision and creative leadership for an animation project.

Is this role right for me?

be creative, imaginative and have artistic flair

What does a Director do?

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Creates the look of an animation project, develops the characters,

On smaller productions can undertake the role of Art Director also.

Is this role right for me?

What does a Production Designer (Animation) do?

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On some smaller productions, the Production Designer's role may be combined

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Is this role right for me?

have a feel for movement and timing

What does an Animator (3D computer animation) do?

Depending on the project, Computer Animators follow a brief from a Director,

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Managing the animation team during a production

Is this role right for me?

For this role, you will need to:

Have plenty of experience of working in the animation industry

What does a Producer do?

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However, despite their responsibilities to their bosses, a Producers real skill is

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Breaking down 2D storyboards into 3D shots

Is this role right for me?

What does a Layout Artist (3D computer animation) do?

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Ensuring there is consistency in lighting, colour balance and mood

Is this role right for me?

have a strong sense of light and shadow demonstrated by artwork,

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What does a Lighting Technical Director or Lighter do?

Lighting TDs/Lighters add the lighting that creates atmosphere, increasing

On some projects, they may be involved in the research and development of

On smaller projects, lighting is a fundamental skill required by generalists who

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Illustrating the narrative, planning shots, and drawing panels to

Is this role right for me?

be able to tell a good story

What does a Storyboard Artist (Animation) do?

They may be required to prepare the storyboards for production, including

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Constructing the final image by combining layers of previously-created

Is this role right for me?

What does a Compositor do?

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Supervising and controlling the rendering process (converting computer

Is this role right for me?

have a high degree of computer literacy