"Word To The Wise" - October 2007

What's In A Name: 3D CGI Job Titles
by Kevin Geiger

A primary concern of students and traditional artists alike is to identify an appropriate and fulfilling role within 3D CGI production. While DVD special features and trade magazines such as Cinefex have done much to raise the general comprehension of digital production, there is often still a lack of understanding regarding what these roles are, the appropriate requirements, and the opportunities afforded by each. Understanding the various job classifications within 3D CGI production is critical to preparation, and this article should hopefully provide a basic level of orientation for the uninitiated.

A definitive outline of job titles within digital animation and effects is complicated by the varying usage among production houses and animation studios. At smaller, "shot-based" shops (where people are more likely to function as generalists who wear multiple hats), everyone on the floor may simply be referred to under the collective designation of Digital Artist, Technical Director (TD) or Animator. The digital production departments at larger, "pipeline-based" studios typically consist of specialized groups for Modeling, Animation, EFX and so forth. Within the common philosophy of the pipeline approach exists a relatively flexible application of terminology. Some studios make formal distinctions between Character Modeler and Set & Prop Modeler (sometimes referred to as Hard Surface Modeler) while other studios apply the simple designation of Modeler across the board (even though individuals may still specialize in character, set or vehicle work). Many production houses refer to their 3D character setup folks as Character TDs, while others will make finer-grained distinctions between Riggers (sometimes referred to as Motion TDs or Chainers) and Skinners (sometimes called Model TDs or Physiquers). Studios may distinguish between Lighting Artist and Lighting TD, or use either designation to describe both... and so on. Fortunately, since recruitment ads typically list descriptions along with titles, it is fairly easy to cross-reference categories from one studio to the next.

Much of the variety in titles can be traced to the proliferation of digital production facilities, each with their own organizational spin on the process. Differences in terminology are common among live-action and animation facilities. Often there is a circumstantial historical precedent. For example, ILM's (now defunct, I believe) use of Chainers to describe those who rig digital characters derived from their use of the old Softimage platform where links of IK bones were referred to as chains. Disney Feature Animation's distinction between Motion TDs and Model TDs originated during the "Dinosaur" years as one group of Technical Directors was rigging skeletons in Softimage while another was creating muscles and skin in Maya. In other cases there are political considerations at play: such as the preference of some Modelers to be referred to as Digital Sculptors in order to be formally acknowledged as artists within their production facility, or of some doctoral Technical Directors to claim Animation Scientist as a title (you know who you are). The bottom line is that, as in most areas of human endeavor, the titles within CGI production are not tidy reflections of what people actually do or are capable of. Most CGI specialists began their careers (or at least their educations) as Generalists and therefore possess knowledge and abilities outside of the specific classification that pays their bills. It's common, for example, to find Animators who are skilled as Lighting Artists, or Modelers who are good at painting textures or who know how to rig a character. This range of understanding and experience benefits the production pipeline, even when not formally incorporated. With this in mind, here are some basic definitions of various job classifications within 3D CGI animation & effects production. Applicable traditional skills are indicated, and general observations provided regarding the typical assignment cycles of each classification.

Character Modeler or Creature Modeler

As the name implies, the Modeler is responsible for sculpting organic character and/or creature models (the Creature Modeler designation is used primarily within the live-action special effects industry). Character Modelers and Creature Modelers work with polygonal, NURBS and subdivision topologies to create surface models ranging from highly stylized cartoon characters to photo-realistic fantasy creatures (and all fauna in-between). Traditional drawing, design and sculpting abilities are all applicable to the role, as is a general knowledge of anatomy. While the majority of a Character Modeler's work takes place during the front end of production, a certain level of staffing is usually required throughout for facial shapes, model alterations and specials.

Set & Prop Modeler

Sometimes referred to as Hard Surface Modelers or Environmental Designers, Set & Prop Modelers are responsible for constructing digital implements, vehicles, buildings and environments. These range from stylized elements in animated features to realistic elements in live-action films. In either case, the level of mechanical articulation involved often leads Set & Prop Modelers to also rig the models that they construct. Drawing, industrial design and model shop skills are all relevant to this role. The production assignment cycles are generally similar to those of a Character Modeler.

Layout Artist, 3D Workbook Artist, Pre-visualization Artist

3D Layout Artists primarily work within feature animation studios where they define staging and camera moves for their productions. The low-resolution sets that Layout Artists create in the course of their work are typically referenced by Set & Prop Modelers as templates for final high-resolution environments (although at some studios Layout Artists may take their sets through to final resolution in the manner of an Environmental Designer). 3D Workbook Artists are another feature animation convention. When used, they are tasked with blocking in major lines of action. Animators loosely reference the broad strokes of this work during production. Similarly, Pre-visualization Artists create 3D animatics on live-action films in preparation for production work. Each of these roles benefits from traditional drawing, design, camera and animation experience. The assignments for Layout Artists, 3D Workbook Artists and Pre-Viz Artists take place during pre-production but often spill over into production.

Character Technical Director

Character Technical Directors are responsible for constructing 3D character rigs and animation interfaces, and establishing muscle, skin and clothing behaviors which range from broad squash & stretch to realistic physical simulations. At some facilities, Character TDs are referred to as Character Setup TDs, Technical Animators (or yes, even Animation Scientists), and are sometimes split into sub-categories of Riggers (Motion TDs) and Skinners/Physiquers (Model TDs), or of Facial TDs, Cloth TDs and so on (note that Technical Directors working on cloth will often find themselves under the EFX TD designation below). Character TDs who specialize in wrangling shot-specific geometry problems are usually referred to as Character Finalers or Shot Sculptors. Initially viewed as a "subset" of character setup, finaling is now rightfully viewed as an art in itself - encompassing skills ranging from modeling to animation to simulation. Traditional drawing, design and sculpture abilities are applicable to the Character TD's world, as is knowledge of anatomy, kinematics and physical behaviors. Character TDs are typically assigned throughout the course of production due to their ongoing involvement with 3D character setup, support and cleanup.

Character Animator

The role of 3D Character Animator is analogous to that of 2D Character Animator, and the principles that make for good 2D animation translate very well into 3D. The primary difference is that the 3D Character Animator's work is often mediated through the Character Technical Director. Although many Character Animators are capable of rigging and skinning at some level, few who are truly committed to the craft of character animation performance are able to simultaneously devote the amount of time and technical inquiry required of high-end 3D character work. Nevertheless, an understanding of the technical aspects of character setup directly benefits the Animator/TD relationship. Animators who possess such knowledge are furthermore likely to find themselves assigned to the pre-production phase of a project and/or serve as leads and supervisors during production. Those who do not tend to receive more "focused" (ie. - limited) production assignments.

EFX Technical Director and EFX Animator

While a clear division of labor can be (and often is) established between Character Technical Directors and Character Animators, an analogous distinction between 3D EFX Technical Directors and 3D EFX Animators is a bit more elusive. In cases where EFX Technical Directors rig set & prop elements for animation, a clear hand-off may be established. However, the procedural nature of the dynamic simulations required to produce atmospheric 3D EFX and other phenomena does not easily lend itself to a handoff from TD to Animator. Ultimately, the Animator must be a TD and vice-versa. Studios therefore tend to use either the EFX TD or the EFX Animator designation (and occasionally both). There are also production houses that use the Character EFX TD title for those who setup and wrangle clothing simulations (see Character TD above). An understanding of physical dynamics and natural phenomena is key, and traditional EFX animation experience makes a good complement to the technical aspects of this role. 3D EFX Animators & TDs find themselves assigned in fluctuating quantities throughout the production process.

Lighting Technical Director and Lighting Artist

Similar to EFX Technical Directors and EFX Animators, the distinction between Lighting Technical Directors and Lighting Artists can be rather blurry: the best Lighting TDs also tend to be skilled Lighting Artists and vice versa. When the distinction is made, the term Lighting TD (or Shader TD or Shader Writer) is generally used to describe those who write surface shaders, while the term Lighting Artist (or Lighting Designer) is applied to those who actually apply these shaders to production elements within shots, establish lighting and adjust parameters. Lighting TDs and Lighting Artists may also paint their own textures at some facilities. Traditional color theory, lighting design and painting experience are all applicable, as is a sound understanding of natural lighting phenomena. Lighting TDs find themselves assigned most heavily during pre-production and the early stages of production, while Lighting Artists are required as scenes come out of animation. For this reason it is not uncommon for Lighting TDs to transition into shot work as Lighting Artists during the course of production.

Background Painter and Texture Painter

Digital Background Painters and Texture Painters use 2D and 3D paint software to produce background paintings for scenes, articulated mattes for shots, and texture maps for characters, sets and props. While digital background painting has probably the most direct translation from the traditional world, digital texture painting requires knowledge of 3D surface topologies and an understanding of the various purposes towards which texture map values may be applied. Traditional painting experience is of obvious benefit to digital painting roles. Painters are assigned throughout the production process to everything from backgrounds and texture maps to articulated mattes, specials and paint fixes.

Compositor

Digital Compositors occupy the end of the line on a production and combine various layers and elements into final frame output, often making lighting adjustments, adding effects and augmenting camera work during the compositing process. Traditional color theory, lighting design, painting and camera experience are among the skills most applicable to the compositing role. Compositors are typically assigned in the latter stages of production for concentrated periods of time. Due to the interrelated aspects of lighting and compositing, some studios will combine these tasks within a single department of Shot Finalers.

Production Software Technical Director

Software TDs are skilled Programmers who develop software solutions to technical and aesthetic issues in all areas of the production pipeline. Large studios may make distinctions between Core Software Developers who work on applications common to many productions, and Production Software TDs who create show-specific solutions that may have no use beyond the production at hand (although the work of Production Software TDs often finds its way into general use). There may also be R&D teams charged with exploring "blue sky" concepts of no immediate practical application whatsoever (mad props to the finance executive who manages to justify funds for this to the suits across the way). While there is no real analogy between software development and traditional animation, historical precedent exists for Animators who have trained themselves as Programmers (especially in the early days of the medium when artist-friendly software platforms were scarce or non-existent). Production Software TDs do the bulk of their programming work during the front part of a show and often transition into shot work as Technical Directors. For this reason some studios make no distinction between Software TD and the other categories of Character TD, EFX TD and Lighting TD.

Review of the various digital production classifications makes it apparent that certain roles are more technically demanding than others. This can be discouraging to students and traditional artists who find the "easy ones" difficult enough. Realistic expectations must be cultivated regarding the amount of time it takes to prepare for one role or another - even after entering the workforce. Traditional Background Painters and Character Animators are sometimes able to transform themselves into production-ready digital candidates in under a year (due to the relatively direct translation of the former and the level of character setup and technical support provided for the latter). Migration into the other categories can require years of training or schooling before an acceptable level of competency is realized. That said, there is a definite payoff to the time investment: demand for qualified candidates in a given role is directly related to the level of training required for proficiency. As an example, good Character TDs and Lighting TDs are often hard to find due to the relative scarcity of candidates with a strong combination of technical and aesthetic skill, not to mention the relatively low "glory factor" as compared to Animators or Painters. In short: it's hard to find qualified candidates who are interested in the job. It follows logically that competition will be the stiffest in categories that have the easier or more desirable educational and/or training path (stay tuned for an upcoming article on the difference between "education" and "training"). This very practical consideration must be factored into any career decisions, but ironically, the scenario can provide tangential opportunities for advancement. A 2D Character Animator of average ability but a keen, logical mindset could potentially develop into a strong Character TD given hard work and time. The obvious choice may not always be the most rewarding. As noted, certain categories are more prone to cyclical production assignments (and subsequent layoffs) than others. Modelers, Animators and Compositors are among those who can find themselves employed for short, intense periods of time. By comparison, Technical Directors may find themselves more "layoff-proof" as supply and demand is factored against the needs of production.

Proficiency with digital media is no guarantee of uninterrupted employment. Layoffs and studio closures are common as ever. The seas are choppy and full of sharks, but there's plenty of good sailing to be had out there. Chart your course, strap on your life vest, hoist your sails and keep your eyes to the stars. Grand adventures await in expansive waters!

Kevin Geiger
Los Angeles

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