Department Roles | AGUSTIN COSSA

VIRTUAL PRODUCTION DEPARTMENT

THE LEADER OF THE VIRTUAL PRODUCTION DEPARTMENT SUPERVISING FROM LAYOUT TO POTENTIAL REAL-TIME POST-PRODUCTION RENDERS IN A UNIFIED AND COHERENT AESTHETICAL LOOK, DESIGNING, CREATING DIFFERENT WAYS TO MAKE WHAT THE DIRECTOR WANTS INTO A REALITY IN PRE-PRODUCTION AND SHOOTING

VIRTUAL PRODUCTION SUPERVISOR

RESPONSABILITIES

BACKGROUND

- CREATE PRODUCTION READY REAL-TIME IMAGERY COMPATIBLE TO THE VFX SUPERVISOR OFFLINE SHOTS

- BECOME THE BRIDGE OF COLLABORATIVE WORK BETWEEN ALL HODS

- WORK HAND IN HAND WITH THE VFX SUPERVISOR SO ALL VFXS IMAGERY, WHETHER REAL-TIME OR OFFLINE, ARE COHERENT AND MATCHING THUS HELPING THE DIRECTOR REALIZE HER-HIS VIEW

- FILMMAKING WHETHER IT IS VFX OR ANY OTHER FILM-ORIENTED CREATIVE BACKGROUND

- SOLID KNOWLEDGE OF UNREAL ENGINE OR OTHER REAL-TIME RENDER ENGINES FROM A FILM BACKGROUND (UNLIKE A GAME-MAKING BACKGROUND)

- SOLID KNOWLEDGE OF ART DIRECTION AND CINEMATOGRAPHY

- ARTISTIC AND TECHNICAL MINDSET

- EXPERIENCE ON ON-SET WORK AND SPECIALLY EXPERIENCE IN ICVFX WORK IN AN INDUSTRY LEVEL

- DEEP UNDERSTATING ON THE TECHNICAL COMPLEXITY OF VOLUME INFRASTRUCTURE (TECHNICAL SIDE)

- EXTREMELY PROACTIVE AND DEFENDER OF VISUAL FIDELITY AS THE HODS DO WITH THEY THEIR MATERIAL

DIGITAL LIGHTING DEPARTMENT

DIGITAL LIGHTING SUPERVISOR

UNLIKE TRADITIONAL VFX SUPERVISION ROLES, DIGITAL LIGHING SUPERVISORS WITHIN VP MUST BE HANDS-ON THE CREATED MATERIAL, BEING THEM ANOTHER ARTIST. THIS ALLOWS TO HAVE ONE PERSON ON SET WHILE SHOOTING THAT HOLDS (ASIDE THE VP SUPERVISOR) ALL THE LIGHTING KNOWDLEG THUS ALLOWING TO RESPOND QUICKLY AND EFFICENTLY TO THE DEMANDS OF PRINCIPAL PHOTOGRAPHY. IN SHORT, SHE/HE IS THE LIGHTING OPERATOR ON SET THAT HAD A TEAM ON PRE-PRODUCTION TO ASSIST HIM/HER WITH AMOUNT AND SCALE OF SCENES

RESPONSABILITIES

- GUIDE THE LIGHTING DEPARTMENT BEING HIM THE LEAD ARTIST IN THE PROCESS OF CREATING THE LIGHTING OF THE SCENES UNDER THE DIRECTIONS OF THE VP SUP

- CREATE PHOTORREALISTIC REAL-TIME LIGHTING AND OR OFFLINE PATH-TRACED SHOTS WITHIN A REAL-TIME SOFTWARE

- WORKING SIDE BY SIDE WITH THE VP SUP ON SET TO OPERATE LIGHTING ON SET DURING PRINCIPAL PHOTOGRAPHY

- WORK SIDE BY SIDE WITH THE VAD AND ASSET SUPERVISORS SO THE ENVIORMENT IN CONDITIONS TO PROPERLY REFLECT LIGHTING

BACKGROUND

- KNOWLEDGE AND EXPERIENCE

WORKING WITH OFFLINE RENDERS

- MUST MASTER THE ART OF REAL-TIME

LIGHTING FOR FILM QUALITY

- EXPERIENCE WORKING ON SET AND

WITH TEAMS

DIGITAL LIGHTING TDs

ASSIT THE DIGITAL LIGHTING SUPERVISOR IN THE LIGHTING OF THE MANY ENVIRONMENTS, BY REPLICATING GUIDELINES AND TECHNIQUES DEVELOPED BY HER/HIM.

RESPONSABILITIES

BACKGROUND

- DUPLICATE, REPRODUCE AND IMITATE APPROACHES, TECHNIQUES AND GUIDELINES FROM THE DIGITAL LIGHTING SUPERVISOR

- PREPARE AND COLLECT MATERIALS NEEDED FOR THE LIGHTING OF THE ENVIROMENTS

- DEEP KNOWLEDGE AND EXPERIENCE WITH UNREAL ENGINE'S LIGHTING SYSTEM

- COMING FROM VFX BACKGROUND IS NOT REQUIRED BUT SHOULD DEMOSTRATE A KEEN EYE FOR PHOTOREALISM, DISTINGUSHING FROM FILM AND GAME QUALITY

- ASSIST ON THE MATERIAL ASSET CHECK

- FAST LEARNERS AND PROACTIVE

RENDER DIRECTOR

IN CHARGE OF THE FUNCIONALITY OF THE UNREAL ENGINE RENDERING PIPELINE FROM A TECHNICAL PERSPECTIVE FOR REAL-TIME ON SET WORK AS WELL AS FOR POST-PRODUCTION PATH-TRACED RENDERS

RESPONSABILITIES

BACKGROUND

- CREATE THE BASE FRAMEWORK AND TECHNICAL GUIDELINES FOR ALL CONTENT CREATION

- R&D FOR SPECIFIC RENDER NEEDS AND CHALLENGES

- VFX RENDERING TD

- KNOWLEDGE WITH SHADER WRTING AND UNREAL RENDERING PIPELINES

- SET UP THE FRAMEWORK FOR SHADERS TDs

- KNOWLEDGE AND EXPERIENCE WORKING WITH NDISPLAY

- ON-SET RENDERING TROUBLE SHOOTING

- C++ IN UNREAL KNOWLEDGE

- TECHNICAL RESPONSABILITY FOR ALL POST-PRODUCTION RENDERING WORK

- KNOWLEDGE OF COLOUR SCIENE WITHIN A VFX FRAMEWORK

- ASSIST THE SOFTWARE DIRECTOT TO PERFORM THE COLOUR CALBIRATION OF THE LED WALL. MAIN RESPONSABLE OF COLOUR WORKFLOW

SHADER LEAD AND TDs

IN CHARGE OF THE CREATION OF REAL-TIME MATERIALS, USING AS BASE THE TEXTURES PROVIDED BY THE ASSET DEPARTMENT, AND UNDER THE DIRECTIONS OF THE DIGITAL LIGHTING SUPERVISOR AS WELL AS THE RENDERING DIRECTOR, MAKE MATERIALS THAT PROPERLY RESPOND TO LIGHTING USING REALITY AS BASE AND ADAPTING IT TO DIFFERENT RENDERING METHODOLOGIES (REAL-TIME OR PATH-TRACED)

RESPONSABILITIES

BACKGROUND

- WRITE THE MATERIALS TO ADJUST THE INCOMING TEXTURES FROM EXTERNAL DCCS TO HAVE THE EXPECTED BEHAVIOUR OF LIGHT

- ASSIST THE ASSET VALIDATION TEAM ON THE FEEDBACKS AND MATERIALS CHECKS.

- IN ENGINE INTEROPERABILTY OF MATERIALS BETWEEN HIERARCHIES AND BLUEPRINTS

- KNOWLEDGE AND EXPERIENCE ON TEXTURE AND MATERIAL WORK IN NON-REAL-TIME SOFTWARE

- UNDERSTANDING OF LIGHT PHYSICS

- DEEP UNDERSTANDING OF UNREAL ENGINE'S SHADING SYSTEM AND BLUEPRINTING

- LEAD SHOULD HAVE KNOWLEDGE OF HSLS CODE

REAL-TIME FXs LEAD AND TDs

IN CHARGE OF THE CREATION AND MANAGMENT OF ALL PARTICLE BASED EFFECTS INCLUDING ATMOSPHERIC SIMULATION

RESPONSABILITIES

BACKGROUND

- CREATION OF ALL PARTICLES BASED EFFECTS INCLUDING NIAGARA, WATER SYSTEMS AND VDBs

- CREATION AND MANAGMENT OF ATMOSPHERIC EFFECTS THAT REFRACT LIGHTING SUCH AS FOG, MIST, HAZE AND ATMOSPHERIC DISPERSION

- EXPERIENCE WORKING WITH OFFLINE PARTICLE SYSTEMS

- STRONG PASSION FOR REAL-TIME, PERFORMANCE-BASED PARTICLE SYSTEMS

- THE LEAD POSITION SHOULD HAVE KNOWLEDGE OF ATMOSPHERIC LIGHT PHYSICS

- MANAGMENT OF ALL DDC-BASED PARTICLE SYSTEMS IMPORTED INTO UNREAL

ASSET VALIDATION LEAD AND TDs

THEY CARRY OUT THE ASSET VALIDATION PROCESS DURING PRE-PRODUCTION

RESPONSABILITIES

BACKGROUND

- THEY IMPORT THE MODELS AND TEXTURES MADE BY THE ASSET DEPARTMENT INTO UNREAL ENGINE AND PERFORM THE ASSET VALIDATION PROCESS, CREATING REPORTS AND PRE-APPROVING OR REJECTING RECIEVED ASSETS BEFORE THE VP SUPERVISOR'S REVIEW

- WORK HAND IN HAND WITH THE SHADER TEAM TO MAKE THE MATERIALES FOR THE INCOMING ASSETS

- KNOWLEDGE AND EXPERIENCE WORKING WITH UNREAL'S MATERIALS AND LIGHTING SYSTEM.

- KEEN EYE ON PHOTOREALISM DETAIL AND WORKING WITH REFERENCES

- LEAD SHOULD HAVE EXPERIENCE WORKING ON VFX ASSETS

VIRTUAL ART DEPARTMENT

VAD SUPERVISOR

THE VAD SUPERVISOR HAS THE HIGHEST RESPONSABILITY BEFORE THE VP SUPERVISOR ON THE LAYOUT AND COMPOSITION OF THE DIGITAL SET DESIGN, WORKING SIDE BY SIDE WITH THE PRODUCTION DESIGNER TO CREATE A COHERENT AND UNIFIED SET THAT WOULD BE READ AS A UNIQUE ENVIRONMENT TO THE CAMERA.

- WORK SIDE BY SIDE WITH THE PRODUCTION DESIGNER TO CREATE A WORLD THAT CONTAINS THE AESTHETICS LOOK SEARCHED BY THE DIRECTOR BY FOCUSING ON THE LARGER SECTION OF THE ENVIROMENT DESING WHILE TAKING INTO CONSIDREATIONS THE NATURE OF CGI AND SPECIALLY REAL-TIME CGI.

BACKGROUND

- KNOWLEDGE AND EXPERIENCE

WORKING WITH OFFLINE RENDERS

- LONG EXPERIENCE AS VFX ENVIRONMENT SUPERVISOR

- PRACTICAL SET EXPERIENCE ON FILMS OR EPISODIC

- DEEP KNOWLEDGE WITH UNREAL WORKING AS AT LEAST, REAL-TIME

ENVIORONMENT ARTIST

RESPONSABILITIES

- WORK ON THE DIGITAL SET NOT AS BACKGROUND AS SHE/HE WILL BE SETTING THE BASE DESIGN OF THE FULL SCALE WORLD THAT WOULD IMPACT OF THE STABLISHIG SHOTS

- METICULOUSLY LEADING THE ENVIRONMENT TEAM TO CREATE A BALANCED SET DRESSED THAT PROPER TELL A STORY WHILE TAKING INTO ACCOUNT THE DIFFERENT CAMERA ANGLES AND FOCAL LENGTHS

- WORK SIDE BY SIDE WITH THE ASSET SUPERVISOR TO DESIGN THE MODEL THAT WILL DRESS HIS/HER WORLD

- BE DEEPLY INVOLVED IN THE EARLY DAYS OF PRE-PRODUCTION CONCEPTUALIZING THE WORLDS TO CREATE WITH THE VP SUPERVISOR, DIRECTOR AND PRODUCTION DESIGNER

ENVIRONMENT TDs

CREATE THE DIFFERENT DIGITAL SET USGING UNREAL NATIVE NATURAL AS WELL AS THE ASSETS IMPORTED FROM THE ASSET DEPARTENT

RESPONSABILITIES

BACKGROUND

- DEEPLY UNDERSTAND THE AESTHETIC GUIDE FROM THE PRODUCTION DESIGNER AND THE VAD SUPERVISOR TO CREATE AND DRESS THE MANY DIGITAL ENVIRONMENTS UNDERSTANDING THE OUTPUT WOULD BE A 2D IMAGE THAT NEEDS TO BE PROPERLY COMPOSED

- VFX ENVIRONMENT ARTIST WITH DEEP KNOWLEDGE AND EXPERIENCE WORKING WITH UNREAL ENGINE

- DEEP UNDERSTANDING OF BLUEPRINTS, TOOLS CREATION AND OPTIMIZATION

- COLLABORATE WITH THE DIGITAL LIGHTING DEPARTMENT SO THE POSITION OF THE ASSET AND THEY REFLECTANCE VALUE ARE OF USE FOR THE DIGITAL CINEMATOGRAPHY

- COLLABORATE WITH THE DIGITAL LIGHTING DEPARTMENT SO THE POSITION OF THE ASSET AND THEY REFLECTANCE VALUE ARE OF USE FOR THE DIGITAL CINEMATOGRAPHYWORK WITH THE DEVELOPMENT DEPARTMENT AND THE SHADER TEAM TO OFFER TOOLS FOR AN OPTIMIZED AND QUICK ART MANAGEMENT DURING SET

ANIMATION DEPARTMENT

ANIMATION SUPERVISOR

AS SUPERVISOR OF THE ANIMATION DEPARTMENT, SHE/HE IS EXPECTED TO OFFER THE SAME WORK AS ANY VFX ANIMATION PIPELINE CREATED IN DDCS APPLICATION WITH THE ADDITIONAL ABILITY OF MASTERING THE BRIDGE PROCESS BETWEEN THOSE SOFTWARE AND UNREAL, BEING PERFORMANCE ORIENTED, CREATING REAL-TIME SIMULATIONS AND MOST IMPORTANTLY EXCEEDING IN THE PROCESS OF MO-CAP DATA USAGE FOR FINAL ANIMATION

RESPONSABILITIES

- DUE TO THE HIGHEST QUALITY DEMAND IN THE FILM INDUSTRY OF ANIMATION PRECISION AND THE REAL-TIME PERFORMANCE HIT OF THOSE, IT IS LIKELY MANY ANIMATIONS SHOULD BE FINISHED OFFLINE (WHETHER IN UNREAL OR IN OTHER APPLICATIONS), FORCING THE ANIMATION SUPERVISOR TO FULFIL THIS ROLE IN BOTH VIRTUAL PRODUCTION AND VFX DEPARTMENTS

- HE/SHE HAS THE RESPONSIBLE OF BRINGING LIFE TO THE DIGITAL IMAGERY FROM THE COMPLEX CHARACTER ANIMATIONS TO THE SMALL ANIMATIONS IN THE BACKGROUNDS TELLING SMALL STORIES, FROM THE MOCAP-BASED REALISTIC DIGITAL PERFORMANCES TO THE PARAMETRIC FOLIAGE ANIMATION.

BACKGROUND

- EXPERIENCE AS VFX ANIMATION SUPERVISOR

- DEEP KNOWLEDGE AND EXPERIENCE WORKING WITH MO-CAP ON A REAL-TIME OUTPUT BASIS

- DEEP KNOWLEDGE AND EXPERIENCE WORKING WITH UNREAL AS ANIMATOR

- EXPERIENCE WORKING AS OPERATOR ON ICVFX PRODUCTIONS

- TOGETHER WITH THE VP SUPERVISOR FIND STRATEGIES TO MAKE THE ANIMATIONS THAT AS REQUESTED TO BE FINAL ON THE DAY OF SHOOTING TO BE BOTH PERFORMANT AND WITH THE REQUESTED QUALITY

- RESPONSIBLE AND OPERATOR OF THE DIGITAL STAGE ANIMATION S DURING SHOOTING AND ALL MO-CAP FINAL OUTPUT

REAL-TIME ANIMATION LEAD AND TDs

THIS TEAM CREATES AND MANAGES ALL UNREAL-NATIVE ANIMATIONS AND PERFORM THE TRANSLATION AND ADAPTION OF ANY INCOMING ANIMATION FROM AN EXTERNAL DDC, MAKING SURE THE BRIDGE RESULTS IN A LOSSLESS PROCESS WHILE STAYING WITHIN THE LIMITS OF THE PERFORMANCE GOAL. IT ALSO MANAGES ALL MO-CAP ANIMATIONS STREAMED INTO THE ENGINE

RESPONSABILITIES

BACKGROUND

- ANIMATE AND MANAGE ALL UNREAL-ENGINE BASED ANIMATION FROM SEQUENCER-BASED TO PARAMETRICAL

- PROPERLY IMPORT ANIMATIONS FROM EXTERNAL DDC MAKING SURE THERE IS NO QUALITY LOSS WHILE STAYING WITHIN THE RANGE OF THE PERFORMANCE BUDGET

- WORK CLOSELY WITH THE ANIMATION SUPERVISOR AND VP SUPERVISOR TO DESIGN STRATEGIES TO PROPERLY FIND A BALANCE BETWEEN PERFORMANCE AND QUALITY

- STREAM ALL INCOMING MO-CAP DATA MAKING SURE THE INFORMATION GETS CLEANED-UP FOR QUALITY GOALS USING ANIMATION BLUEPRINTS

- WHEN NEEDED, PERFORM THE PROCESS OF EXPORTING THE ANIMATIONS OUT OF UNREAL TO EXTERNAL DDCS IN THE MOST ACCURATE AND LOSSLESS PROCESS

- EXPERIENCE WORKING AS ANIMATOR FOR MEDIA IN AN OFFLINE PIPELINE, PREFERABLY IN THE VFX INDUSTRY

- DEEP KNOWLEDGE AND EXPERIENCE WORKING WITH UNREAL’S ANIMATION SYSTEM

- STRONG KNOWLEDGE OF BLUEPRINT WORK

- EXPERIENCE WORKING WITH CROSS-PLATFORM PIPELINES TAKING ANIMATIONS IN AND OUT OF UNREAL

- EXPERIENCE WORKING WITH CHARACTER ANIMATION WITHIN UNREAL

- EXPERIENCE WORKING WITH MO-CAP AND ITS CLEAN-UP PROCESS

RIGGERS

SIMILAR TO TRADITIONAL VFX, RIGGERS FOR VIRTUAL PRODUCTION MUST HAVE, IN ADDITION, FAMILIARITY WITH UNREAL’S BUILT-IN RIGGING SYSTEMS

RESPONSABILITIES

BACKGROUND

- CREATE ALL SORTS OF RIGGING SYSTEMS FROM IK SKELETONS TO VEHICLES ANIMATIONS AND FACIAL RIGGING

- LONG EXPERIENCE WORKING AS RIGGERS FOR VFX

- EXPERIENCE WORKING WITH UNREAL’S RIGGING SYSTEM

- WORK HAND IN HAND WITH THE REAL-TIME ANIMATION TEAM TO CREATE RIGGINGS SYSTEMS THAT CAN BE ADOPTED AND EASILY ADAPTED BY UNREAL’S BONE HIERARCHY STRUCTURE AND CONTROL RIG

SIMULATION LEAD AND TDs

IN CHARGE OF ALL SIMULATION BASED ANIMATION LIKE WIND, SEA STORMS, EXPLOSIONS AND DEBRIS COLLAPSE TO AI DRIVEN INTERACTION SYSTEMS

RESPONSABILITIES

BACKGROUND

- WHEN THE REAL-TIME FX TEAM HAS RESPONSIBILITY FOR THE SHADING AND THE REFLECTION AND REFRACTION OF LIGHT IN THE PARTICLES, THE SIMULATION TEAM HAS FOCUS ON THE ACTUAL PHYSICAL BEHAVIOUR OF THE PARTICLES

- CREATE BOTH BAKED OR REAL-TIME SIMULATION IN BOTH UNREAL OR IN AN EXTERNAL PACKAGE

- DEEP KNOWLEDGE AND EXPERIENCE WORKING WITH SIMULATION AND PARTICLE SYSTEMS FOR VFX

- DEEP KNOWLEDGE AND EXPERIENCE WORKING WITH PHYSX IN GAMES OR ANY INTERACTIVE EXPERIENCE

- ADRESS THE REAL-TIME SIMULATION IN SUCH A WAY IT IS PERFORMANCE-CENTRED

- WHEN PERFORMANCE IS AT RISK, EXPLORE STRATEGIES AND TRICKS TO AVOID VISUAL QUALITY LOSS.

- WORK SIDE BY SIDE WITH THE REAL-TIME ANIMATION TEAM IN ALL PARAMETRIC BASED SIMULATIONS, FOR EXAMPLE, FOLIAGE ANIMATION

ASSET DEPARTMENT

ASSET SUPERVISOR

KIT-BASHING HAS PROVEN TO BE COUNTER-EFFECTIVE FOR ICVFX. AT THE SAME THE USAGE OF MODELS AND TEXTURES FROM THE UNREAL COMMUNITY AND ECO-SYSTEMS HAVE TAKEN THE CONTENT OF VP TO BE GAME-LIKE. THERE IS A STRONG NEED FOR VFX ASSETS IN ICVFX THAT CAN BE USED TO CREATE FINAL PIXEL CONTENT. THE ASSET DEPARTMENT THEN, UNDER THE ASSET SUPERVISOR, CREATE THE MODELS AND TEXTURES IN EXTERNAL DCCS APPLICATION THAT THEN VAD TEAM WILL USE TO DRESS THE DIGITAL SETS.

RESPONSABILITIES

- TOGETHER WITH THE VAD SUPERVISOR, HE/SHE DESIGNS WORKFLOW GUIDELINES FOR MODELLERS AND TEXTURE ARTISTS TO FOLLOW SO THEY MEET THE AGREED STANDARDS FOR REAL-TIME USAGE

- CONSTANTLY SUPERVISE THE ASSET BUILD AND TEXTURE CREATION IN EVERY STAGE, ASSURING THE EXPECTED VFX HIGH STANDARDS ARE MET FOR EVERY MODEL HAVING IN MIND AND AS REFERENCE THE NATURE OF THE REAL-WORLD

- WORK SIDE BY SIDE WITH THE PROJECT’S PRODUCTION DESIGNER AND ART DIRECTOR TO CREATE DIGITAL TWINS OF THEIR PROPS AND GIVING FEEDBACK ON HOW THEY SHOULD CREATE THEIRS SO THEY MET THE ACTUAL POSSIBILITIES OF THE REAL-TIME ASSETS

BACKGROUND

- EXPERIENCE WORKING AS ASSET SUPERVISOR IN THE VFX INDUSTRY WITH AS MODELLER AND TEXTURE ARTIST BACKGROUND

- KNOWLEDGE AND EXPERIENCE WORKING WITH UNREAL ENGINE

- OBSESSION WITH DETAIL AND PHOTOREALISM

-EAGER TO HELP HER/HIS TEAM TO LEARN AND CONSTANTLY IMPROVE EVEN WHEN THE RESULTS ARE ALREADY HIGH

- WORK SIDE BY SIDE THE ASSET VALIDATION TEAM TO MAKE SURE THE INITIAL INTENTION AND DESIGN IS VISIBLE IN THE FINALIZED VERSION OF THE ASSET INSIDE UNREAL ENGINE

MODELLING LEAD AND TDs

MODELLERS MUST FOLLOW THE SAME STANDARDIZE PRACTICE AND FILM AND EPISODIC QUALITY AS ANY VFX PIPELINE. THE ONLY DIFFERENCE FOR REAL-TIME INJECTION IS COMMUNICATED BY THE ASSET SUPERVISOR

RESPONSABILITIES

BACKGROUND

- CREATE BASE MESHES FOR BOTH ORGANIC AND HS MODELS WITH VFX STANDARD TOPOLOGY. MAKING SURE THE POLYGON DISTRIBUTION IS BALANCED TO THE REQUIREMENT OF THE ASSET SUPERVISOR

- SCULPTING OF MID AND HIGH FREQUENCY DETAILS IN A NON-DESTRUCTIVE PIPELINE

- RETOPOLOGY OF DRAFT MODELS, SCULPTING AND SCANNED MODELS

- MODELLERS OF THE ASSET DEPARTMENT MUST BE TRADITIONAL VFX MODELLERS

- EXPERIENCE WORKING IN FILMS AND EPISODICS

- EXTREME ATTENTION TO DETAIL AND PHOTOREALISM

- MUST MASTER BOTH VERTEX AND PARAMETRIC MODELLING AS WELL AS SCULPTING

- KNOWLEDGE OF REAL-TIME IS NOT REQUIRED, THE ADAPTATION TO REAL-TIME WILL BE ON THE ASSET SUPERVISOR GUIDELINES

CHARACTER ARTISTS AND LEAD

THE AMOUNT OF COMPLEXITY FOR THE ANIMATION OF A FINAL PIXEL DIGITAL CHARACTERS MAKES IT NOT SUITABLE FOR ICVFX AT THE MOMENT DUE TO THE PERFORMANCE IMPACT. THE ASSET SUPERVISOR NEED TO WORK CLOSELY TO THE CHARACTER TEAM SO THEY CAN CREATE LESS-DETAILED OPTIMIZED PROXY CHARACTERS FOR A PREVIEW IN ICVFX. REGARDLESS OF THE PREVIOUSLY STATED, THERE MIGHT BE PROJECTS WITH THE REQUIREMENT OF THE EXPERIMENTATION FOR FINAL ICVFX CHARACTER ANIMATION WILL BE A MUST, IT IS RESPONSIBILITY OF THE VP SUPERVISOR TO REORGANIZE THE EFFORTS AND TEAMS TO ACCOMPLISH THAT.

RESPONSABILITIES

BACKGROUND

- FOLLOWING THE SAME VFX TRADITIONAL WORKFLOW, MODELLING AND SCULPTING THE BASE MESH, RETOPOLOGY TO CREATE THE LOW FREQUENCY BASE FOR ANIMATION

- SCULPT MID TO HIGH FREQUENCY DETAIL

- WORK CLOSELY TO THE ANIMATION SUPERVISOR AND THE CHARACTER ANIMATION TEAM TO FIND STRATEGIES FOR A CORRECT TOPOLOGY BALANCE FOR RIGGING AND THE CREATION OF SKELETON AND MUSCLES LAYERS

- EXPERIENCE WORKING WITH CHARACTER MODELLING FOR VFX OF FILMS AND EPISODIC

- IF THE MODELLERS HAVE EXPERIENCE WORKING ONLY ON SCI-FI, FANTASY CREATURES, THEY SHOULD SHOWCASE AN INSPIRATION OF THE ANATOMY AND SURFACE FEATURES OF THE REAL WORLD

TEXTURE ARTISTS AND LEAD

CREATE BY POLY PAINTING OR BY NODE PARAMETERS THE DIFFERENT TEXTURES MAP WHICH WOULD BECOME THE BASE OF THE MATERIAL WORK OF THE SHADER ARTIST. THE SAME VFX PIPELINE IS EXPECTED WITH THE EXCEPTION OF REPLACING UDIMs BY MATERIAL IDS

RESPONSABILITIES

BACKGROUND

- SPLIT THE MODELS IN DIFFERENT MATERIALS IDS TO RECREATE THE SAME GOAL OF UDIMs USAGE

- UNWRAP THE POLYGONS IN THE HIGHEST TEXEL DENSITY POSSIBLE

- WORK CLOSELY WITH THE ASSET SUPERVISOR, THE SHADER LEAD AND THE VP SUPERVISOR TO DEFINE THE REQUESTED CHANNEL MAPS AND HOW TO ADDRESS THEM

- VFX ARTIST WITH EXPERIENCE WORKING ON FILMS OR EPISODICS

- MUST BE STRONG DETAIL-ORIENTED WITH A PASSION FOR PHOTOREALISM

- THEY SHOULD POSSE AN UNDERSTANDING OF THE THEORY BEHIND LIGHT ABSORPTION, AND IOR

- RELYING HEAVILY ON REAL WORLD REFERENCE CREATE THE DIFFERENT TEXTURE BY POLY-PAINTING OR GENERATING NODE BASED WORKFLOWS FOR THE TEXTURE GENERATION

SOFTWARE DEPARTMENT

SOFTWARE DIRECTOR

A COMPLETELY TECHNICAL DEPARTMENT MADE OF A CREW WITH PASSION FOR VIRTUAL PRODUCTION BUT COMING FROM A PROGRAMMING, NON-CREATIVE BACKGROUND. THIS DEPARTMENT UNDER THE LEADERSHIP OF THE SOFTWARE DIRECTOR HAVE THE RESPONSIBILITY TO SEEK AND MAINTAIN THE STABILITY OF THE UNREAL ENGINE AND ALL OTHER SOFTWARE USED FOR VP THROUGH-OUT THE WHOLE PRODUCTION BUT SPECIALLY IN PRINCIPAL PHOTOGRAPHY. THIS SOFTWARE ECO-SYSTEM SHOULD ALSO GUARANTEE THE EASY AND FAST OPERABILITY OF FEATURES TO MAKE THE SHOOTING AND ALL COMPLEX INTERDEPARTMENTAL WORKFLOWS AS SMOOTH AS POSSIBLE

RESPONSABILITIES

- MAINTAIN THE STABILITY OF THE SOFTWARE SYSTEM IN ALL STAGES OF PRODUCTION

- LEAD THE R&D FOR SPECIFIC DEVELOPMENT REQUESTED FOR PARTICULAR PROJECT

- TOGETHER WITH THE TECHNICAL DIRECTOR AND THE VP SUPERVISOR DESIGN THE TOPOLOGY OF THE VOLUME, TAKING CARE OF THE SETUP, RUNNING AND DEBUGGING OF NDISPLAY/DISGUISE AND MULTI-USER

BACKGROUND

- EXPERIENCE AND DEEP KNOWLEDGE WORKING WITH UNREAL SOURCE

- EXPERIENCE WORKING AS TD IN A VIRTUAL PRODUCTION SHOOTING

- EXPERIENCE AS LEAD PROGRAMMER IN A UNREAL ENGINE-BASED VIDEOGAME OR INTERACTIVE EXPERIENCE

- WORK CLOSELY WITH THE VP SUPERVISOR AND THE VAD SUPERVISOR TO CREATE TOOLS TO AUTOMATE CREATION PROCESS AND TO FACILITATE RELIABLE EASY OPERATION ON SET.

- MAIN OPERATION OF TECHNICAL RELATED UNREAL FEATURES ON STAGE

- AUTOMATIZATION OF PROCESSES BY PYTHON SCRIPTING OF BY MODIFYING UNREAL’S SOURCE

- MAKE CONSTANT REPORTS ON CHALLENGES OR POTENTIAL ISSUES AND COME WITH A PLAN TO SOLVE THEM

- TROUBLE SHOOT UNREAL ENGINE IN PRINCIPAL PHOTOGRAPHY

- TOGETTHER WITH TECHNICAL DEPARTMENT PERFORM LENS PROFILING

DEVELOPERS

THEY ASSIST THE SOFTWARE DIRECTOR TO CARRY OUT OF ALL HER/HIS DUTIES WITH A FOCUS ON TOOLS BUILDING WITHIN UNREAL AND THE WRITING OF AUTOMATIZATION SCRIPTS.

RESPONSABILITIES

BACKGROUND

- CREATE A VAST VARIETY OF TOOLS AND PLUGINS TO FACILITATE THE OPERATION OF THE CONTENT ON THE WALL

- ASSIST ANY OTHER DEPARTMENT IN CREATING AUTOMATIZED PROCESS TO AVOID ANY SORT OF REPETITIVE TASK

- THESE ARE THE ONLY ROLES, WHERE COMING FROM VIDEO GAMES OR INTERACTIVE EXPERIENCES IS NOT ONLY ALLOWED, BUT ENCOURAGED

- DEEP KNOWLEDGE OF UNREAL ENGINE BLUEPRINT SYSTEMS AND C++ CLASSES

- DEVELOP ALL SORTS OF EXTERNAL SOFTWARE THAT WOULD AID THE OTHER FILM DEPARTMENT WHEN CONCEPTUALISING AND WORKING IN VIRTUAL PRODUCTION

PYTHON SCRIPTING

- DEBUGGING OF ANY TOOLS AND ADDITIONAL DEVELOPMENT

SOURCE CONTROL TD

THERE IS NO VIRTUAL PRODUCTION WITHOUT A PROPER SOURCE CONTROL SYSTEM. IT IS WHAT KEEPS THE VIRTUAL PRODUCTION HUB THROUGH ALL STAGES OF PRODUCTION RELIABLE AND CONSISTENT. THE SOURCE CONTROL TD IS THE PERSON IN CHARGE OF THE SOURCE CONTROL OPERATION

RESPONSABILITIES

BACKGROUND

- DESIGN THE PROJECT SPECIFIC SOURCE CONTROL WORKFLOW FOR THE PRODUCTION

- SET UP THE SERVER AND ITS DEPOT WHILE MANAGING ALL ACCOUNT AND SECURITY PROTOCOLS

- DEVELOP GUIDELINES FOR SOURCE CONTROL BEST PRACTICES AND MAKE SURE THOSE ARE FOLLOWED

- DEEP KNOWLEDGE OF THE SOURCE CONTROL SYSTEM CHOSEN FOR THE PROJECT

- UNREAL ENGINE KNOWLEDGE AND ITS RECOMMENDED BEST PRACTICES FOR DATA ORGANIZATION

- EXPERIENCE WORKING IN VIRTUAL PRODUCTION AND ON SET

- CONSTANTLY MONITOR THE STABILITY OF THE SYSTEM

- ADDRESS EMERGENCIES RELATED TO SOURCE CONTROL

- SOURCE CONTROL MANAGER DURING PRINCIPAL PHOTOGRAPHY

OPTIMIZATION LEAD AND TDs

THIS TEAM IS IN CHARGE OF MAKING SURE THE CONTENT IS CONSTANTLY MEETING THE TARGET FRAME RATE IN ALL POSSIBLE CAMERA ANGLES AND FOCAL LENGTH AND MOVEMENTS

RESPONSABILITIES

BACKGROUND

- CONSTANTLY PROFILE THE CONTENT IN ARTIST WORKING MACHINE AS WELL AS IN VOLUME WHILE CONTENT IS STILL IN PRODUCTION. TAKING A MEASURE UNIT THE DIFFERENT CAMERA ANGLES AND FOCAL LENGTHS AS WELL AS THE CAMERA MOVEMENT THROUGHOUT THE VOLUME

- OPTIMIZATION EXPERIENCE WORKING IN AAA GAMES

- DEEP KNOWLEDGE OF UNREAL RENDERING PROCESSES

- LEAD SHOULD HAVE EXPERIENCE WORKING ON AN ICVFX ENVIRONMENT WITH UNDERSTANDING OF THE BURDEN OF NDISPLAY ON PROCESSING POWER

- MAKE PROFILING REPORTS TO BE PRESENTED TO THE VP SUPERVISOR AND SOFTWARE DIRECTOR ABOUT TIME CONSUMED BY EACH RENDERING THREAD ON EACH FOCAL LENGTH AND CAMERA MOVEMENT

- WHEN FRAME DROPS ARE REPORTED, IDENTIFY THE ISSUE AND PRESENT POTENTIAL SOLUTIONS TO THE VP SUPERVISOR AND SOFTWARE DIRECTOR

TRACKING AND LED DEPARTMENT

TRACKING AND LED DIRECTOR

THIS IS THE SAME ROLE AS UNDERSTOOD IN THE OLD WORKFLOW AS VIRTUAL PRODUCTION SUPERVISOR

RESPONSABILITIES

- DESIGN THE LED VOLUME TOPOLOGY AND ALL OF ITS PERIPHERAL SYSTEMS, INCLUDING BUT NOT LIMITED TO THE TRACKING VOLUME

- LEAD THE TEAM TO ADAPT THE VOLUME TO ADDRESS LAST MINUTE CHANGES FROM THE HODS

- PRODUCE DAILY CHECKS TO GUARANTEE THAT THE SYSTEM IS UNDER THE SAME APPROVED CONDITIONS SO NO UNEXPECTED ISSUE INTERRUPTS THE CORRECT DELIVERY OF CONTENT TO THE WALL

BACKGROUND

- TRACKING OR VIDEO ENGINEER BACKGROUND

- PROBLEM SOLVING ORIENTED

- DEEP KNOWLEDGE OF VIDEO SYSTEMS, NETWORKS AND COLOUR MANAGEMENT

- EXPERIENCE WORKING AS VIRTUAL PRODUCTION SUPERVISOR WHEN THE ROLE WAS UNDERSTOOD AS A TECHNICAL ON-SET SUPERVISOR

- TROUBLE SHOOT AND QUICKLY SOLVE TECHNICAL ISSUES THAT STOP CORRECT FUNCTIONALITY

- PRODUCE ENOUGH AMOUNT OF TRACKING METADATA TO BE USED IN POST-PRODUCTION

TRACKING LEAD

THIS TEAM IS IN CHARGE OF MAKING SURE THE CONTENT IS CONSTANTLY MEETING THE TARGET FRAME RATE IN ALL POSSIBLE CAMERA ANGEL AND FOCAL LENGTH AND MOVEMENTS

RESPONSABILITIES

-TOGETHER WITH THE TLD DESIGN THE BEST POSSIBLE APPROACH TO THE TRACKING SOLUTION FOR THE PROJECT TO BE PRESENTED TO THE VP SUPERVISOR

-MANAGE AND INSTALL THE TRACKING DEVICES

BACKGROUND

- EXPERIENCE WORKING IN BOTH CAMERA TRACKING AS WELL IN MO-CAP VOLUME

- EXPERIENCE WORKING IN ICVFX HIGH-TIER PRODUCTIONS

- ALIGNS AND CALIBRATE THE TRACKING SYSTEM

- OVERVIEW THE PERFORMANCE AND WORKING TOGETHER WITH THE SYSTEM DIRECTOR SUPERVISE THE CORRECT INPUT OF THE TRACKING DATA INTO UNREAL ENGINE

TRACKING OPERATOR

THIS IS THE PERSON SITTING IN FRONT OF THE COMPUTER RECEIVING ALL TRACKING DATA AND MANAGING THE OUTPUT TO THE SPECIFIC SOFTWARES

RESPONSABILITIES

BACKGROUND

-MANAGE AND CONTROL THE CAMERA ACTIVITY FOR TRACKING VOLUME ARCHITECTURES SUCH AS VICON

-MAKE SURE MOTION INFORMATION IS SOLID AND ALWAYS STREAMING TO THE CORRESPONDENT SOFTWARE, WHETHER IS UNREAL OR ANOTHER PLATFORM

-EXPERIENCE WORKING IN TRACKING VOLUMES AND WITH CAMERA TRACKING

-FILM INDUSTRY EXPERIENCE IS NOT A MUST BUT ADVISABLE

-WHERE MO-CAP AND CAMERA TRACKING ARE BASED IN DIFFERENT SYSTEMS, THERE MIGHT BE A NEED FOR MORE THAN ONE OPERATOR

-ASSIST THE TRACKING LEAD ON TROUBLESHOOTING

- RECORD ALL TRACKING INFORMATION IN AN ORGANISED WAY, FOLLOWING NAMING STANDARDS AND PASSING THAT KNOWLEDGE ON TO THE DIGITAL SCRIPT

MO-CAP LEAD AND TDs

THE TEAM IN CHARGE OF ALL MOTION TRACKING THAT IS NOT CAMERA TRACKING FOR ICVFX FRUSTUM. THEY WILL BE MOSTLY DEALING WITH HUMAN MOTION BUT MIGHT INCLUDE OTHER ELEMENTS SUCH AS MOVING LIGHTS

RESPONSABILITIES

BACKGROUND

- SET UP AND PLACE THE TRACKING MAKERS IN PERFORMERS OR ANY OTHER SORT OF OBJECT OR PLATFORM THAT NEEDS TO BE TRACKED

-GREAT EXPERTISE IN MO-CAP WITH BACKGROUND IN VFX

-EXPERIENCE IN ICVFX SHOOTING MOST ADVISED

- WORK WITH THE TRACKING OPERATOR SO ALL TRACKING INFORMATION IS CAPTURED WITH THE LESS AMOUNT OF SAMPLING ERROR AS POSSIBLE, CLEANING UP IN REAL-TIME OR SETTING THE BASES FOR A SUCCESSFUL CLEAN-UP AFTERWARDS

- WORK CLOSELY WITH THE TRACKING LEAD, TLD AND VP SUPERVISOR TO DESIGN NEW TRACKING SYSTEMS FOR A SPECIFIC PROJECT

- CALIBRATE THE VOLUME AND TROUBLESHOOT DURING SHOOTING

CAMERA TRACKING LEAD

THIS IS THE PERSON IN CHARGE OF THE CAMERA’S CROWN OR ANY OTHER SYSTEM FOR CAMERA TRACKING

RESPONSABILITIES

- WORK CLOSE WITH THE CAMERA OPERATOR TO AGREE ON WEIGHTS, DEVICES PLACEMENT, CAMERA MOVEMENTS AND FIZ TRACKING

- CONSTANTLY CALIBRATE THE TRACKING SYSTEM TO ENSURE THE INNER FRUSTUM IS ALWAYS ON SYNCH

BACKGROUND

- EXTENSIVE EXPERIENCE WITH MO-CAP

- EXPERIENCE WITH CAMERA TRACKING IDEALLY IN AN LED ICVFX WORKFLOW

- PERFORM ALONGSIDE TLD AND TRACKING LEAD THE TASKS OF LENS PROFILING

- READJUST CROWN OR ANY OTHER TRACKING DEVICE WHEN A CHANGE IN CAMERA RIG OR LENS CHANGE TAKE PLACE

LED TD AND TECHNICIANS

THE TEAM IN CHARGE OF THE LED WALL ITSELF ON A HARDWARE LEVEL AS WELL AS SIGNAL FLOW FROM WHEN VIDEO ENTERS THE LED PROCESSING SYSTEM

RESPONSABILITIES

BACKGROUND

- MANAGE LED TILES, RIG UP THE WALL AND REARRANGE THE RIGGING WHEN REQUESTED.

- CONSTANTLY CHECKING INTEGRITY OF PIXELS AND REPLACING TILES CONTAINING DEAD PIXELS IN A SEAMLESS WAY SO IT DOES NOT PRODUCE ANY COLOUR SHIFT

- EXTENSIVE EXPERIENCE WORKING WITH LED PANEL TECHNOLOGY FOR CREATIVE INDUSTRY EVENTS SUCH AS LIVE SHOWS, BROADCASTING, ETC..

-THE TD MUST HAVE EXPERIENCE WORKING ON A LED ICVFX FOR FILMS AND/OR EPISODICS

- TD ASSISTS THE TLD AND VP SUPERVISOR IN A WALL DESIGN THAT RESPONDS TO THE CREATIVE CHALLENGES

- TO RIG, KEEP AND MAINTAIN ALL PERIPHERAL HARDWARE TO THE WALL, SUCH AS LED ELEVATION AND SUSPENSION

- KEEP THE LED WALL FROM PHYSICAL HARM AT ALL TIMES

- KEEP THE LED WALL CLEAN

- WORK CLOSELY WITH THE SOFTWARE DIRECTOR AND THE VIDEO ENGINEER LEAD TO DESIGN HOW THE DIFFERENT RENDERS NODES WILL BE MAPPED INTO THE WALL

VIDEO ENGINEER TD AND TECHNICIANS

THE TEAM RESPONSIBLE FOR THE WHOLE VIDEO SIGNAL FLOW FROM THE MOMENT IT IS OUTPUT TO THE RENDER NODES TO THE MOMENT THE CAMERA FOOTAGE IS RECORDED. THEY ARE ALSO IN CHARGE TO THE NO-LESS IMPORTANT NOR COMPLEX VIDEO ASSIST SYSTEM TO EVERYONE OPERATING WITH VIDEO SIGNAL

RESPONSABILITIES

BACKGROUND

- TD DESIGNS WITH THE TDL, SOFTWARE DIRECTOR AND VP SUPERVISOR THE VIDEO SIGNAL FLOW ARCHITECTURE SO IT CARRIES LOSSLESS, BIG-COLOUR DEPTH ACROSS THE WHOLE SYSTEM, CREATING BRANCHES SO IT FEEDS BACK THE VIDEO RENDERED OUT OF THE NODES TO THE OPERATION CARTS FOR A REPRESENTATION OF DATA OFFERING MORE CONTROL.

- ALL MEMBERS OF THE DEPARTMENT ARE EXPECTED TO HAVE SOLID EXPERIENCE IN VIDEO TECHNOLOGY FOR ICVFX.

- TD MUST HAVE EXPERIENCE IN FILMS AND EPISODICS

- WORK HAND IN HAND WITH OTHER ON-SET DEPARTMENTS RELYING ON TIMECODE AND GENLOCK SO ALL IS UNDER ONE UNIFIED STRUCTURE

- WORKS HAND IN HAND WITH DIT SO ALL VIDEO DATA IS THE SAME SHARED ACROSS ALL VIEWERS FOLLOWING ICVFX STANDARD OF QUALITY, SUCH AS LUT-ED FEED OVER THE SAME COLOUR SPECTRUM

- HEAVILY ASSIST ON THE COLOUR MANAGEMENT AND CALIBRATION PROCESS

- QUICKLY TROUBLESHOOT INTERRUPTION OF THE VIDEO FLOW WHILE SHOOTING

- TIDILY MANAGE CABLING

- ALONG-SIDE THE SYSTEM ADMINISTRATOR KEEPS AND MANAGE THE MACHINE ROOM

SYSTEM ADMINISTRATOR AND ASSISTANTS

RESPONSIBLE FOR THE ACQUISITION AND MANAGEMENT OF ALL IT HARDWARE SUCH AS PCS AND SET UP AND MANAGE THE LAN NETWORK WHICH THE VOLUME WILL USE TO OPERATE

RESPONSABILITIES

BACKGROUND

- TOGETHER WITH THE VIDEO ENGINEER AND LED DEPARTMENT BUILD UP AND SET UP THE MACHINE ROOM

- IT EXPERIENCED TEAM WORKING WITH HIGH LEVEL CONFIDENTIAL DATA

- ACQUIRE AND SET UP ALL THE BASICS SYSTEMS BEHIND WORKSTATIONS

- DESIGN, INSTALL, MANAGE AND TROUBLESHOOT THE LAN NETWORK AND ITS INTERDEPENDENCE TO OTHER DEPARTMENTS SUCH AS DMX PACKAGES

- MAIN ADMINISTRATOR MUST HAVE EXPERIENCE WORKING FOR THE MEDIA INDUSTRY

- EXPERIENCE IN FAST PROBLEM SOLVING ENVIRONMENTS

- KEEP THE NETWORK SECURED AND FOLLOWING CLIENT STANDARDS OF DATA SECURITY

- WORK WITH THE SOURCE CONTROL TD TO BUILD UP AND MAINTAIN THE SERVER