|
|
 |
 |
 |
|
Storyboard Artists have the ability to visualize a film script in a series of panels somewhat like a comic strip. They are able to convey the essence of story line, scene structure, character emotion and create action and humor in alignment with the overall direction of the film. Ability to quick sketch, a mastery of human and animal anatomy, a filmic sense and a design-caricature ability are all necessary requirements.
Visual Development Artists are hired to visually explore a concept, which may include Character Design and/or Environment Design for animated films, shorts and special projects. Visual Development Artists will experiment with the diverse elements of film presentation to manipulate dramatic story moments, plot thrusts, moods, character conflict and place-time motifs to capture the emotional connection to the story's theme. A rich imagination, a sense of caricature and design, strong color sense, a mastery of human and animal anatomy, architecture, the ability to work in different mediums and the versatility to conceptualize visually in a variety of techniques are required. Children's book illustration, fine art and/or Illustration skills are a plus.
Modelers are responsible for creating complex organic models needed for character animation; prop elements for effects; and environmental sets and structures. A mastery of human and animal anatomy, perspective, weight, volume, proportion and/or architecture, industrial design or automotive design are required. Previous experience with traditional sculpting is a plus.
Layout Artists demonstrate a strong sense of place and environment. Attention to perspective and composition is critical in developing a variety of environments for characters to live in.
Character Technical Directors are responsible for constructing 3D character rigs, animation interfaces and establishing muscle, skin and clothing behaviors (i.e. range from broad squash and stretch to realistic physical simulations). Traditional drawing, design and sculpture abilities are applicable, as is knowledge of anatomy, kinematics and physical behaviors.
Character Animators bring characters to life. To be a successful candidate, Character Animators may have a background in any of the following animation disciplines: traditional, cg, stop motion or claymation. Prior training should cover anatomy, perspective and composition, including solving problems in weight, balance, movement, space, construction and proportion. Animators must be able to demonstrate their understanding of animation principles such as timing, clear staging, squash and stretch, anticipation and follow-through, and secondary action.
Background/Matte Painters create the final environment for our characters to live in. A strong sense of design and compositing, color and proportion is essential in developing 2D and 3D backgrounds.
Look Development Painters work with other Look Development staff to achieve the look of a more complex 3D element (i.e. principle characters) in the show. This could include painting texture maps (e.g. color maps, specular maps, displacement maps, etc.), working with TDs to enhance the look and creating lighting setups. Look Development Painters typically have previous production experience and have demonstrated exceptional skills/abilities in 3D artwork.
Look Development Technical Directors work as part of a Look Development team that defines all the technical aspects needed to create the look of a 3D element. This may include the development and writing of custom shaders, and applying texture maps, or developing other custom software to accomplish the art-direction goals of an element or environment.
Hair/Cloth Technical Directors work with the Model Department, Look Development, Animation and Software teams to create art-directable dynamic simulations for character hair/fur and clothing in 3D feature animation production. Production experience with procedurally generated objects and dynamic simulations, a thorough understanding of 3D computer programs and exceptional artistic skills/abilities in 3D/traditional artwork are required.
Assistant Technical Directors work in any artistic department on a production supporting a wide range of digital artists and/or TDs. ATDs must possess a working knowledge of UNIX, the ability to work in a collaborative environment, as well as a basic understanding of modeling, lighting, compositing and animation. Taking direction from TDs and/or artistic supervisors, an ATD will be expected to execute one or more of the following procedures: muscle and skin dynamics simulations, particle simulations, cloth simulations, Shell or Mel scripting, shader writing/support and implementation of a rendering pipeline.
Effects Animators add the forces of nature to an animated film. An understanding of physical dynamics and natural phenomena is key, as it aids in producing a believable world and setting the mood for the story. An Effects Animator must take direction easily, work well with an artistic team and deliver scenes in a timely fashion.
Shot Finalers (Lighting/Compositing) have an understanding of color, contrast, and lighting design, along with a solid familiarity with 3D lighting in a production environment. Also a strong visual sense and the ability to distinguish subtle differences that affect the matching of elements created in multiple mediums are imperative.
Graphics Tools Software Engineers are responsible for analyzing the procedures and problems of animated film production, evaluating the effectiveness of existing systems and making recommendations to improve output, efficiency and workflow. Areas of specialty for a Graphics Software Engineer may include rigging and animation, dynamics, paint, effects and/or look development tools. They partner with production personnel to determine user needs and review system capabilities to decide what changes can be made within the existing systems and when new systems must be added. They will often work with developers and/or end-users on multiple films. Design responsibilities include the creation of new C, C++, Mel, Perl or Python code or the modification of existing code, whichever meets productions needs in the timeliest manner. Regression testing and analyzing of software, code check-in/integration and distribution are part of the software engineer's implementation responsibilities.
Process Tools Software Engineers also develop software tools for the production of animated films. They are responsible for analyzing production software procedures and problems, evaluating the effectiveness of existing systems and making recommendations to improve output, efficiency and workflow. Their areas of specialty include lighting, rendering, editorial, post production and/or pipeline tools. They partner with production personnel to determine user needs and review system capabilities to decide what changes can be made within the existing systems and when new systems must be added. Software Engineers design responsibilities include the creation of new C or C++ code or the modification of existing code, whichever meets productions needs in the timeliest manner. Regression testing and analyzing of software, code check-in/integration and distribution are part of the software engineer's implementation responsibilities.
Systems Administrators are responsible for the configuration, tuning and troubleshooting of various systems in our production infrastructure. The Systems Administrators have a particular focus on UNIX/Linux, but also support Windows and Macintosh systems. They perform hardware and software maintenance on workstations and servers as well as data protection. Systems Administrators interact with a variety of production, systems and software teams.
Technical Support Engineers (TSE) provide software, hardware and systems support to our Artists and Developers involved in animated film production. The TSE teams require creative problem solving abilities, advanced understanding of animation or visual effects production, strong skills in commercial graphics packages such as Maya, Shake or Photoshop and developed UNIX/Linux knowledge.
Render I/O (RIO) Administrators are responsible for understanding production's render pipeline and supporting proprietary production techniques. They monitor and troubleshoot the render queuing system and rendering workload. Tasks include troubleshooting and correcting failed tasks, image quality control, technical advice/support and interfacing with artists, systems administrators and production management to ensure production deadlines are met.
Image and Data Services (IDS) Administrators perform calibration for color-critical monitors, archiving of images and other data to tape and CD/DVD, and assist with disk space management and long-term offsite data storage. IDS Administrators also perform a variety of special projects that require a technical understanding of the animation production pipeline. IDS Administrators learn and perform all IDS tools and processes and create/update/maintain a web-based system to report the status of those processes.
For submission information, please click here
|
|
|
|
|
