Starting to work in the VFX industry can seem like a challenging thing to do. Here are three entry-level roles that can make you start in the VFX industry.
Runner
The best way to get a foot in the door at a VFX company without having work experience is starting off as a runner. In this role, you’ll be supporting artists by making sure everything behind the scenes is working. Also, you’ll be responsible for scheduling meetings and running between departments to take equipment to and from artists. In the meanwhile, when you’re not on duty hours, you may observe compositors and use the computer and software to study. Sometimes you’ll have to find yourself tasks to do, so it’s important to be proactive and outgoing.
Although there are some pros of being a runner, there are mostly cons. If you don’t have any experience in the VFX industry, don’t have a good computer and/or can’t afford the software, being a runner can give you access to that. On the other hand, if that’s not the case, you’ll probably get less payment for what your knowledge is worth. Also, you won’t be gaining any direct VFX experience. If you are looking to move up to a direct VFX job you’ll have to work really hard and be outgoing enough to present your work in order to fill a spot as an artist.
If you are a communicative person, you’ll have enough opportunities to create a good network, since you’ll be frequently in touch with supervisors. But the interactions will be mostly for a short period of time, and you probably won’t have all the time you need to show your skills.
Matchmover
A matchmover is an artist that is able to match the camera movement of a live action footage with the movement of a virtual camera. This skill is used when there’s the need of incorporating a 3D asset or scene with a shot of live action footage, and it’s fundamental for the CGI elements to be placed in the correct position, scale and motion in order to look natural in the composition. Matchmoving is often called camera tracking or motion tracking.
There’s two types of matchmoving: 2D and 3D. While 2D matchmoving only allows you to change the image of a live action footage, such as changing a billboard ad or what’s being displayed on a phone, stabilizing the footage or adding motion blur to it, with 3D matchmoving you may insert CGI elements to the footage.
There’s also the possibility of using real-time matchmoving. In that case, there’s the need of using a green screen to film the actors, and the director can see the final piece on the computer on set.
The workflow starts with having a plate, and figuring out the plate’s camera move is the first step; tracking is the crucial skill for that. You can either use the software’s auto track, or manually select the tracking points; it depends on the complexity of the footage. Combining the two track methods may lead you to the best result. Good tracking points are the ones that have sharp angles and contrast, so having motion blur can make it harder to track. Next, is the calibration stage, where you need to represent the exact motion and position of the camera. In this stage, you need to specify the lens used in order to simulate the correct lens distortion.
The software in use for this job are Boujou, Syntheyes and PFtrack.
Here’s an example of a workflow done using PFtrack, followed by a link with the tutorial.
Roto Artist
Roto artists trace and cut areas of a live-action footage that will later be used in the composition of a new scene. They create mattes, which is the area that isn’t going to be used in the composition. Rotoscoping is a basic skill that a VFX artist needs to have and can make the artist find their first job at a company.
The work consists in using a software that lets you build a mask in an existing footage. If the object you’re masking out moves, then you need to adjust the mask frame by frame. For these reasons the professional needs to be patient and thorough since the process can be repetitive if the footage has a massive number of frames.
Digital rotoscoping can be done through software like Nuke or After Effects.
In Nuke the workflow consists of starting with a live-action footage, followed by drawing a closed curve. Since Nuke works with nodes, there’s the need of using a merge node to make the curve mask the footage. Next, you’ll have to adjust the mask in almost every frame, remembering to make a key point on them. One trick to make the work easier is to key the first and last frame – adjusting the mask- and then key the frame right in the middle; then choose middle frames of the ones already adjusted.
Here’s an example of a workflow done using Nuke.