In this post I will explore the various job roles involved in the production of an animation or game;
Animation production follows a ‘pipeline’ or ‘production line’ to get it from an initial idea to a finished product. A Production line ‘an arrangement of machines or sequence of operations involved with a single manufacturing operation or production process’ (Dictionary.com). The pipeline is a specific flow and the animation or ‘script’ needs to pass through each department before it is ready to move onto the next. Most job roles stay in a specific department but some job roles such as writers, can consult and work on various stages of the animation.
Development Department
The development depart ‘creates’ the animation, story, look and feel of the final product.
Animation writer
An animation writer is in the development stage of a game or animation, but often contribute to a project that is ongoing, such as a TV series. Their scripts are used by storyboard artists, directors and modelling artists to work out the visuals behind a project.
To be a good writer;
- Be able to tell a good story which captures the emotion of the characters involved
- be able to improve a current screenplay, along with hot to format one
- Be able to receive constructive criticism – what the writer creates might not be feasible for various reasons e.g. changing budget, time frame
- Be able to freelance – work is normally contractual
- Professionalism – work to a schedule etc
Jennifer Muro is a writer based in Los Angeles who has worked on empowering female characters through animation over the last decade. She has worked with Netflix, Disney and Marvel on projects such as Star Wars, Spider Man and The Last Kids on Earth.
Muro outlines in an interview with backstage.com that to be a TV writer, a background in film production, cinema studies, or a similar study of visual work gives you an edge on your writing. An insight into emotional dialogue is a must as well, which conveys characters personalities better.
eTechHow explains that the basis of each animation story is to have a main character, involve them in a series of conflicts, then ultimately resolve them or have an outcome either by a long term end, such as a series long story, or per episode. Writers for TV also have to involve cliff-hangers when going into ad breaks, which will bring the audience back to the show after the breaks. This is something that is getting more and more phased out due to streaming services without ad breaks, such as Netflix.
Concept Artist
Concept Artists, sometimes known as a visual development artist, or a conceptual artist, create the initial visuals for a variety of industries including animation, gaming, advertising, illustration. In terms of animation, these visuals are developed from a brief for whatever project is currently being worked on (mainly given from the writing department with director approval), and can range from environments, characters, and props. Depending on the project and brief, the work can be very loose and fast-paced, or can require several drafts and more detail-orientated sketches before being approved by the studio. To be a successful concept artist the individual needs to have a high level of drawing skill, the ability to work under pressure as well as good communication to deliver exactly what the studio wants. A large visual library is also recommended as concept art is mainly developed from scratch while the artist is only given the final requirement in a brief, they have to find their own process of achieving this.
Pre Production Department
The Pre Production department is the main department that creates the visuals for the animation or game. They create the look and feel of the characters, the props they interact with and the environment they are based in. Main job roles include storyboard artist, art director, character designer, modeller and background designer.
Head of Story
The head of story works with the writers and directors to create a visual representation of the scripts. They organise the action, staging , camera choice and ensure continuity in the animation. Depending on production this stage could be rough drawings or cleaner artwork.
Kristen Lester is the Head of Story at Pixar, writing the animated short ‘Purl’, based on her journey into animation. She describes being the Head of Story difficult at the time due to the lack of female writers and animators in the industry. She used her experience of trying to mould herself to suit the industry like yarn, changing it to fit the environment, and that inspiration formed the basis of Purl, including her look and storyline.
Storyboard Artist
A storyboard artist creates the visual for the script or narrative of the animation. They translate the written action and dialogue into an easy to follow visual. Storyboards themselves are panels of drawings which plan the shots to ensure there is flow between the scenes. Storyboards can be changed continually as often what a writer describes using word can be improved upon or edited to suit the animation better when drawn. Depending on the production, storyboards can be rough quick drawings or done more sharply for more accurate detail. This is particularly important if storyboard artists are working for international companies, as storyboards should be clear and concise.
Dan Milligan is a storyboard and visual developer based in Toronto, Canada. He has worked on a huge variety of both film and games, ranging from Marvels Black Panther, Bioshock Infinite by Irrational Games and the Uncharted series by Naughty Dog.
Art Director
Art directors are responsible for the visual look at the animation and provide a basis for the rest of the art department to work from. They generally reduce 2D designs of the final format of the animation. They consult on the animation from production to release.
Character Designer
Character designers work from briefs from the directors and create the visual look of characters. The best way they communicate the characters personalities is through facial expression or physical poses. Character designers create ‘models sheets’ to capture the character from different angles.
Modeller
Modellers build the digital or physical versions of everything on screen in an animation. The model can then be ‘riggged’ to be animated. In smaller studios, a modeller is often responsible for UV’ing and texturing as well.
Background Designer
A background designer creates scenery around the animation. They work from the storyboard panels when they are signed off. Sometimes scenes require the same background, so a background designer works through the animation and makes a scene list first, then creates backgrounds, thinking about colour, textures, light and placements of models.
Production
Rigger
Riggers create 3D skeletons, which move like puppets and create the movements of the characters. Rigging begins as a static pose, then create the network of movements. Animators test rigs and then give feedback to riggers if movements need to be changed.
Animator
Animators create still images played in a rapid sequence to create movement. Animators create drawings based on the storyboard and a verbal brief from a director.
Layout artist
Layout artists typically work at the beginning of the animation, detaining the depth and perspective of everything on screen.
Lighting artist
A lighting artist lights the animation and decides what lights to use and where to put them. Light enhances atmosphere and depth of a scene.
Effects technical director
These directors create physical-based digital effects, for example explosions, smoke and water. these effects need to be believable and blend seamlessly with other art in the animation.
Post Production
Sound designer
Sound designers create the sound script for the animation. The sounds create the right atmosphere and communicate the story and characters. Sounds can be created from scratch on a computer or mimicked and recorded in real life.
Editor
Editors are responsible for shape of the animation from start of production to the finish, planning the different scenes and shots. Editors arrange the final footage and prepare a rough cut, making a final version when they get approval by the producer.