Layout does just what the name implies, they create the map that the sequence will follow. Layout places the characters and props, establishes the camera angle, and incorporates the geometry of the background so we all know what will happen before we make it happen.

The "previs" artist assembles the 3D sets and props into the scenes as defined in the script and establishes preliminary camera moves. For visual effects in live-action productions, the artist previsualizes shots using 3D models to support the Director of Photography for the live-action filming.

This function sometimes replaces hand-drawn animatics and is a relatively new position in the animation world.

Layout artists usually uses lo-res or blocks of geometry in the place of the final set and characters. It is the responsibility of the Modeling department to deliver the approved set, props and characters in the final layout and set dressing stages. The Layout Artist is responsible for composing the shot and delivering rough animation to the animators, as a guide.

Directors approve camera moves, depth of field and the composition of the models which make up the set and set dressing, in a given shot or sequence.

What Layout produces for the next department, is the materialization in 3D, of what the storyboard artists have drawn on paper.

As Layout Artists in CGI are undertaking a role similar to that of a Director of Photography, it is essential that they are extremely film literate and able to meet the needs of a production.

Demonstration of artistic skills including a strong sense of composition and perspective, good use of light, shadow and colour; the ability to create atmosphere and good understanding of editing are all key skills required for artists in this role.

The Modeling Department works on the 3D versions of the sets, props and characters. Two common ways that the modeler starts their task, is to use a scanned version of a maquette (the physical model). Another starting point for the modeling artist is to use the approved model sheets, concept art, and photo reference delivered by the art department.

Props, Sets and Characters are normally presented in turntable form, for the Art Department and Director to make notes and approve assets for production. Once approved, the assets will be delivered to Layout, Texturing, and Rigging.

A texture artist creates and applies textures, colors, and other surface attributes to 3D models. They often work in Photoshop, painting their textures by hand or by manipulating photographs of real-life surfaces. The texturing department works to the approved concept art and designs delivered by the art department. Working hand in hand with the surfacing and shading departments, textures are painted in the form of maps assigned to a model.

There are various techniques and programs the Texture Artist can use. Body Paint, Photoshop and Zbrush are some programs that are used to paint textures, create maps and project those textures onto props, sets and character. Textures can be both painted and or based on a scanned sample or photo of real-world elements.

It is important that for the texture artist, UV’s delivered by the modeling department are correct - seams should be in the correct place, and polygons subdivided properly to avoid obvious seams and stretching of textures. When a 3D model is created, 2D images can be used to add color, graphics, and textures. This is called mapping, and often the entirety of a model's color comes from this. These maps can be created in programs like Photoshop, and the illusions of textures can be brushed onto the models as easily as if you painted them yourself.

The Rigging department evaluates the model, taking into account the action required by the script and inserts a computer generated skeleton with a set of controls that offer all the functionality needed to make the character or prop perform. If Blue Sky were a puppet factory, then the Rigging department would be responsible for attaching the strings that the Animators would use to put on the puppet-show.


The animator will give personality and movement to a character, but it is in the rigging department where the character is given the framework or better, skeleton, which is essential to the characters ability to be animated.

A rigger will give the modeled character its bones, joints and skin weighting in the form of various controls by which the animator can then key frame and move interactively. The rigging department is also involved in developing cloth simulation – so as well as making a character able to clench his fist or rotate his arm, the rigging and cloth department is responsible for making a characters costume move in a believable manner.

Next is Animation, where the full life of the characters takes hold. For example, when Fender needs to dance in Robots, Animation choreographs the dance as well as makes him perform. When background characters need to move in a crowd scene, it is the animators that give them subtle movement, creating "extras" out of otherwise secondary models. Once the action is cemented and the performances meet the expectations of our directors, the sequence continues down the pipeline where it will receive its details and finishing touches.

At this stage of the production, different types of animation is done. Artists can be scheduled to make improvements to the motion captured animation/performances – finishing touches and details of the performances are added here.

Animators can also be scheduled to a scene or list of shots for which characters will be animated per frame and then reviewed in full sequence. Animation will be presented to the Director/Directors in the form of dailies, where they will make their comments or approve the animation. Depending on the project and its management, the approval process will be agreed upon before animation starts, and then enforced by production coordinators/supervisors.

Although the animation department does not interact directly with the lighting department, animators must be aware and considerate of how a characters animation will react to being lit. For example, if a character is meant to be sitting on a ledge, but in fact is floating above the ledge, contact shadows from the lighting in a scene will look incorrect. Therefore, it is integral that the animation that is delivered down the pipeline is technically correct, as well as performed well.

Within this stage of the pipeline, is where we see the animation and surfacing rendered together for the first time. A lighter will be assigned a sequence of shots for which he or she will develop. In this department the lighter, or Lighting TD will either setup shots or sequence by developing light rigs. Shot lighters working on the same sequence can use these light rigs to ensure that a sequence looks consistent.

Work is usually reviewed in dailies held each morning with the Director in which comments are made or shots approved. Afternoons can be used to address notes, and then to render shots overnight, to be reviewed by the Directors in the morning and hopefully approved. A final render or compositing scripts will be delivered to the compositing department where bells and whistles are added!

The effects team produce elements such as smoke, dust, water, and explosions. Effects animation often relies on dynamic simulations which can very memory intensive. Effects TDs work closely with the lighting department, as certain effects need to be lit in special ways, or the requirement of special mattes for the effects to work properly. Effects TDs may use varying programs such as maya, Houdini or software developed my a company.

Usually, the effects department does not begin development and completion of a sim until final animation has been delivered, or final lighting approved as the sim will need to be integrated into the final shot.




The compositing department is the last of the departments that, like its title suggests, brings together the 3D elements produced by all the departments in the pipeline, and composites them to create the final rendered image ready for film! General tasks of the compositor includes, the rendering of the different passes delivered by a lighting TD to form the final shot. At this stage, compositing will need to do paint fixes and rotoscoping, as well as to composite fx elements and general color grading.