Film experience integrating cg elements or additional plates into live action footage. Well knowledge of photography, lens distortion, light wraps, color correction, grain/noise matching, matte extraction, warping, morphing and 3D techniques (camera projections included). Depth understanding of parallax, scales and perspective. Python and/or Painting skills are a plus.

As a simulation artist you must be able to reproduce REAL WORLD PHYSICS such as fluids, fractures/demolitions, explosions, sand, dust, smoke and fire. But also we expect PROCEDURAL FX applied to 3d character (or part of it) as well as other type of animated elements. We are looking for an artist with well technical and logical knowledge within artistic driven capabilities.

From painting and photographic 2D skills like matte painting to 3D workflows to create photo-real environments. We believe this Environment Artist role is the most complete vfx artist role because you must be able to cover several instances of a vfx shot production workflow, even if you wont do it as a "one man band" in a proper pipeline but still the artist should know about matchmoving, layout, asset creation, lookdev, but mostly set dressing, lighting, volumes, painting and compositing techniques for sure. Obviously, attention to details, understanding the tridimensional surrounding space next to a well trained observation are the main clues (plus the technical knowledge) to fill this role.

Artist must be able to create photo-realistic elements understanding shapes, material properties and textures to enhance, for instance, the lack of details in a 3d model according to how close the camera the asset will be. Artist must also be able to manage PBR workflows among other things. Artistic over technical skills are a priority.

In a matchmoving role we not only expect a well camera technical knowledge understanding optics, sensors, parallax, perspective and distortion workflows (to manage a master scene and solve multiple shots from there), but also you must be capable to resolve object tracking (even deformation and rotomation would be a plus). And of course, in a layout role you must complement the matchmoving process to do proper proxy elements modeling (just for reference), alignments (of real scanned elements on set) delivering everything in an organized way into the proper DCC.

There are always tools to develop and processes to improve in every project. This technical role must be proactive and it needs well understanding of the visual effect production pipeline. It must have a well knowledge of different DCC's API (mostly Python oriented) as well as networking knowledge since we are working remotely mostly.