I've been thinking of what it means to be either a 3d Artist or compositor. Within the setting of big studios like MPC or ILM, these roles are still very delineated. The 3d artist works on modelling, animation, effects, texturing and lighting. The compositor works on rendering techniques, merging render layers, grading and color correcting especially when CG is being merged with live-action footage. Either side would certainly claim the other couldn't do things they could, and would probably be right especially with the schedules and budgets involved in making block-buster movies, strict division of labor would definitely speed things up. But does the fact that it isn't done in most major big studios mean it is impossible. I would argue, 'No' and would even go further as to say that more and more the lines between both are blurring with the improved technology and range of tools available today.
Within the smaller sized studio, where they cannot afford the cost of the division of labor, a 3d artist who has a working knowledge of compositing techniques can be a great asset as better decisions on how CG shots should be captured or framed to ease the post-production process would be made right from the start. Within a small scale pipeline, there is better continuity if the 3d artist who worked on the animation, texturing and lightening stage also works on the compositing and final render since the same ideas would run right through each stage. This in itself can be a great advantage as there wouldn't be need to go back to a separate artist who did the animation or lightening if something went wrong, as he would be able to already note possible areas of difficulty and can take appropriate measures to correct them early, greatly saving on time and cost.
These lines get even blurrier with the range of compositing tools and software available today with fully featured 3d engines. With software like The Foundry's Nuke and Adobe's After-Effects featuring very powerful 3d environments which can even load certain 3d formats directly into their workspace, the differences in the skill requirements of the 3d artist and the compositor are getting smaller. Some have even claimed that the ultimate 3d app would be one within which both true 3d and compositing can be done. With the pace at which technology in the industry is advancing, the wait for the 'ultimate' 3d/compositing application may not be for too long. Already, to-be-released-soon plugins for Adobe After-Effect such as Mettle ShapeShifter and Video Copilot Element 3D, promise a certain level of 3d capability within previously predominant compositing software packages. Although these can't be compared to the tool set range available in 3d software such as Maya, 3ds max or Houdini, the prospect can only be exciting for the traditional compositor looking to transition into 3d and back easily.
At the risk of being classified a generalist, I believe that sooner rather than later, the work definitions of the compositor and the traditional 3d artist will not be so different. Even if the current job climate requires us as animators to be "master of one" it would not hurt to know a bit more about compositing techniques in tools like Nuke or After-Effects. I believe that it would only help the work I do, especially in the case when a job needs to be completed and requires some knowledge of compositing. I dare say it can only make me a more important and indispensable member of my team if as an artist I know a bit of compositing or if as a compositor, i know a bit of 3d modelling, animation, texturing or lighting. It definitely will be an advantage and sensible alternative if I need to make a career transition in times of hardship in my core job area.
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