Added by on 2013-07-11

Makuta Vfx (Hyderabad, INDIA) Recruiting VFX Production, Modelling, Lighting, Animator & Rigger, Effects Animation, Compositing, Matte Painting & Matchmove


VFX Production and Set Supervision

A Visual Effects Producer should be the “first in, last out” individual when working on a Visual Effects-oriented feature, from liaising directly with the initial client (producer / director) and overseeing the entire project through to the structuring and organising the day to day planning of the work within the studio. He / She should be able to foresee any potential issues and have a plan B, C and D to ensure that the process goes smoothly and deliveries are met. He / She should have spent time and should also double up as a Visual Effects Supervisor. The Supervisor, like the Producer, should have gone through every single aspect of the VFX process within their career, therefore has the unique ability to effectively supervise a shoot by knowing the full process of requirements of a single shot or sequence, ensuring that every single facet of the process are catered for and have the drive and determination to liaise with the creatives to ensure everything the studio requires is obtained. He / She should also be able to foresee any issues in the process and also be able to suggest enhancements and alternatives to the client to ensure the best possible result is obtained.


Being at the top of the food chain and with a primary instinct to kill (but refrain at the last minute – we kinda value our artists here!) you should be at the top of your game and exceptionally efficient in managing a team of wayward artists. We are looking for well-seasoned professionals who have experienced the full gamut of the VFX pipeline throughout their careers to work with us within the VFX Production process and / or to Supervise Visual Effects shoots or to assist our existing supervisors.


Minimum 5-7 years of experience within the film / TV industry with respect to VFX co-ordination and production
Senior experience of 2D and 3D VFX pipelines involving Maya, 3ds Max, Nuke, Digital Fusion etc.
Senior experience of production management software such as Tactic, Shotgun etc
Proven experience of on-set supervision
Highly motivated and works well within a team
Ability to manage timescales and budgets effectively within a VFX pipeline
Good experience of working within a DI pipeline
Strong contacts with studios and existing freelancers
Proven track record within project management


A modeller creates models that may be organic in nature, such as various creatures or characters, or rigid “hard surface” objects such as cars, buildings, props or sets. They will need to make use of a wide range of reference materials and closely follow edge topology and structure to ensure the cleanest most effective result. The modeller often has the responsibility of unwrapping their model to be passed across to the next department for texture painting.


The applicant should have the ability to create effective and high-detailed models from scratch using a variety of modelling techniques, using reference photography or other set models and an ability to deliver a “clean” model with tidy polygon / sub-division placement and good basic UV layout for texturing. The artist should be able to work with Mudbox or ZBrush but it is not a requirement. He / she should work closely with the animation / rigging department(s) to ensure models meet their workflow requirements They should also liaise with texture artists to determine the optimal UV layout for a model.


Advanced 3ds Max / Maya modelling experience
2+ years of experience working in feature films
Ability to work with Mudbox or Z-brush an advantage
Creative problem solver and good attention to detail
Good communication and team working skills
Work closely with animation / rigging to produce models that meet their work flow requirements
Ability to work with the texture artists to determine the optimal UV layout for a model


Our lighting & shading artists have the ability to create variations of shade, color intensity, shadows and lighting design for the exterior and interior scenarios, along with a solid familiarity with photo realistic lighting and shading in a production environment. We have a strong opinion that lighting and shading can seriously make or break a shot so it is one of the most meticulous processes we go through. “Old School” techniques are exceptionally recommended along with more up-to-date methodology.


Artists are responsible for a strong visual sense with the ability to distinguish subtle differences that affect the matching of elements created in multiple mediums / background plates, working with the VFX supervisor to ensure on-set lighting references are matched and tuning the lighting to suit. Applicants must have the ability to communicate well with colleagues and actively work as part of a progressive team.


Minimum of 2 years working in feature films
Must be well versed with 3ds Max (preferable) / Maya focussing on Photometric lighting and mental ray rendering and shader / material construction
Keen knowledge of real-world lighting & shading theory and familiar with modern and legacy rendering techniques
Knowledge of color sense and theory
Knowledge of creating mood lighting which suits a scene or shot with photorealistic outputs
Ability to troubleshoot scene issues, lighting and rendering problems.
Procedural shading techniques in 3ds max an advantage
Knowledge of Digital Fusion / Nuke preferable
Excellent communication skills are essential

Animator & Rigger

The ability to breathe life into characters and drive performance is a must within this position. Animators drive the performance and give life to objects and characters, showcasing thought process, mood, action, reaction, objective (etc) just like an actor. They should understand the character’s motivation and be able to convey this to the audience effectively and realistically.


In addition to the above, an animator will not only be driving the performance of any character within the piece but may also be called upon to animate “inanimate” objects such as vehicles, planes (etc), background assets which affect the mood of the shot. He / she should be able to plan, discuss and conceptualise the requirements of the director who will drive the performance of any character just as he / she would with an actor.


2 to 3 years of experience in animation or any other related industry
Advanced knowledge of Maya and 3ds Max
Should have mastered the principles of animation such as anticipation, timing, weight, secondary motions
The candidate should have experience in animation and rigging and should be able to work with complex models
A good sense of timing and composition
Strong understanding of motion, size, ratios and perspective
Strong acting skills preferred and / or a concise study of acting theory
Understand fundamentals of animation, can work in a variety of styles, can work from creative briefs / storyboards to execute animation
Deliver quality that the client is expecting, while being responsible for schedule and productivity
Knowledge of Autodesk Motion Builder & Endorphin a bonus


3 to 4 years experience within proven feature film animation
In-depth knowledge of 3ds Max / Maya rigging tools including joint and skeleton creation, skinning and weighting, IK setup, blend shapes, and deformers.
MEL scripting
Self-motivated, good communication skills, and a team-player attitude.
Rigger Candidates should have superior rigging skills and be able to integrate.
Must demonstrate initiative and strong problem-solving skills in regard to all types of rigging and animation techniques.
To be able to deliver a feature level facial rig.
Basic modelling skills including a good understanding of polygonal mesh-flow.


Effects Animation

An Effects artist has to have a strong understanding of particles, atmospherics, rigid body dynamics and fluid simulations, with strong lighting and compositing abilities with an additional advantage of Crowd simulation.


You should feel completely at home smashing stuff into stuff and seriously live and breathe it, researching the effect as tightly as possible until your eyes bleed. Creating natural effects such as water, dust, smoke, explosions along with all kind of fun stuff should feel like second nature. Good understanding and analytical attitude and attention to detail of an effect is exceptionally important


Minimum of 3-4 years movie production experience and an expert knowledge of CG FX software
Advanced knowledge of 3ds Max & Particle Flow and related relevant plugins (FumeFX, RayFire etc)
Advanced knowledge of rendering with mental ray & Vray and related shader development
Knowledge of Realflow
Knowledge of Digital Fusion
Knowledge of Softimage ICE
Knowledge of Maya Fluid and cloth is an additional advantage


Compositing artists are responsible for constructing the final image by combining layers of previously created material. Although it is primarily a 2D role within the 3D world of CGI and VFX (Visual Effects), Compositors need a thorough understanding of the CG process combined with relevant artistic skills.


Ability to work with a minimum of supervision & deliver of shots on schedule, working under pressure if required. Collaboration and good communication with other departments will be needed to ensure that the CG elements are seamlessly incorporated into the shot. To be able to work well in a team environment and take direction from the lead and the production team.


2+ years of experience working in feature films
Excellent knowledge of Digital Fusion or Nuke
Excellent knowledge of Photoshop or equivalent
Very good knowledge of traditional 2D, 3D & Effects compositing
Ability to communicate concisely and efficiently
A good eye for composition, colour, light and shadow
Good communication and team working skills to efficiently meet deadlines.

Matte Painting

Matte painting is process of creating an image or a scene or a distant location traditionally or digitally by painting or photo manipulation. This allows the film-makers to create the illusion of an environment that would otherwise be too expensive or impossible to build or visit. At its best, depending on the skill levels of the artists and technicians, the effect is “seamless” and creates environments that would otherwise be impossible to film.


The artist will work closely with the Modeling and Shading departments and therefore must have a basic knowledge of the practices of each of these disciplines. Artists must also have a sound knowledge and understanding of visual effects pipelines, production and implementation, as well as the ability to work well in a team. He / she should have the ability to create photo realistic digital matte paintings in line with supervisor and client’s direction and create look development and concept artwork If required as well as the ability to interact with fellow artists and other departments to achieve the best quality of work and achieve.


Good traditional and/or digital art skills
Expert knowledge of Adobe Photoshop (or equivalent)
File management skills a benefit
Previous experience at painting photo real mattes and set extensions
Strong understanding of color, perspective and mood
Experience in 2D and 3D compositing
Experience in Camera Mapping
Excellent problem solving skills
Must be self-motivated and self-guided
Experience 3ds Max / Maya and/or Vue is a benefit


Matchmove artists are responsible for creating 3D cameras and other motion files that adopt the same movements as the original background plate. This enables the live action to seamlessly interact with the CG elements. The motion files created (either camera, object or body track) are then passed to other departments to implement CG elements seamlessly to the original plate.


Artists will create motion files including a camera and / or the object that matches the original background plate photography. Reconstructing the placement of motion files, being camera or object track, in 3D set will be needed to quality control the accuracy of each track. Some collaboration with other departments may be needed to ensure that the CG elements are seamlessly incorporated into the shot. To be able to work well in a team environment and take direction from your lead and the production team.


1 or 2 years of experience working in feature films.
Artist must be well versed with PFTrack, 3DEqualizer, 3D Camera Tracker (After Effects Plug in), 3ds Max / Maya.
Basic knowledge in a compositing package.
Good communication and team working skills.
Experience of handling LiDAR data a benefit but not a requirement
Can efficiently meet deadlines
A good understanding of photography and the effects of different lenses on perspective and depth of field

We are always on the look-out for in-house and remote artists, from graduate to supervisor levels with a wide range of skills.

However, our expectations are considerably high so if you think you have got what it takes to be a “Makutan“, please submit a showreel and resume. We’re looking for “characters” – we don’t want clones, we want you to break the mould and help us break ours (if we have any left by the time you get here). Quirkyness is a bonus – hey us artists need a little quirky eh?

We consider freelancers / contractors both local and overseas depending on the individual and feature(s) currently in progress and the need to ramp up our talent pool. However if you’re absolutely awesome, we’ll more than likely take you no matter what. Note: has to be exceptionally awesome. Like “awesome-awesome”.

Please note that for all positions, a showreel / portfolio is essential to be considered with complete shot breakdowns. Applications without a showreel will NOT be considered.

Send all work to or post to the address in the Contact section.

Please no cold calls – we review all showreels and if we need you we will be in touch.

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