Creative and design

Junior visual effects - Assistant Technical Director (VFX)

Create high quality, performant visuals within budgets.

Summary

This occupation is found in the British and International visual effects (VFX) industries, providing digital content for film, television, advertising, and corporate and immersive reality industries. VFX companies and studios vary in size and the number of employees they have. They are found across England and the UK. The output and remit of a VFX studio is varied, and they will produce work for a range of clients across advertising, film, television, and immersive reality. Some studios specialise in one area, particularly feature films which is the largest area of the industry. 

VFX is the term used to describe any imagery created, altered, or enhanced for moving media. This involves the integration of live-action footage and computer-generated (CG) imagery to create images, which look realistic but would be dangerous, costly, or simply impossible to capture during live-action shooting such as explosions, car crashes or flooding of cities.

The broad purpose of the occupation is to collaborate with the team to create or manipulate VFX assets or elements to meet production requirements and perform a range of support functions to ensure the smooth running of a visual effects project. This is a core and options apprenticeship, with three options and the option taken is dependent on the VFX specialism of the employer.

Option 1 – Junior VFX Artist (2D)

Junior VFX artists (2D) are responsible for assisting the senior visual effects artists by preparing elements for use in the final VFX shot. Junior 2D artists utilise artistic knowledge in areas such as composition and colour, in addition to accepted industry standard compositing software and operating systems.

Option 2 – Assistant Technical Director (VFX)

Assistant technical directors (VFX) (ATD’s VFX) may perform a diverse series of technical support functions to ensure the smooth running of a visual effects project. ATDs utilise a variety of industry standard graphical applications, scripting languages and operating systems. They may support projects by gathering artist requirements, designing solutions and coding small-scale tools using established employer workflow requirements. They are expected to work well within a team and to be good communicators and problem solvers.

Option 3 - Junior VFX Artist (CG/3D)

Junior VFX artists (CG/3D) are responsible for creating computer generated (CG) assets or elements for use in the final VFX shot. Junior VFX (CG/3D) artists utilise artistic knowledge in areas such as sculpting, cameras and storytelling, in addition to accepted industry standard CG software and operating systems.

Upon successful completion of their apprenticeship the individual could have a diverse career progression, some will eventually become supervisors in their field. A junior VFX artist (2D) will typically progress to become a compositor and may eventually become a 2D or VFX supervisor. An ATD may progress to become pipeline technical directors, software developers, riggers, technical directors or FX artists. A junior VFX artist (CG/3D) may progress to become a  matchmove artist, layout artist, modeller, lighting artist, texture artist or previz artist.

In their daily work, an employee in this occupation interacts with engineers, artists, designers,team leads, other visual effects teams, their supervisor and/or the client. They will need to be aware of the activities of their occupation which contribute to their “professional carbon footprint” and steps to reduce this. This is a junior level role, and the line management and reporting structure of the team will vary according to the size of the employer. They must be able to take direction and feedback, to create the effects required, according to the story being created, the VFX/CG supervisor and the director's wishes. It is usually a studio-based role.

An employee in this occupation will be responsible for, in all options:

  • managing their own workload with the VFX production team and/or their lead, generating the required work on time, to meet the brief of the  supervisor/client
  • working within the workflow pipeline/toolset of the company that they are working for
  • working effectively in collaboration with clients, colleagues, partners, and suppliers in the VFX industry to ensure that the VFX elements/asset seamlessly incorporated into the production
  • using innovative approaches to solve problems and ensure VFX assets are delivered in line with production requirements
  • organising their VFX outputs using appropriate storage processes and systems.

Option 1 – Junior VFX Artist (2D) specialist responsibilities:

  • creating mattes (masking areas of the live action footage) by roto-scoping (tracing around   objects in the frames) and keying (isolating areas of blue/green screen in the live action footage) to allow all elements of the scene to be layered convincingly by a compositor
  • removing erroneous objects within the live action footage, such as camera/lighting equipment and safety stunt wires and rigs
  • producing simple composites (combining live action elements and computer-generated imagery to create a shot that looks as if it was captured at the same time by a single camera).

Option 2 – Assistant Technical Director VFX (ATD) specialist responsibilities:

  • supporting and troubleshooting the pipeline and workflow tools
  • providing technical assistance to people in creative departments
  • managing data and resources.

Option 3 - Junior VFX Artist (CG/3D) specialist responsibilities:

  • using on-set data and tracking markers to track the camera motion on set to allow CG assets to be integrated seamlessly into the scene
  • creating 3D assets which could include props, environments, or characters
  • attending dailies/review sessions to gain feedback on their work and respond appropriately to that feedback.

Typical job titles include

Knowledge, skills and behaviours (KSBs)

K1:

The value of VFX content and confidentiality to the business and its customers. Why it is important to maintain data security, and the legal and regulatory requirements which apply to VFX assets including copyright and intellectual property rights

K2:

The in-camera creation pipeline, from pre-production, through shoot, editorial, VFX to grading

K3:

The importance and methods of retaining the quality of the source material

K4:

The VFX industry and the terminology, policies, standards and procedures, current tools and workflows used

K5:

The VFX production pipeline, including shot bidding, turn-over, briefing, reviews, client reviews, deliveries and final delivery

K6:

The importance of naming conventions, file formats and version control and the impact of not doing this correctly

K7:

How to identify production requirements from a brief; plan your approach to the work, techniques, optimisation and schedule

K8:

The requirements and expectations of the workflow, and of other team members who will use the assets you create

K9:

Common artefacts in plate photography such as lens distortion, parallax and overscan

K10:

The principles of perspective, depth of field and scale, and how this relates to a believable final image

K11:

The principles of photographic composition, light and colour

K12:

The principles of computer systems, IP networks and shared storage systems as applied in VFX

K13:

How assets are managed throughout the workflow including: production storage, shared storage, nearline storage and archive, whether on premises or in the cloud

K14:

Why it is important to evaluate progress and seek feedback on your work in VFX

K15:

How to create assets that support the vision of the story and the purpose of the image

K16:

How computer generated imagery (CGI) can be rendered in multiple passes in order to be adjusted more efficiently in the composite. These passes can include: colour, diffuse, specular, shadow and beauty lighting.

K17:

Research methods, techniques and tools that can be used and where to find credible and valid sources of information, reference materials and previously created assets

K18:

The different software and techniques that could be used; the implications of their use, how to customise these and how they can be used to solve problems.

K19:

The rendering requirements for the production and how to optimise assets

K32:

The fundamentals of data structures, structured and unstructured data, database system design, implementation and maintenance

K33:

The quality issues that can arise with data and how to avoid and/or resolve these

K39:

The organisation's data architecture

K40:

Grid computing and its use within VFX render queues - at a basic level

K41:

How to balance resource needs within the company’s physical capacity

K42:

Principles of software development, the software design process and the importance of design before development

K43:

How workflow diagrams, prototyping and presenting to intended users can aid in designing better solutions

K44:

Application specific scripting languages e.g. general scripting languages such as python alongside application specific scripting Mel, vex , Hscript etc. as appropriate

Technical Educational Products

Reference:
OCC1325C
Status:
Approved occupation imageApproved occupation
Average (median) salary:
£36,242 per year
SOC 2020 code:
3416 Arts officers, producers and directors
  • SOC 2020 sub unit groups:
    • 3416/03 Broadcasting and entertainment editors
    • 3416/02 Broadcasting and entertainment directors
S1:

Identify the information required, and gather the appropriate research or reference materials to carry out your work to expected creative, narrative and technical standards on each production

S2:

Select the appropriate software and technique to meet the required standards and tasks, taking into account the needs of other departments in the production pipeline

S3:

Use appropriate techniques to reduce degradation of the source material

S4:

Identify render errors and fix/escalate them as appropriate

S5:

Work in line with agreed workflows, adapting to operational and creative changes as they occur

S6:

Operate within and adhere to agreed organisational policies, standards and procedures such as health & safety, confidentiality, security, asset storage and legal and regulatory requirements

S7:

Manage own workload and operate both individually and as part of a wider VFX team, keeping colleagues, clients and/or other departments updated on progress and report any issues arising

S8:

Use reliable information to keep-up-to date with the new tools, software, data and other related technology, and how they affect your work

S9:

Interpret and correct lens distortion, parallax and overscan

S10:

Multitask on simultaneous projects, often for different clients, deciding how to prioritise the work to ensure that all tasks are completed on schedule

S11:

Respond positively to feedback on work, making refinements as needed

S12:

Apply the naming conventions, file formats and version control for the work

S13:

Deliver content in the correct format as required by the employer and clients

S14:

Use maths to describe problems, recreate physical systems or manipulate computer generated geometry

S15:

Move, store and organise assets created, ensuring data integrity, in order to enable their use throughout the rest of the pipeline

S16:

Analyse and determine the most appropriate approach to carry out the work

S17:

Trouble shoot VFX problems, taking responsibility for the course of action followed, including identifying opportunities to deliver viable solutions and sharing these outcomes.

S36:

Identify, collect and migrate data to/from a range of systems

S37:

Manipulate and link different data sets as required

S38:

Perform database queries across multiple tables to extract data for analysis

S39:

Monitor, manipulate and report on render queues

S40:

Monitor, track and report render resource usage

S41:

Investigate existing solutions or frameworks

S42:

Design and present proposed solutions and respond to feedback

S43:

Plan and document development roadmap

S44:

Troubleshoot individual artist input, output or archival problems

S45:

Develop small-scale tools, using existing pipeline frameworks and libraries

S46:

Support or troubleshoot pipeline and workflow tools

Technical Educational Products

Reference:
OCC1325C
Status:
Approved occupation imageApproved occupation
Average (median) salary:
£36,242 per year
SOC 2020 code:
3416 Arts officers, producers and directors
  • SOC 2020 sub unit groups:
    • 3416/03 Broadcasting and entertainment editors
    • 3416/02 Broadcasting and entertainment directors
B1:

Work with sustained concentration and with attention to detail; able to self-check work for quality control

B2:

Work on own initiative, be proactive and inquisitive; but recognise your own level of authority and when it is necessary to escalate issues. Act in a professional and ethical manner, embracing equality, diversity and inclusion in the workplace.

B3:

Think creatively and logically to solve technical problems - contribute to a process continual improvement of workflow and technique. Use initiative and innovation to problem solve, to provide creative solutions and opportunities for the production.

B4:

Be flexible and able to work under pressure - managing and re-organising priorities and bringing multiple tasks to completion within deadlines, communicating progress as required

B5:

Demonstrate judgement in assessing the use of emerging practice within the constraints of a production environment. Do not willingly accept second best, and be pragmatic about balancing client expectations against the available time and budget.

B6:

Use different communication methods and tools to suit different audiences or situations and changes in circumstances to create and maintain positive, professional, trusting and ethical working relationships with your team and the wider range of internal, external and connected stakeholders.

B7:

Maintain commercial confidentiality and professional practice at all times, and in all settings

Technical Educational Products

Reference:
OCC1325C
Status:
Approved occupation imageApproved occupation
Average (median) salary:
£36,242 per year
SOC 2020 code:
3416 Arts officers, producers and directors
  • SOC 2020 sub unit groups:
    • 3416/03 Broadcasting and entertainment editors
    • 3416/02 Broadcasting and entertainment directors