Starts on this apprenticeship are paused in the absence of an End Point Assessment Organisation (EPAO). Starts will be permitted again once a suitable EPAO is in place.
Create content, by producing objects, images or scenes that render together with live footage for the final image.
This standard has options. Display duties and KSBs for:
This occupation is found in the British and International visual effects (VFX) industries, providing digital content for film, television, advertising, games, corporate and immersive reality industries. Visual effects (VFX) companies and studios vary in size and they can be small, medium or large companies. They are to be found across England and the UK. The output and remit of a visual effects (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.
Visual effects (VFX) is the term used to describe any imagery created, altered, or enhanced for moving media. They involve the integration of live-action footage and computer generated imagery to create images, which look realistic but would be dangerous, costly, or simply impossible to capture during live-action shooting. The broad purpose of the occupation is to create content, by producing Computer Generated (CG) objects, images or scenes that are rendered together with live action footage in order to create the final image that appears on the screen. The visual effects (VFX) Artist or Technical Director (TD) create CG renditions of naturalistic, physical and magical phenomena. Typically, a VFX Artist or TD is a combination of an artist and a programmer, responsible for the more technical aspects of VFX production, such as developing character rigs and animation setups, performing complex simulation tasks and setting up the pipeline (how the data is passed from one stage in the film production to the next).
VFX Artists or TD’s require high level Science, Technology, Engineering, Arts and Maths (STEAM) skills, good computer literacy, coding skills, and to be able to apply these creatively.
The VFX created may vary and can include computer graphic models, rigs, environments, special effects (FX), crowds, lighting, hair cloth or fur. These effects can be created using various processes including: Sculpting, simulation, rendering, painting and/or compositing.
In their daily work, an employee in this occupation interacts with the Animator, VFX Lead, CG or VFX Supervisors, VFX production team and/or clients and team members. 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 from the CG or VFX Supervisor, in order to create the effects required, according to the story and the client’s wishes.
An employee in this occupation will be responsible for
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Duty 1 Interpret and implement a creative brief or script under the direction of a lead or supervisor, determine the technical resources needed to deliver the visual effects (VFX) content within production parameters. |
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Duty 2 Plan, estimate and prioritise time frames for the completion of content and track progress using the designated production tracking tools, working with lead or supervisor and production. |
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Duty 3 Build effective working relationships with Artists, VFX Lead, VFX or CG Supervisor, Production Team, clients and own team members to facilitate effective collaboration during the production process to deliver the required VFX content. |
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Duty 4 Work within workflow templates and method documentation for the software package/tool being used and suggest improvements/developments where appropriate. |
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Duty 5 Receive, evaluate and action feedback on VFX simulations produced, adapting outputs and implementing continuous improvement procedures. |
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Duty 6 Analyse, research and resolve technical challenges in collaboration with leads, other departments and the VFX or CG supervisor. |
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Duty 7 Apply scripting and coding skills to develop visual effects, using pipeline tools and techniques. Be involved in the development of departmental tools and techniques. |
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Duty 8 Ensure that all work carried out meets the defined technical and artistic requirements and that the VFX content and/or assets created fit within the production pipeline. |
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Duty 9 Practice continuous self-learning to keep up to date with technological developments to enhance relevant skills and take responsibility for own professional development. |
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Duty 10 Design and create crowd effects, physical effects or creature effects to meet the requirements of the production. |
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Duty 11 Develop one off, bespoke and reusable effects using FX animation, procedural simulation, dynamic simulation, particle and fluid systems. |
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Duty 12 Develop and create rigging VFX work to meet the requirements of the VFX pipeline, applying knowledge of the mechanics of movement and anatomy to underpin the creation of skeletal and muscle systems. |
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Duty 13 Test, optimise, document and maintain automated, user friendly and optimised rigs and interfaces, collaborating with departments up and down-stream throughout the complete workflow process. |
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Duty 14 Control the interactions between material properties, surfaces and lighting by utilising custom and standardised shaders to develop the look. |
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Duty 15 Create high quality CG lighting, shading and rendering to meet the needs of the production, applying knowledge of lighting techniques and colour-space. |
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Duty 16 Create high quality environment assets that include architecture, nature, and geographical features using high resolution models, digital matte paintings, textures, projections and lights to meet technical and artistic requirements. |
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Duty 17 Take the lead on scene assembly and set dressing, collaborating with the art department to establish the aesthetic of an environment. |
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K1: Core - How to critically analyse and interpret the technical specifications, client requirements, organisational and industry standards and how this evaluation will affect the delivery of the VFX.
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K2: Core - How photogrammetry, texture reference and scanning impact on the VFX produced.
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K3: Core - The principles of motion picture photography and the factors that affect the film making process including lenses, composition, light, colour, perspective and scale.
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K4: Core - Methods used to assess and evaluate VFX processes, tools and workflows to identify limitations, risks and interdependencies, selecting the option that allows for the completion of content within timescales.
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K5: Core - The utilisation of industry production tracking tools to interpret and track interacting factors on the project.
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K6: Core - The specialisms and disciplines in the VFX pipeline and how these communicate and interact with each across the VFX development process.
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K7: Core - Approaches to communication and strategies that can influence others and achieve the production outcome required.
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K8: Core - The industry and organisational standards that apply when selecting software packages and tools.
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K9: Core - Approaches used to assess and evaluate potential improvements to packages and tools and how best to collaborate on implementation.
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K10: Core - How to present work as part of the "dailies" review process, seeking and acting on feedback for the work produced.
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K11: Core - The practices used to research, test and critically analyse results when trialling the latest advancements in technical VFX tools, concepts and techniques within your department and organisation.
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K12: Core - The iterative nature of the production and how it can be used to continuously improve and meet the client specification.
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K13: Core - The formatting requirements of VFX products to enable them to be reviewed effectively and securely. The importance of meeting development timescales and the wider impact this has on the pipeline, business and resources.
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K14: Core - Scripting and coding languages (e.g Python, MEL, PyMEL, VEX etc.) and their application in VFX production and pipelines.
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K15: Simulation - Practices used to critically evaluate, select and apply the 3D software required for the simulation of, muscle, cloth, particles and Voxel based dynamics e.g Houdini, Maya.
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K16: Simulation - How to apply and interpret mathematical and physical principles (e.g Algebra, Vectors, Matrices, Area, Volume, Density, Speed, Velocity, Acceleration) in the context of CG simulations.
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K17: Simulation - Approaches used to critically analyse and balance real-world physics and the properties of materials against the limitations of the simulation tools or techniques
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K18: Simulation - How to interpret, convert and apply scale and orientation between different CG software tools.
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K19: Rigging - Practices used to critically evaluate the user interface requirements to meet the animators needs and for technical abstraction of the rig.
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K20: Rigging - Anatomy and skeletal structures (bones/muscles) and mechanical systems.
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K21: Rigging - The different deformation systems and how they layer together (blendshapes/lattice/deformers/skinning).
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K22: Rigging - How the application of modular coding can improve rigs and workflow efficiencies.
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K23: Rigging - The application of linear algebra; vectors and matrices, to optimise rigging.
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K24: Lighting, Shading and Look Development -The physics of light and the mathematics and coding principles that enable replication of real world phenomena in digital environments.
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K25: Lighting, Shading and Look Development - The suitability and limitations of different techniques for using light in computer graphics: point, directional, spot, emissive, ambient, diffuse, specular, key light, rim light, fill light etc. in the context of creating the desired mood from the client brief.
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K26: Lighting, Shading and Look Development - The options for optimising render times, without degradation of the quality required to fulfil the agreed brief for a project.
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K27: Lighting, Shading and Look Development - The variety of material maps (e.g. displacement, bump, diffuse, specular, roughness etc.) and how they can be applied to achieve the correct 'look' for an object, character or environment.
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K28: Lighting, Shading and Look Development - The different types of shader (e.g. vertex, pixel, geometry, tessellation, primitive, mesh etc.) and how they can be used to alter the hue, saturation, brightness or contrast of an image; including producing blur, light bloom and volumetric lighting.
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K29: Environments - Practices used to critically evaluate and plan the requirements for 3D modelling, texturing, matte painting, lighting, layout and matchmove to create convincing environments; that are consistent throughout sequences and meet the creative requirements of a project.
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K30: Environments - Principles of photography and the application of technical aspects e.g. exposure and lenses, and how lighting interacts with surfaces to re-create photo-realistic images.
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K31: Environments - The application of cinematography and composition theory to form, colour, texture, volume, scale, proportion and mass. How these interact with historical, geographical or environmental references to create convincing landscapes or architecture.
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K32: Environments - The application of camera science, 2.5D projections and 3D lighting to digitally matte painted textures within computer-generated 3D environments, allowing for 3D camera movement.
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K33: K33: Environments – The application of VFX terminology relating to colour space such as Linear, Log, rec709 and sRGB colour space.
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S1: Core - Interpret the brief and identify tangible assets to meet the specifications. Identify the resources required and any interacting factors, in order to meet the specification.
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S2: Core - Critically evaluate the brief, checking for any missing information and clarifying the outcomes.
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S3: Core - Assess and evaluate the VFX processes and workflow required to complete the tasks within timescales, developing a plan for VFX deliverables
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S4: Core - Take responsibility for competing priorities, multiple stakeholders or projects simultaneously, adapting approach to achieve the required production outcome without impact on relationships or deliverables.
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S5: Core - Apply industry and organisational standards regarding the selection and use of workflows, software packages and tools.
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S6: Core - Monitor and evaluate the agreed workflow and methods and make recommendations to improve workflows, packages or tools.
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S7: Core - Provide VFX work in progress as part of the dailies review process; evaluate and act on feedback to maintain delivery timelines, technical requirements and outputs.
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S8: Core - Provide information and rationale for the development of organisational policies, standards and procedures such as confidentiality, security, asset storage, legal and regulatory requirements.
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S9: Core - Apply problem solving techniques to determine the root cause of technical challenges, adapt approach whilst recognising the impact this could have on other workflow stages and departments.
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S10: Core - Write scripts or code to customise software or pipeline tools, simplify/automate processes or procedurally generate assets. Solve technical or creative problems, improve efficiency and/or reduce errors for the requirements of the project or department.
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S11: Core - Research and analyse information to keep-up-to date with the new tools, software, data and other related technology. Critically evaluate how they could impact on personal development and the potential wider impact across the department and organisation.
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S12: Core - Present findings and the wider business implications. Adapt communication style to influence and meet the needs of the audience.
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S13: Simulation - Analyse and interpret reference or concept art material, to choose the correct simulation technology/technique, and adapting simulations to output art directed motion, that meets client/project requirements.
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S14: Simulation - Develop or adapt simulation setups to achieve required visual quality while working within the time constraints of the production.
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S15: Simulation - Create convincing, naturalistic motion though controlled simulation, tailoring simulation as needed to follow client brief.
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S16: Simulation - Develop programs (shaders) for the purposes of bespoke simulation shading (e.g.VEX / Vops for Mantra).
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S17: Rigging - Critically analyse and evaluate body shape to select the correct anatomical structure.
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S18: Rigging - Critically assess rigging issues and develop modular scripts to problem solve and automate the rigging process.
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S19: Rigging - Evaluate, select and apply different deformers to create natural deformations in characters and change the positions of vertices in a parent mesh.
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S20: Rigging - Assess the animator’s user interface requirements and collaborate with animators to optimise the rig for speed and control.
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S21: Lighting, Shading and Look Development - Utilise or modify shaders to achieve photorealistic or stylised 'neutral renders' of assets that meet the 'look' outlined in the brief.
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S22: Lighting, Shading and Look Development - Analyse requirements and create lighting templates for scenes or sequences that can be utilised by other artists during shot production.
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S23: Lighting, Shading and Look Development - Deliver lighting shots that work within the given render budget on a particular production.
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S24: Lighting, Shading and Look Development - Work with texture and groom artists on the development of the texture maps and/or the hair and fur of an asset; taking responsibility for ensuring that all assets work within the lighting and colour pipeline requirements of a particular production.
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S25: Lighting, Shading and Look Development - Evaluate the technical specifications of the production to define and produce the render passes required.
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S26: Environments - Apply 3D modelling techniques to layout the scene for camera. Create, refine and correct geometry and integrate assets and textures, ensuring that all assets work within the lighting and colour pipeline requirements of a particular production.
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S27: Environments - Assess lighting requirements including position and distance of light, shadows, style of lighting for internal or external scenes, day or night and depth of lighting e.g. directional, ambient, spot or volume.
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S28: Environments - Analyse, select and create detailed and convincing textures free of artefacts that represent real-world surfaces, traits or imperfections.
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S29: Environments - Evaluate and apply the artistic techniques and/or the 2D (e.g Nuke & Photoshop) and 3D packages (e.g. Blender, Maya, ZBrush & Houdini) and tools to create and layer images. Embed landscapes and architecture seamlessly into scenes.
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S30: Environments - Research, source, evaluate and select images to meet the technical requirements of the scene.
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B1: Teamwork and Partnership – Works collaboratively with stakeholders and colleagues, developing strong working relationships to achieve common goals. Adopt a flexible approach to working with others and promote mutual respect.
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B2: Accountability - Acts professionally when carrying out daily work, actively encourages and supports colleagues, setting personal goals and high performance standards for self. Committed to prioritising and completing work within a set timeframe and to industry standards. Adapts positively to changing work priorities and patterns, ensuring deadlines continue to be met.
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B3: Quality focus that promotes continuous improvement, innovation and creativity to the VFX development process.
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B4: Problem solving - Uses initiative to identify issues quickly; enjoys solving complex problems at the root cause and applying appropriate and/or creative solutions.
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B5: Self-development - Overcomes problems through a process of reflection and review and by undertaking continuous professional development (CPD) in order to utilise new technological advances in the sector.
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Apprentices without level 2 English and maths will need to achieve this level prior to taking the End-Point Assessment. For those with an education, health and care plan or a legacy statement, the apprenticeship’s English and maths minimum requirement is Entry Level 3. A British Sign Language (BSL) qualification is an alternative to the English qualification for those whose primary language is BSL.
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this apprenticeship will be reviewed in accordance with our change request policy.
| Version | Change detail | Earliest start date | Latest start date |
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| 1.0 | Approved for delivery | 03/08/2021 | Not set |
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