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This apprenticeship standard has been approved for delivery by the Institute for Apprenticeships and Technical Education.  However, starts on the apprenticeship will only be possible once a suitable end-point assessment organisation (EPAO) has given an ‘in principle’ commitment to the Education and Skills Funding Agency (ESFA) to deliver assessments on this apprenticeship standard. Once the ‘in principle’ commitment has been approved by ESFA, funding for apprentice starts will be permitted and this message will be removed.

Overview of the role

Select and use relevant 3D software to create visually engaging motion graphics, animations or images (assets).

Junior vfx artist (generalist)

Details of standard

Occupation summary

This occupation is found in the British and International visual effects (VFX) industries, providing digital content for film, television, advertising, corporate and immersive reality industries. VFX companies and studios vary in size and the number of employees they have, and are described as small, medium or large companies. They are to be 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 select and use relevant 3D software to create visually engaging motion graphics, animations or images (assets). This sometimes involves working with two- or three-dimensional models. The animations and graphics they create are stylistically consistent and enhance the visual style of their work. In some cases, a sequence might be entirely computer generated with no live action background elements.
The Junior VFX Artist (Generalist) needs a thorough understanding of 3D camera principles such as lenses, distortion and parallax.

The Junior VFX Artist (Generalist) work out the co-ordinates and the movement of the physical camera and/or objects in a live action shot; they must be able to track cameras and objects quickly and effectively.
The Junior VFX Artist (Generalist) need to be able to deliver work within established project targets and timelines, and to the high-quality standards of their company and clients. They may also support and advise other artists with their tracking tasks. They may also be required to work on visualising complex scenes in a 3D animation (pre-viz, the 3D equivalent of a storyboard) before moving on to the more detailed parts of the process. The motion files/assets created (camera, object or body track) need to be integrated into the VFX workflow pipeline and within the organisational requirements for organising, storing and retrieving assets. In their daily work, an employee in this occupation interacts with engineers, designers and team leads, other visual effects teams, their supervisor and/or the client. 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, in order to create the effects required, according to the story being created, the VFX/CG Supervisor and the Director's wishes. An employee in this occupation will be responsible for:

• 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,
• attending dailies/review sessions in order to gain feedback on their work and respond appropriately to that feedback,
• working within the particular 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 CG elements are seamlessly incorporated into the shot
• using innovative approaches to solve problems and ensure VFX assets are delivered in line with production requirements

The Junior VFX Artist (Generalist) should understand their place within the production workflow process and the importance of this and being able to organise their VFX outputs using appropriate storage processes and systems; it is usually a studio based role.

Typical job titles include:

Junior 3d artist Layout artist Matchmove artist Previz artist Tracker


Occupation duties

Duty

KSBs

Duty 1 Assess the requirements set by the client or supervisor brief for the requested VFX. Prepare to create the VFX assets identifying and deciding which tools and techniques best meet the required creative, narrative and technical demands of the production

K1 K2 K3 K4 K5

S1 S2 S3 S4

B2 B4

Duty 2 Create VFX assets in line with production requirements, ensuring the output meets the requirements for the workflow process

K2 K6 K7

S2 S4 S5 S6

B1

Duty 3 Manage own VFX assets through the workflow (pipeline) in line with production requirements for organising, storing and retrieving assets

K8 K9 K10 K11 K13 K25

S5 S6 S22

B1

Duty 4 Work autonomously and with clients or customers in the visual effects (VFX) industry, collaborating with other departments as required to ensure that the CG elements are delivered to meet agreed production requirements

K6 K9 K10 K11 K25

S7 S9

B4 B6

Duty 5 Improve own knowledge and performance in visual effects (VFX) by seeking out information about emerging practice in the visual effects (VFX) industry such as new tools, software, data and other related technology

K12 K13

S7 S8 S9

B2 B3

Duty 6 Select and use appropriate technology to render VFX assets for pre-rendered or real-time productions

K14 K15

S3 S6 S10 S11

B1 B6

Duty 7 Evaluate VFX assets in line with feedback to ensure production requirements are met and own practice continuously improves

K10 K11 K16 K20

S12 S13 S14

B2 B5

Duty 8 Use innovative approaches to solve problems and ensure VFX assets are delivered in line with production requirements

K3 K17 K21 K22

S2 S14 S15 S16 S19 S20

B1 B3

Duty 9 Track cameras, markers and objects to meet production requirements

K18 K19 K20 K21 K22 K23 K24

S2 S17 S18 S19 S20 S21

B1 B2

Duty 10 Deliver assets to meet production requirements

K8 K9 K24 K25

S11 S22 S23

B1 B6


KSBs

Knowledge

K1: The principles of 3D space, including projections and UV texturing Back to Duty

K2: How to identify production requirements from a brief Back to Duty

K3: 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 Back to Duty

K4: How to obtain reference materials and previously created assets Back to Duty

K5: How to plan your approach to the work; techniques, optimisation and schedule Back to Duty

K6: The requirements and expectations of the workflow, and of other team members who will use the assets you create Back to Duty

K7: How to use software to create: a model, a texture map, puppet rig and a blocked animation Back to Duty

K8: The importance of naming conventions, file formats and version control and the impact of not doing this correctly Back to Duty

K9: 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 such as copyright and intellectual property rights Back to Duty

K10: How good, timely communication can contribute to productive working relationships with clients and customers Back to Duty

K11: The context within the production of: own role, the production pipeline and how own role interacts with this, the department they are working in, and the subsequent stages of the workflow process Back to Duty

K12: Research methods, techniques and tools that can be used and where to find credible sources of information and how to check their validity Back to Duty

K13: The VFX industry and the terminology, current tools and workflows used Back to Duty

K14: The rendering requirements for the production and how to optimise assets when using the appropriate rendering tools and techniques Back to Duty

K15: How to identify and select the different rendering techniques and tools to use, and how to save and duplicate render settings across multiple files Back to Duty

K16: Why is important to evaluate progress and seek feedback on your work in VFX Back to Duty

K17: The production requirements, processes and workflow Back to Duty

K18: The types of data and information you might receive from an on-set environment Back to Duty

K19: How to identify where your asset or shot fits within a sequence Back to Duty

K20: The process of following image features across a series of frames in order to record the position of an object in the source footage Back to Duty

K21: How the camera moves, the impact on the tracking process and how to select the most appropriate method to produce an accurate track Back to Duty

K22: The technical process of tracking and how you can improve the accuracy and efficiency of tracking the shot Back to Duty

K23: Lens distortion, parallax and overscan Back to Duty

K24: The principles of computer systems, IP networks and shared storage systems as applied in VFX Back to Duty

K25: How assets are managed throughout the workflow including: production storage, shared storage, nearline storage and archive, whether on premises or in the cloud Back to Duty

Skills

S1: Identify the information required, and gather the appropriate research and reference materials to carry out your work to expected creative, narrative and technical standards on each production Back to Duty

S2: Select the appropriate software and technique to meet the required standards and brief, taking into account the needs of other departments in the production pipeline Back to Duty

S3: Analyse and determine the most appropriate approach to carry out the work Back to Duty

S4: Select and use software to create: a model, a texture map, puppet rig and blocked animation to meet the requirements of the brief Back to Duty

S5: Store and organise assets in order to enable their use throughout the rest of the pipeline Back to Duty

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 Back to Duty

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 Back to Duty

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 Back to Duty

S9: Present findings and conclusions to meet the needs of the audience Back to Duty

S10: Identify render errors and fix/escalate them as appropriate Back to Duty

S11: Apply render settings across multiple assets Back to Duty

S12: Review assets created with the relevant people, offering suggestions to assist others with the production Back to Duty

S13: Respond positively to feedback about the assets created, making refinements as needed Back to Duty

S14: Work in line with agreed workflows, adapting to operational and creative changes as they occur Back to Duty

S15: Trouble shoot VFX problems, taking responsibility for the course of action followed and sharing solutions Back to Duty

S16: Escalate VFX problems to the appropriate person if it can’t be solved, and act on the advice given to solve the problem Back to Duty

S17: Analyse, interpret and use on-set data and information Back to Duty

S18: Create accurate point tracks and planar tracks in line with production requirements Back to Duty

S19: Interpret and correct lens distortion, parallax and overscan Back to Duty

S20: Model and manipulate geometry for scene reconstruction Back to Duty

S21: Multitask on simultaneous projects, often for different clients, deciding how to prioritise the work to ensure that all tasks are completed on schedule Back to Duty

S22: Ensure data integrity when moving assets between storage systems Back to Duty

S23: Deliver content in the correct format as required by the employer and clients Back to Duty

Behaviours

B1: Works with sustained concentration and with attention to detail; able to self-check work for quality control Back to Duty

B2: Works on own initiative, is proactive and inquisitive; responds positively to feedback about assets created, making refinements as needed and recognises their own level of authority and when it is necessary to escalate issues Back to Duty

B3: Thinks creatively and logically to solve technical problems - contributes to a process continual improvement of workflow and technique. Uses initiative and innovation to problem solve, to provide creative solutions and opportunities for the production Back to Duty

B4: Is flexible and can work under pressure- managing and re-organising priorities and bringing multiple tasks to completion within deadlines, communicating progress as required Back to Duty

B5: Demonstrates judgement in assessing the use of emerging practice within the constraints of a production environment. Does not willingly accept second best, and is pragmatic about balancing client expectations against the available time and budget Back to Duty

B6: Creates and maintains positive, professional, trusting and ethical working relationships with their team and the wider range of internal, external and connected stakeholders Back to Duty


Qualifications

English & Maths

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.


Additional details

Occupational Level:

4

Duration (months):

18

Review

This apprenticeship standard will be reviewed after three years

Status: Approved for delivery
Level: 4
Reference: ST0903
Version: 1.0
Approved for delivery: 24 August 2020
Route: Creative and design
Typical duration to gateway: 18 months (this does not include EPA period)
Maximum funding: £7000
Trailblazer contact(s): Nicole.Suter@screenskills.com
Employers involved in creating the standard: Framestore, The Mill, ILM, Double Negative, Brown Bag , Outpost Union, Moving Picture Company, Electric Theatre, Blue Zoo, Next Gen Academy, UK Screen Alliance
LARS Code: 597

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Version log

Version Change detail Earliest start date Latest start date Latest end date
1.0 Approved for delivery 24/08/2020 Not set Not set