Reel Opportunities

Set Designer

What does a Set Designer do?

Set Designers create the way a film or TV show looks by designing the sets. Films can be set in any number of places: a Victorian orphanage, a Caribbean cruise ship, or another planet, for example. They work with all the other visual departments, including costume, lighting, visual & special effects, and graphic design to build the perfect set without needing to rely on shooting on location.

Set Designers start with the script. Collaborating with the Production Designer, they draw sketches and develop blueprints. Then they work with other art department members to agree on a budget. They prioritise the work schedule and allocate the management of finances to team members performing different tasks. They are usually freelancers.

What's a Set Designer good at?

Art
Draw by hand to scale, do technical drawings and computer-aided design
Design
Understand colour theory, know the history of architecture and interior design
Knowledge of photography
Understand cameras, lenses and lighting and their effect on a film’s look and mood
Organization
Manage budgets, draw up schedules, prioritize and meet deadlines
Communication
Share the vision with a wide number of different people and keep a team working together well

Who does a Set Designer work with?

Set Designers work directly with and report to the Production Designer or the Art Director. On a day-to-day basis they work with the art department such as Carpenters and Painters, and when filming they work with crews.

How do I become a Set Designer?

Most Set Designers have worked in the art department for many years. Aim to start as a Production Assistant and work your way up through the ranks outlined above. Here are some more tips:

Get a degree: Most set designers have got degrees in art, architecture, theatre, theatre design, interior design or 3D design.

Get an internship: An internship is a job with training, so it’s a great opportunity to earn as you learn. However, it can be challenging to find jobs as an internship within production companies. It might be worth looking for a job as an intern in an industry that uses similar skills, such as being an Architectural Assistant. This will help you develop your craft and create a body of work for a portfolio that you can use to find your way into film and TV shows at a later point.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

Click on your region to find out which professional organizations in your area are associated with this career and watch videos to learn more about them.

Art Department

A Set Designer works in the Art Department

Art Director

Department: Art Department

Art Director: Responsible for organizing the art department, making decisions about visual elements (like sets & props) and overseeing construction on set.

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Set Decorator

Department: Art Department

Set Decorator: Creates the background of the film by placing or dressing the walls, floors, furniture and vehicles.

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Reel Opportunities

Art Department Assistant

What does an Art Department Assistant do?

Art Department Assistants help the whole art department, but particularly the Art Director. In a studio, they help dress the set and manage the props, ensuring they are in working order and available when needed.

They also help with styling when the filming is on location, where there might be a very large area needing styling and props. If an Art Department Assistant is experienced, they might be the only person from the art department on location.

Otherwise, much of an assistant’s work is in the preparation before filming. This involves helping with the sourcing and purchasing of materials, as well as the building, painting, and finishing of props. They sometimes design and make props themselves.

Generally, Art Department Assistants are expected to pitch ideas and assist in any way that’s required, from helping transport items and making coffee to filling the gaps of any work that needs doing. On smaller budget studio shows, they might do the work of a Production Assistant alongside their other responsibilities.

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What Is the Art Department and What Does it Do?

What's an Art Department Assistant good at?

Art
Draw conceptually (technical and freehand), work with specialist design software, build props and dress sets
Attention to detail
Have thorough research skills, source correct materials and props, be organized and tidy
Knowledge of construction and design
Research and awareness of the latest developments in production design
Knowledge of production
Understand production techniques, studio environments, studio capabilities, and the challenges of working on location
Hard work
Be able to multitask and meet deadlines

Who does an Art Department Assistant work with?

Art Department Assistants work directly with Art Directors and manage Production Assistants, but they will also work with everyone and anyone in the department, including Production Designers and Buyers.

How do I become an Art Department Assistant?

Build up your skills as an artist. Then try to find work in an entry-level role such as an art department Production Assistant, and work your way up.

Develop a wide range of art skills: Learn how to paint, do 3D modeling and graphic art. The more you can do at this stage, the more chance you have of being useful in the art department later on.

Learn to drive: If possible, get access to a car. This makes you more versatile and means you can help more.

Build a portfolio: This is essential for impressing collaborators and people in the film industry.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

Click on your region to find out which professional organizations in your area are associated with this career and watch videos to learn more about them.

Art Department

A Prop Master works in the Art Department

Art Director

Department: Art Department

Art Director: Responsible for organizing the art department, making decisions about visual elements (like sets & props) and overseeing construction on set.

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Production Buyer

Department: Art Department

Production Buyer: Buys or rents all the props and set decor needed for a production.

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Prop Master

Also known as: Property Master, Prop Person

What does a Prop Master do?

A prop is any moveable item that can be seen on a film. It could be a hat, gun, cushion, wine glass, lightsaber, carpet, kitchen unit, tree or aircraft. Prop Masters run the property department which makes, stores and transports the props as well as preps the props for each day’s shoot.

Prop Masters usually start work a few weeks before shooting begins. They work with Production Designer, Set Decorators and Art Director to work out what props are needed. They do research and then draw up properties lists, deciding which are to be hired and which are to be made. They create a ‘set and strike’ schedule to share with location and construction departments.

Where props are to be made, Prop Masters recruit the Carpenters and prop makers and manage the schedule for production. Where they are hired, they work with the Production Buyers to source them.

When shooting is finished, they return all hired props and organize the sale or safe disposal of everything else.

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What's a Prop Master good at?

Understanding film
Pick up the Director’s vision, break a script down for props requirements take account of the need for continuity
Historical knowledge
Research different eras, dress a set authentically
Craftsmanship
Work with a wide variety of materials, craft and repair items
Moving items
Handle large, heavy but fragile items
Communication
Work closely with the Production Designer and other departments, share the vision with the props team
Organization
Manage staff, budgets, complex schedules, transport and storage

Who does a Prop Master work with?

Prop Masters report to Production Designer and Set Decorators as part of the art department. They work closely with the Director, Art Director, Production Buyers, Location Manager and Construction Manager. They also might work with the Script Supervisor to maintain set continuity (keeping track of whether a glass is full or empty, where a particular item is placed at the start or end of a take, how objects move, and so on).

How do I become a Prop Master?

This is a senior level role, so college-level technical education in art and design, along with several years of experience in the art department, are required. Apprenticeships or on the job training are also possible. This position requires the ability to work well with your hands and construct materials to form props when needed, as well as organizational skills and an interest in the historical accuracy of items and scenes on a film set.

Here are some more tips:

Learn how to drive a van or a truck: Being a Prop Master can often involve moving heavy props and travelling around different locations. Learning to drive is essential for this, as is learning how to move large, heavy but fragile items safely.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

Click on your region to find out which professional organizations in your area are associated with this career and watch videos to learn more about them.

Art Department

A Prop Master works in the Art Department

Production Buyer

Department: Art Department

Production Buyer: Buys or rents all the props and set decor needed for a production.

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Set Decorator

Department: Art Department

Set Decorator: Creates the background of the film by placing or dressing the walls, floors, furniture and vehicles.

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Set Decorator

Also known as: Set Dec, Set Dresser, Stylist (commercials)

What does a Set Decorator do?

Set Decorators are storytellers. They create the background of the action, explaining the context, adding mood and visual interest as the drama unfolds. While Prop Masters deal with the placing of objects an actor holds, Set Decorators are concerned with the walls, floors, vehicles and furniture.

Before filming begins, Set Decorators work with the Director, Art Director, Props Master and Production Buyers to go through the script and work out what sets are needed. They make a list and a plan for the Props Master to follow. Then they buy or hire the items and get in Props Makers to make furniture.

The day before shooting, Set Decorators arrive early to begin dressing the set. After the Director and Director of Photography have checked it, the Set Decorators move on to the next scene. Once a scene has been shot, they are responsible for striking (taking apart) each set.

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What's a Set Decorator good at?

Understanding film
Be able to pick up the director’s vision, know how a background can tell a story
Style
Have a good eye for decoration, a sense of colour and form, precise attention to detail
Historical knowledge
Research different eras and dress a set authentically
Communication
Work closely with the production designer and other departments, share the vision with the team
Organisation
Break down a script for set requirements, manage staff, budgets, complex schedules and transport

Who does a Set Decorator work with?

In larger productions, Set Decorators will have a team made up of Assistant Set Decorators, Buyers, Set Dressers, painters, drapers, cabinet makers, sculptors and so on. They report to the Production Designer and work closely with the Art Director and Props Master.

How do I become a Set Decorator?

There is no standard career path to be a Set Decorator. Often, they will have experience working as a Production Buyer or an Assistant Set Decorator. They have usually worked in the art department for several years or in set design in the theatre.

Here are some tips:

Educational Requirements: If you want to go to university, courses in art and design, architecture, photography, theatre, graphic design or graphic communication are useful.

Get experience: Volunteer to do set decorating for student videos. Or decorate stage sets in amateur theatre productions.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

Click on your region to find out which professional organizations in your area are associated with this career and watch videos to learn more about them.

Art Department

A Set Decorator works in the Art Department

Art Director

Department: Art Department

Art Director: Responsible for organizing the art department, making decisions about visual elements (like sets & props) and overseeing construction on set.

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Production Designer

Department: Art Department

Production Designer: Creates the way a film or TV production looks, and working with all other visual departments to design the world in which the story is set.

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Art Director

What is an Art Director?

What does an Art Director do?

The role of an Art Director varies slightly depending on the kind of production being produced. Art Director is a title that appears in many industries, including film, theatre, advertising/marketing, fashion, and more. The Art Director makes decisions about visual elements.

Art Directors start by examining the script and working with the Director to understand the vision for the film or TV show. They then create their designs and determine the tone, mood and colour palettes.

In a studio show, Art Directors are responsible for turning the creative vision of the Production Designer into reality by drawing plans and visuals and making models. They organize the art department and oversee the construction of the set. They are responsible for the way the set is dressed and the inclusion of any props. They remain on set throughout the production to ensure the set is maintained and dressed appropriately to accommodate the varied content.

On shows where there isn’t a set, but where the content is filmed at various locations, they work with the Producer and Director. They create ‘mini-sets,’ managing the dressing and styling of an area (indoors or outdoors) in which to film. Often, they design these props themselves and oversee their build.

While the Production Designer is the creative mind behind the overall look of a production, the Art Director is the hands that makes that vision come to life. Art Directors are the metaphorical “architects” of the art department. If there is not a Production Designer on a production, Art Directors ensure that what they are doing meets health and safety guidelines as well as the needs of the Producer and Director, and is within budget.

In animation, Art Directors are responsible for the visual style of the animation. They decide how the characters, props, and environments are going to look and provide a basis for the rest of the art department to work from.

This is a job that involves a lot of communicating with people and needs strong management skills. Art Directors are responsible for ensuring all artwork is of high quality and in keeping with the Director’s vision. They are also responsible for making sure everyone in the art department stays on budget and on schedule.

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What's an Art Director good at?

Creativity
Visualize what a production requires, the look of a set or location, imagine how it will accommodate the production brief and department requirements. Have the artistic skill and imagination to produce original and high-quality designs
Leadership
Have strong management skills to lead a department, be able to communicate visual ideas, and be able to work as part of a team
Art
Be able to draw conceptually and technically, work with specialist design software, build props and small sets, have knowledge of art history
Knowledge of construction
Source appropriate materials and props, be aware of the latest developments in production design
Knowledge of production
Understand production techniques, studio environments, studio capabilities and the challenges of working on location. In animation, be able to understand what is going to be achievable further down the line on an animation production by the animation and post-production teams
Leadership
Be able to share their vision with a wide number of different people, manage budgets and people, draw up schedules, prioritise and meet deadlines
Communication
Understand what the director wants, be able to explain ideas, give constructive feedback, have good presentation skills

Who does an Art Director work with?

Art Directors project-manage work within an art department. They oversee construction teams, Production Buyers, Art Department Assistants, Carpenters, Greensmans, Painters, Scenic, Set Dec and Production Assistants. Art Directors work closely with Production Designers, particularly on studio shows, and on-location work with Producer and Directors and their teams of Associate Producers, Researchers and Production Designers. They also collaborate with camera, sound and lighting operators to ensure their work complements theirs and doesn’t create technical issues, such as with colour, lighting or the creation of unnecessary sound problems. They also work closely with Production Managers in planning and budgeting.

In animation, Art Directors work closely with the Director and as well as the artists in their teams, including Background Designers and Modellers.

How do I become an Art Director?

Art Directors typically need a bachelor’s degree in an area relating to visual art or design, preferably as they relate to film. Courses in theatre, architecture, digital design, fine art, film history, and interior design are all relevant to study.If you’re going the film school route, courses in production design are especially useful.

On-set experience is also key, as well as organizational and administrative skills. Art Director is a senior position, so you usually need some experience before you can progress to this role. A good route would be through starting in a junior position in the art department, such as a Set Decorator. You’ll also need to develop strong management skills. To be an Art Director in the animation realm, you will also need a good understanding of how an animation project works.

Here are some other tips:

Develop a wide range of art skills: Learn how to paint, do 3D modelling and graphic art. The more you can do at this stage, the more chance you have of being useful in the art department later on.

Learn to drive: If possible, get access to a car. This makes you more versatile and means you can help more.

Build a portfolio: Create work that you can show off to employers. As an Art Director, you will be hired based on your personal style and skill, so you need to have a strong portfolio. This could be made up of your own independent artwork or work you’ve done for collaborative projects. This is essential for impressing collaborators and people in the film industry.

Look outside the industry: Art Directors are needed in many industries outside of film and animation, including advertising, theatre, print magazines and product design. Getting experience working in the art department of a company in one of these fields would be a good way to gain relevant experience which you can translate into film.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

Click on your region to find out which professional organizations in your area are associated with this career and watch videos to learn more about them.

Art Department

An Art Director works in the Art Department

Production Designer

Department: Art Department

Production Designer: Creates the way a film or TV production looks, and working with all other visual departments to design the world in which the story is set.

Explore this career

Set Decorator

Department: Art Department

Set Decorator: Creates the background of the film by placing or dressing the walls, floors, furniture and vehicles.

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Director of Photography

Also known as: Cinematographer, DP, DoP

What is a Director of Photography?

What does a Director of Photography do?

The DoP is the head of both the lighting and camera departments. They are responsible for artistic and technical decisions related to the images captured by the camera.

They read the screenplay and work closely with the Director to discuss the look and feel of a film. They then research how to create the look through lighting, framing, and camera movement and what they will need in terms of equipment and crew to achieve this. The DoP works with other departments, like sound and the director’s unit, to coordinate production needs.

During production, the DoP coordinates the camera crew and works with the Director to make sure each scene is set up and shot to match the overall vision. A DoP can have a lot of creative input on the look and feel of the film. For each scene, the Director of Photography decides on the best combination of cameras, filters, and lenses, as well as camera placement, camera moves, and lighting best suited for the scene.

It’s the job of DoPs to make sure every shot satisfies the Director’s vision and fits with the aesthetic of the film. They view the dailies with the Director and work closely with the Colourist in post-production. On smaller productions, they sometimes double as the Camera Operator.

The DoP is considered one of the key creatives on a film set. The position is both highly technical and artistic, requiring extensive experience and training.

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What's a Director of Photography good at?

Photography
Have an eye for composition and color, know how to tell a story through a shot, understand camera and lighting techniques, know how to use them to evoke an emotional response
Technical knowledge of cameras
Have an in-depth understanding of all motion picture equipment, cameras, lens, monitors, and lights
Editing knowledge
Understand the post-production workflow, and how shots fit together to tell a coherent story
Making decisions
Think quickly, often under pressure
Organization
Plan, know how to do things and how long it will take, get the right kit and crew, think about logistical, artistic, and budgetary considerations at the same time
Communication
Ensure everyone in the team knows what’s expected, work closely with the grips and the gaffer, lead the team and resolve conflicts in situations that can sometimes be stressful

Who does a Director of Photography work with?

The Director of Photography works closely with, and oversees the Camera Department which consists of the Camera Operator who looks through the camera and is the DoP’s eyes, the 1st Assistant Camera who makes sure the shots are in focus, the 2nd Assistant Camera, who prepares the equipment and keeps records of the shots, and the Camera Trainee who assists the whole department. The DoP also works closely with the Digital Imaging Technician who makes sure that all the digital settings on the cameras are set to bring the DoP’s vision to life, as well as the Video Assist Operator who makes sure that the director can see what is being shot.

How do I become a Director of Photography?

This is a senior role and people come into it through a variety of routes. Some start as Camera Trainees and work their way up through the roles outlined above. Others come up through the lighting department. IATSE has an excellent apprenticeship training programme that is the most direct way into this field. You can also learn a lot about cameras and other equipment in a film production programme in college, university, or independent training programmes. Here are some more tips:

Educational requirements: Many film schools offer courses in cinematography, touching on lighting, shot design, and how to tell visual stories. You can also start out as an entry-level assistant in the camera department, learn on the job, and work your way up.

Work for an equipment company: Contact an equipment rental company like Panavision, Provision, or ARRI Rentals. Ask if you can become an intern or driver for them. That way you will learn more about the equipment and build up contacts

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

Click on your region to find out which professional organizations in your area are associated with this career and watch videos to learn more about them.

Camera Department

A Director of Photography works in Camera Department

Camera Operator

Department: Camera Department

Camera Operator: Responsible for capturing the action on camera, and plays a crucial role in developing the visual style and tone of the production.

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Gaffer

Department: Camera Department

Gaffer: Creates and controls the lighting on a production, working with the DoP to achieve the artistic vision.

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Set Costumer

What does a Set Costumer do?

Set Costumers are the right hand of the Costumer Designer and Costume Supervisor. While Costume Designers design the entire look of a character and supervise the construction of costumes, they seldom go to set. A Set Costumer is responsible for assembling the costume of the actor on set and making sure the Costume Designer’s vision is realized.

Set Costumers will track clothing to ensure that they are loaded and unloaded safely and without causing damage or stains. They supervise the clothing and accessories being delivered to the appropriate actors, and are taught about proper clothing care. This includes educating performers on not eating, drinking, or smoking while wearing specific garments. They create rules for performers to follow when it comes to ensuring that their clothing stays free of filth, rips, and other flaws.

Making sure that the production’s “clothing continuity book” is up to date is a key aspect of the job. This book details each shot in chronological order, including what each actor looks like in each scene. In addition to ensuring that actors wear the right costumes at the right time, this book can also record the use and placement of each costume during the production process.

What's a Set Costumer good at?

Dressmaking and tailoring
Be able to draw, sew, make, alter and maintain clothes and accessories, prepare outfits to look faultless on screen
Styling
Understand the stylist’s or designer’s vision for a show, know what styles suit different people best and create the right looks with flair and creativity
Attention to detail
Spot and deal with any design or styling flaws or issues during filming, keep the department organised and tidy
Knowledge of design
Have a passion as well as an understanding of fashion, the history of design and costume, colour, lighting, pattern and texture, and knowing where to source fabrics, accessories and outfits
Communication
Work well with others, listen and respond to stylists’, presenters’ and contributors’ needs, be trusted and have good relationships with designers, PR and brands who may supply clothing or accessories

Who does a Set Costumer work with?

A Set Costumer works directly with the Costume Designer, Costume Supervisor or Stylist, or all three. They also work with everyone and anyone on the production, in particular the hair and make-up team, to ensure they all create a complete and coherent ‘look’ for any contributors featuring in a programme. They have contact with studio and technical staff, particularly sound when putting on and removing mics, and have regular updates with the production management team regarding budgets and schedules.

How do I become a Set Costumer?

Set Costumers are often the entry-level role in the costume department. Some start as Production Assistants, but others go straight in as Set Costumers. To get in, you need to develop your craft. Here are some more tips:

Educational Requirements: If you want to go to university, classes in art and design, fashion, textiles, theatre studies, graphic design or graphic communication are useful.

Get an Internship: An internship is a job with training, so it’s a great opportunity to earn as you learn. However, it can be challenging to find jobs as an intern within production companies. It might be worth looking for a job as an intern in an industry that uses similar skills, such as being a tailor for a clothing designer or tailoring company. Try to hone your skills through an internship in fashion and textiles or costume and wardrobe.

Build a portfolio: This is essential. Build a Costume Portfolio, get in touch with costume designers and ask if you can shadow them on productions.

Get work experience: Try to get work experience by writing to local production companies and asking if they offer any internships.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

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Wardrobe Department

A Set Costumer works in the Wardrobe Department

Costume Designer

Department: Wardrobe Department

Costume Designer: Designs the costumes and wardrobe for all the cast on a film or TV show.

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Production Designer

Department: Art Department

Production Designer: Creates the way a film or TV production looks, and working with all other visual departments to design the world in which the story is set.

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Makeup Artist

Also known as: Key Makeup Artist

What is a Makeup Artist?

What does a Makeup Artist do?

A Makeup Artist is responsible for transforming people’s appearance via makeup, paint, and other substances (putty, silicon, fake blood, etc.)

The Makeup Artist usually works with Directors and performers in order to determine the desired appearance of each character. They often examine sketches, photographs, and other references from Concept Artists to get inspiration for the desired look. They read and analyze scripts in order to determine the necessary makeup and changes depending on different scenes and settings.

Some Makeup Artists also specialize in doing Special FX Makeup, which can include everything from putting a prosthetic nose on an actor’s face to creating fake wounds or a ghoulish monster mask.

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How Movie Makeup Comes To Life At Cinema Makeup School

What's a Makeup Artist good at?

Communication
Be clear with clients regarding specific requirements and concerns.
Drawing
Be able to sketch design ideas.
Teamwork
Make sure all members of the makeup team are on the same page creatively.
Visual Perception
Keep in mind lighting, colors, and the photographic process.
Health and Safety
Maintain an awareness of health and safety guidelines that need to be followed.
Research
You’ll want to stay on top of the latest kits, products, and tools.
Time management
Make sure your work is done on time so that the production can meet deadlines.

Who does a Makeup Artist work with?

The Makeup Artist works closely with the Costume Designer, Production Designer and Director in order to create a look for each actor that best captures the character.

How do I become a Makeup Artist?

Here are some tips:

Take a makeup course: Improving your skills means getting an education. This is where beauty school comes in – there, you’ll learn the skills and techniques necessary to be successful in the beauty industry.

Build your portfolio with makeup photos and other visual effects: Like any artist, your portfolio shows what you’re capable of. Use attractive visual effects to highlight all the things you can do. For a high-quality, professional look, be sure to take the best photos.

Learn new makeup styles and trends: Stay curious and understand the latest trends and technologies, and practice them to enhance your skills.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

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Hair and Makeup

A Makeup Artist works in the Hair and Makeup Department

Special Effects Makeup Artist

Department: Hair and Makeup

Special Effects Makeup Artist: Specializes in prosthetics and other specialized make-up design, for creating wounds, as well as monsters or fantastical creatures.

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Hair Stylist

Department: Hair and Makeup

Hair Stylist: A Hair Stylist is part of a team of artists in charge of designing character hairstyles and styling actors’ hair or wigs on set.

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Hair Stylist

What does a Hair Stylist do?

The Hair Stylist is part of the Hair & Make-up department and reports directly to the Key Hair Stylist. The Key Hair Stylist is the head of the hair department and collaborates with the Director, Production Designer, and Key Make-up Artist to create unique designs that complement the overall look of the film.

They begin working full-time on designs long before the film begins production and before additional Hair Stylists are hired to join the crew on set. They may also be in charge of any wigs required & on a larger set, this is usually handled by the Hair Stylist specifically assigned to the wig-wearing actor. They are in charge of the hair look for everyone on screen, which can involve designing and execution, including hiring a hair team to cover every actor and extras.

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What's a Hair Stylist good at?

Hair
Be adept in the craft of cutting and colouring, wigs, extensions, and beards.
Hair history
Know the story of hair throughout the ages, be able to research.
Styling
Understand the Director’s vision, know what that means for hair, have a good eye for the look.
Communication
Share the vision of the style with team members, be the liaison between the Director and the rest of the team, put actors at ease.
Organization
Break down a script into hair requirements, schedule the hair needs, manage the team, budget, and daily call sheet.

Who does a Hair Stylist work with?

The Hair Stylist will work closely with the Production Designer and the hair and makeup team to deliver on the Director’s vision.

How do I become a Hair Stylist?

Many colleges provide diploma programmes in hairstyling, where health and safety issues, professional ethics, communication skills, and entrepreneurial practices are taught alongside the skills of haircutting, styling, and colouring. Hairstyling is a skilled trade, so an apprenticeship is often required. There are always new styles and trends to follow, so keeping up-to-date is important too. Volunteering for small theatre or film productions in high school is a great way to start applying your skills in hairdressing within the setting of the performing arts.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

Click on your region to find out which professional organizations in your area are associated with this career and watch videos to learn more about them.

Hair and Makeup

A Hair Stylist works in the Hair and Makeup Department

Costume Designer

Department: Wardrobe Department

Costume Designer: Designs the costumes and wardrobe for all the cast on a film or TV show.

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Makeup Artist

Department: Hair and Makeup

Makeup Artist: Creates the makeup looks for all performers on the production and applies the makeup on set.

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Special Effects Makeup Artist

Also known as: SFX Makeup Artist

What does a Special Effects Makeup Artist do?

A Special Effects Makeup Artist (SFX) is a specialized member of the Makeup team responsible for creating specialized makeup effects such as abrasions, bloody wounds, deformities, bruises, supernatural beings, zombies, etc. They use different materials to create prosthetics, which are fake additions to the actors body to make them appear this way. In some situations a SFX Makeup Artist might also be responsible for creating an “aged” look. Depending on the script, they estimate the time and cost of making prosthetics and create bald caps, prosthetic pieces, facial parts, and scars.

Mold-making, casting, applying and removing prosthetics, and working with common materials such as latex and silicone are their responsibilities. They must be skilled in procedures such as face and body aging, bald cap creation, and wound or scar creation. Normally, they will use make-up artists and assistants to apply the prosthetics to the actors themselves (which can take hours). They usually stay on set to make sure the prosthetic is in good working order.

They work closely with the rest of the Makeup team and the Prosthetics team to create these unique looks. They usually come equipped with their own kit.

What's a Special Effects Makeup Artist good at?

Makeup Techniques
Must understand traditional makeup techniques, along with specialized makeup techniques.
Creativity
A vivid imagination, as well as the ability to create and solve problems in novel ways, are required, along with the necessary technical skills and experience. Great design and interpretive skills, as well as the ability to comprehend a project's prosthetics requirements and implement them in both practical and imaginative ways.
Organization
One SFX Makeup Artist might be responsible for dozens of looks on one production
Collaborating
Works closely with several different departments to create a specific look
Research
Must be able to research intricate details of wounds, abrasions and deformities in order to recreate the looks effectively
Working with materials
Such as foam, latex, and silicone, as well as processes like mold-making and casting. Tattoos, false noses, wounds, and scars are all common prosthetics requirements.

Who does a Special Effects Makeup Artist work with?

A SFX Makeup Artist works closely with the Costume, Makeup and Hair departments to assemble a whole look. They may take suggestions from the Production Designer over the severity of a look to fit in with the whole design. SFX Makeup Artists work closely with talent as well. They also work directly with actors.

How do I become a Special Effects Makeup Artist?

SFX Makeup Artists are trained through college, usually Cosmetology school, but this is not necessarily the only route to becoming a SFX Makeup Artist. You can also apprentice under a senior SFX Makeup Artist and learn the techniques this way. Keep a portfolio of all your looks to show potential gigs.

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Hair and Makeup

A Special Effects Makeup Artist works in the Hair and Makeup department

Makeup Artist

Department: Hair and Makeup

Makeup Artist: Creates the makeup looks for all performers on the production and applies the makeup on set.

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Hair Stylist

Department: Hair and Makeup

Hair Stylist: A Hair Stylist is part of a team of artists in charge of designing character hairstyles and styling actors’ hair or wigs on set.

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VFX Supervisor

Also known as: Lead Visual Effects (VFX) Artist, Senior VFX Artist

What is a VFX Supervisor?

What does a VFX Supervisor do?

This role is responsible for overseeing all VFX work and managing technical and artistic VFX personnel. While it is a creative role, most Visual FX Supervisors possess a strong technical background and are capable of making informed decisions about the most efficient and effective technique to employ to solve the problem at hand. Often a supervisor will work in tandem with a Visual Effects Producer and Computer Graphics Supervisor.

VFX Supervisors begin their work on a project in the early stages of pre-production. They are the main point of liaison between a VFX studio and the Director or Producer of the film or TV program. Together, they decide on what VFX is needed for every shot of the film. VFX Supervisors then work with the VFX Artists to create prototype materials to present. These can include concept art and 3D computer-generated images (CG). The prototype materials help to inform the style of the VFX in the production.

VFX Supervisors are present for filming during production so that they can see if the shots are satisfactory and will work with the VFX elements. VFX supervisors continue to lead their team when the film is being put together during post-production. They oversee the quality of all work produced and make sure that it is in line with the vision of the Director and/or Producer.

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What's a VFX Supervisor good at?

Art
Have excellent design, layout, colour, and composition skills
Knowledge of photography
Understand cameras, cinematography, and how films are made, be able to influence the shoot so it works for the VFX
Knowledge of VFX programs
Be adept at using relevant programs such as Maya, Blender, Nuke, and Photoshop
Collaboration
Work in pre-production with the director or producer to decide on which shots will need VFX work, respond to their creative and artistic direction
Leadership
Share the director or producers’ vision of the film with the VFX artists of all departments, inspire them to do their best work, manage their output in terms of quality and deadlines
Communication
Be able to clearly articulate what needs to be done on-set to achieve the desired VFX shots, be able to relay information between the production and your artists

Who does a VFX Supervisor work with?

VFX Supervisors work with film Directors and Producers. Together, they decide on what VFX is needed for every shot of a film. They also lead all of the different kinds of VFX Artists within a VFX company or studio.

How do I become a VFX Supervisor?

The VFX Supervisor job is the highest leadership role within an entire VFX company or studio; therefore, you will work in other, more junior, VFX roles first before reaching this position. VFX Supervisors need the same technical skills and relevant software proficiency as Junior VFX Artists do, so you could start VFX work as a Roto Artist or Prep Artist and progress from there. In this case, an important thing that you can do is to create a show-reel to illustrate your abilities (even established VFX supervisors can have their own show-reels). Alternatively, you can start work in the production department as a Production Coordinator or Production Assistant and go from there.

Educational requirements: A college degree in film and TV production, computer animation, or art and design is key. These are taught at many colleges, universities, and art schools. Training in the use of visual effects and animation software is a must.

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Effects Department

A VFX Supervisor works in the Effects Department

VFX Producer

Department: Effects Department

VFX Producer: Manages the whole process of creating the VFX for film or TV.

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Roto Artist

Department: Effects Department

Roto Artist: Manually draws around and cuts out objects from movie frames, in scenes where live-action and computer generated images overlap.

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Compositing Supervisor

Also known as: Comp Supervisor, Head of Compositing

What does a Compositing Supervisor do?

Compositing Supervisors are in charge of the department that puts together all the different elements of the visual effects (VFX) shots. They manage the Compositors, who do this work, and check it for quality. They are also responsible for ensuring the continuity of colour between shots.

Compositing Supervisors are very experienced in compositing. They are experts in taking different digital materials, like computer-generated (CG) images and live-action footage, and combining them to appear as one cohesive shot. They organize the team of Compositors to meet the deadlines so the film or TV production company gets the VFX work on time. They may also composite shots themselves if needed.

Compositing Supervisors tend to be employed by VFX companies or studios rather than being freelancers.

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What's a Compositing Supervisor good at?

A good eye
Recognize what makes an image appear realistic in terms of light, colour, composition and perspective
Knowledge of photography
Understand cameras, cinematography and how films are made
Communication and leadership
Be able to manage compositors and share the creative vision of the project with them, inspire them to do their best work, manage their output in terms of quality and deadlines
Organization
Plan workflows with a view to meeting deadlines, distribute work amongst your team
Knowledge of VFX programs
Be adept at using relevant programs such as Adobe After Effects, Blackmagic Fusion, Blender, Cinema 4D, Houdini, Maya, Nuke, RenderMan and 3ds Max

Who does a Compositing Supervisor work with?

Compositing supervisors work with the Compositors in their team. They also have to work out precisely what’s needed and the order in which things need to be done. They work with the head of the whole project (the VFX Supervisor) and with the Computer Graphics (CG) Artists in order to do that. They also talk to the film production company and VFX Producers.

How do I become a Compositing Supervisor?

Supervisor roles are some of the most senior in film production. To be a Compositing Supervisor, you need to have four or five years’ experience in a senior VFX role, such as senior Compositor or a technical director (TD) role. You can start off in a more junior VFX role, such as Motion Capture Technician, Prep Artist or Roto Artist. You might find a company that’s offering a junior compositor position.

A degree in a VFX subject is useful too. Or you might want a degree in animation, computer programming or computer science. It’s important to create a show-reel that shows off your abilities (even established compositing supervisors can have their own show-reels).

Here are some tips:

Build a portfolio: Learn the software, experiment with VFX programs and create a show-reel that you can show to collaborators or employers. Focus on producing a portfolio which includes relevant work to showcase your immediate practical skills This is essential. It’s really important to develop your appreciation for VFX. Make sure you’re familiar with what’s out there.

Get VFX industry skills: There are various VFX image and video-editing programs in which it’s useful to receive training.

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Effects Department

A Compositing Supervisor works in the Effects Department

Compositor

Department: Effects Department

Compositor: Takes all the digital materials of a shot (live-action footage, CG images, special effects, etc) and combines them as a single, cohesive final image.

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Computer Graphics (CG) Supervisor

Department: Effects Department

Computer Graphics (CG) Supervisor: Responsible for the delivery and quality of the 3D computer-generated elements of a VFX project.

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Compositor

Also known as: Compositing Artist, Finishing Artist, Visual Effects (VFX) Artist

What does a Compositor do?

Compositors create the final image of a frame, shot, or sequence of a film, television show, or animation. They take all the various digital materials used (assets), such as computer-generated (CG) images, background plates, graphics and special effects (SFX), live-action footage, and matte paintings, and then combine them to appear as one cohesive image and shot.

Compositors consider visual aspects of a scene, such as realistic lighting. Anything caused by light hitting a “lens” is a compositor’s responsibility. They relight in order to improve the look of the image. They also create shadows and motion blurs as necessary to improve the shot.

Compositors are also responsible for continuity; making sure art from different sources and different artists looks the same. They make sure the blacks and other colours match each other in the image. They spot mistakes and either correct them or send the work back through the pipeline to be improved. Compositors ensure the overall style of the film is consistent and in line with the director’s vision.

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What's a Compositor good at?

A good eye
Recognize what makes an image appear realistic in terms of light, colour, composition, and perspective. Be able to scrutinize the media and work on compositions until they appear cohesive and consistent
Knowledge of photography
Understand cameras, cinematography and how films are made
Knowledge of compositing programs
Be adept at using relevant programs such as After Effects, Blackmagic Fusion, Houdini, Maya, Nuke, and Photoshop
Knowledge of the animation production pipeline
Have a thorough understanding of the computer-generated animation process
Collaboration
Be able to work with other VFX artists, use each other’s resources effectively and efficiently
Working to deadlines
Work within given time frames, be able to complete work under pressure

Who does a Compositor work with?

Compositors work with the Visual Effects Supervisor to understand the final expectations. They also work with the various artists that create all the different elements such as:

Lighting technical director (TD)

There is some overlap between, and blurring of responsibilities of, the work of Compositors and Lighting Technical Directors (TDs), as lighting is such an important part of a film. Lighting Technical Directors are incharge of managing and creating the artificial lighting in a scene to match the scene requirements. Whether that be to match it realistically or add more of a fun lighting scheme.

Roto Artist

Roto Artists work closely with Compositors, as the mattes which Roto Artists produce serve as important layers for Compositors to work with. Often, Roto Artists work towards being promoted to a Compositor position. Compositors are expected to know how to rotoscope.

Compositors will also often work with Background Designers, Matte Painters, and Compositing Supervisors.

How do I become a Compositor?

It takes many years working in the industry to become a Compositor. However, some companies have Junior Compositor roles, which give you the opportunity to develop into a Senior Compositor position. You might get into a Junior Compositor role straight after college or university, or you might start in a related role, such as a roto artist or modeler, and work your way into the compositor role from there. The most important thing that you can do to become a Compositor is to create a showreel to illustrate your abilities to potential employers. A degree in VFX is useful too, especially as it gives you time to build up a portfolio.

Build a portfolio: Learn the software, experiment with programs, and create a showreel that you can show to potential collaborators or employers. Focus on producing a portfolio that includes relevant work to showcase your immediate practical skills. This is essential. Make sure you’re familiar with what’s out there.

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Effects Department

a Compositor works in the Effects Department

Compositing Supervisor

Department: Effects Department

Compositing Supervisor: Is in charge of the department that puts together all the different elements of the visual effects shots.

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Roto Artist

Department: Effects Department

Roto Artist: Manually draws around and cuts out objects from movie frames, in scenes where live-action and computer generated images overlap.

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Roto Artist

Also known as: Junior Visual Effects (VFX) Artist

What does a Roto Artist do?

Roto Artists manually draw around and cut out objects from movie frames so that the required parts of the image can be used, a process known as rotoscoping.

The parts of an image that are wanted after cutting out are known as mattes. Roto Artists work on the areas of live action frames where computer-generated images (CGI) or other live-action images will overlap or interact with the live image.

If the live-action camera is not moving within a shot, rotoscoping might involve only one frame. If the camera’s moving, roto artists trace the relevant areas of every frame within the shot so that CG can be combined accurately with the live-action. Roto Artists need to have a keen eye and patience in order to complete this meticulous and repetitive work.

In addition to rotoscoping, Roto Artists assist in the preparation of material for compositing.

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What's a Roto Artist good at?

Drawing skill
Trace accurately with a good line
Patience
Be methodical and thorough, taking care to rotoscope well so as to help to produce a high-quality final image
Knowledge of programs
Be adept at using relevant programs such as Photoshop
Delivery
Work well with strict deadlines, be able to complete work under pressure
Taking initiative
Observe what’s happening, be proactive, ask questions at the appropriate time

Who does a Roto Artist work with?

Roto Artists work most closely with Compositors, as the mattes which Roto Artists produce serve as important layers for Compositors to work with. They pass on their work to Prep Artists, as part of a VFX production pipeline, to help prepare plates for Compositors.

How do I become a Roto Artist?

It is important that you create a showreel to show potential employers and collaborators what you can do. In terms of formal education, there are degrees available specific to the VFX industry, and they can help you to become a Roto Artist.

Build a portfolio: Learn the software, experiment with VFX programs and create a showreel that you can show to collaborators or employers. Focus on producing a portfolio which includes relevant work to showcase your immediate practical skills.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Effects Department

A Roto Artist works in the Effects Department

VFX Editor

Department: Effects Department

VFX Editor: The link between the live action shoot and the VFX studio that does the visual effects.

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VFX Producer

Department: Effects Department

VFX Producer: Manages the whole process of creating the VFX for film or TV.

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Motion Capture Technician

Also known as: Mocap Tech

What does a Motion Capture Technician do?

Motion capture jobs, often shortened to Mocap, focus on using a special camera and set of tracking systems to record movement for later animation.

In the capture, cleanup, and processing of high-quality 3D motion capture data for both real-time in-game animation and pre-rendered cinematics, a Motion Capture Technician works closely with the Lead Animator and animation teams. Before, after, and during shooting, the Motion Capture Technician is in charge of setting up and maintaining the motion capture studio. During shots, Motion Capture Technicians will be in charge of running the capture station and ensuring high-quality marker tracking and motion capture.

When appropriate, the Motion Capture Technician can also provide direction, comments, and support to the performers on site. In preparation for the animation team, they’ll also be responsible for cleaning up the marker data and processing it using a custom pipeline. Mocap experts collaborate with the animation team to design, refine, and optimize the studio’s motion capture method and pipelines.

What's a Motion Capture Technician good at?

Being accurate
Be methodical in your work, pay close attention to detail, have strong problem-solving skills
Technical knowledge of cameras and animation
Have an in-depth understanding of all motion picture equipment, cameras, lenses, monitors, and lights
Understand the animation pipeline
Know the process through which animation productions are made
Using software
Use the data sharing application, be able to operate and maintain your data collecting equipment yourself
Being efficient
Work quickly and accurately on set so that the physical production can run smoothly, organize and prioritize your tasks
Programming and coding skills
Have knowledge of programming with a high level of technical ability
Communication and teamwork
Communicate well with the other technicians, and animations artists, when necessary so that there is a cohesive and structured file storage system
Organization
Be attentive to the detail of the files and data that you process and store, maintain a working system of file storage
Efficiency
Work quickly and accurately, organize and prioritize your tasks

Who does a Motion Capture Technician work with?

Motion Capture Technician works closely with the Lead Animator and animation team. They communicate with all of the other departments in the animation company, as well as the talent. On set, they work with the Director and specialized camera team.

How do I become a Motion Capture Technician?

Like many roles in film and TV, there are many routes to becoming a Motion Capture Technician. From getting degrees, diplomas, certificates, internships, apprenticeships, or even freelancing and volunteer work, there is no standard recipe. Training on set is also a great route, and there are lots of ways to do it, both extended and short-term.

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Effects Department

A Motion Capture Technician works in the Effects Department

Previsualisation (Previs) Artist

Department: Effects Department

Previsualisation (Previs) Artist: Plans out what a film is going to look like by digitally visualizing scenes before shooting them, in order to map out how VFX will fit into a scene.

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VFX Editor

Department: Effects Department

VFX Editor: The link between the live action shoot and the VFX studio that does the visual effects.

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VFX Editor

Also known as: Editor

What does a VFX Editor do?

VFX Editors work as the link between the film or TV production team, which shoots the live-action footage and the VFX studio that does the visual effects. A VFX Editor can be employed by a VFX studio or directly by the film or TV production company. The role varies depending on whether they are in-house (employed by the studio) or client-side (employed by the film or TV production company).

Client-side VFX Editor: Client-side VFX Editors work on set, while the live-action footage is being shot. They check everything is being captured in a way that makes it possible for the VFX to be created and integrated effectively. They keep track of the Director’s notes and make sure that the VFX Editor employed by the VFX studio knows about any changes that will affect the way the VFX needs to be created. The client-side VFX Editor brings drafts of the shots together so that the Director can see how they will look with the VFX incorporated and make sure the footage all comes together to create a cut of the film or TV programme that’s in keeping with what was signed off in previsualization.

In-house VFX Editor: In-house VFX Editors work closely with client-side VFX Editors but are responsible for ensuring that the VFX Artists at the VFX studio have everything that they need to create their work.
While the project is being worked on, the VFX Editor creates a workflow that allows the VFX Supervisor to evaluate the VFX Artists’ work and provide feedback on the aesthetic and on the technical direction. As the client approves shots or versions, the VFX Editor incorporates them into the current cut (edit) and oversees the passing of work back to the team that is editing the film or TV programme.

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What's a VFX Editor good at?

Attention to detail
Be meticulous with a strong eye for detail, making sure all shots are of the highest possible quality
Editing
Have a good understanding of story-telling and be adept at using editing software
Communication
Have excellent communication skills, understand exactly what the desired effect is in each shot and give effective direction to achieve that, keep clients informed on progress
Organization
Be on top of the work that needs to be done and its progress with a good understanding of the pipeline, keep track of any changes in the project and keep all staff informed
Working to deadlines
Have very good time-management skills, make sure the project stays on track for its deadline and cope well with working under pressure towards tight post-production deadlines at the end of the project

Who does a VFX Editor work with?

Client-side VFX Editors work closely with the Director, Producers, Editors in post-production and in-house VFX Editors. In-house VFX Editors work closely with a large range of staff across the VFX pipeline. They work directly under the VFX Supervisor. They work closely with Data Input/Output Technicians, TDsand VFX Producers to manage all incoming media and outgoing deliverables. They also communicate with the client-side VFX Editor and the post-production Editor of the film or TV programme.

How do I become a VFX Editor?

VFX Editor is a senior role so you will need to gain experience of both working in VFX production pipelines and doing editing work. There are a variety of routes into this job. You might want to start working as Production Assistant or Assistant Technical Director in a VFX studio. Alternatively, you could find your way into the industry by working as a Post-production Assistant in a post-production studio. Most VFX Editors have a degree in computer graphics, animation or a related subject.

Get a degree: Provided you have strong show-reel and know VFX software, it’s not essential to get a degree to become a VFX Editor, but it can help.

Get an internship: Internships are jobs with training. They’re a great opportunity to earn while you learn. You might want to enter the VFX industry through an internship as an Assistant Technical Director or a Junior 2D Artist. If you can’t find an internship with a VFX company, it might be worth getting an internship in a related industry, such as games or animation, which could give you some experience to help you find your way into VFX at a later point.

Build a portfolio: Learn how to use, and then experiment with, VFX programs and create a show-reel that you can show to admissions personnel or employers.

Network: Get to know people in VFX by attending events. Meet professionals and ask them questions about their work, while demonstrating interest and knowledge in the sector. Offer to provide them with your professional contact details and try to stay in touch with them. Research VFX companies you’d like to work for. Go to their websites and check if they are advertising for junior roles in the art or technical art department. Even if they aren’t, send in your CV and showreel and ask them to bear you in mind for future positions.

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For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Effects Department

A VFX Editor works in the Effects Department

Editor

Department: Video Post Production

Editor: Assembles and edits the raw footage of the film into a cohesive final product.

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Assistant Editor

Department: Video Post Production

Assistant Editor: Keeps the flow of post-production smooth by communicating with production departments, organizing daily footage, and assisting the Editor.

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VFX Producer

Also known as: Executive VFX Producer, Show Producer, Bidding Producer

What does a VFX Producer do?

VFX Producers manage the whole process of creating the VFX for film or TV. They make sure that the client, usually the film or TV series’ Producer or Director, is happy with what the VFX studio makes.

VFX Producers create the “deck” document through which they persuade the film or TV series’ Producer to take their VFX studio on to do VFX work on a project. VFX Producers put together the team of VFX Artists and other technical staff. They set the schedules for the work and they manage the budget.

While filming is happening, VFX Producers work closely with the live-action production crew. They also work with the Editor in post-production. They communicate between the crew and Editor. How much they interact with the client varies between studios. They might report to them on a weekly or even daily basis.

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What's a VFX Producer good at?

Organization
Effectively plan and manage the project using VFX production pipeline organization software, be able to budget accurately
Leadership
Be confident in giving direction and leading a team, communicate well with everyone, create a positive atmosphere within the team
Knowledge of VFX
Understand all aspects of VFX pipelines, know the processes, the creative challenges and the software used by the artists
Problem-solving
Anticipate any issues that might occur during the project, adapt to changing timescales and technical issues
Working with clients
Communicate well with the film and TV producers, keep them informed it things don’t go to plan, be diplomatic, keep good relationships

Who does a VFX Producer work with?

VFX Producers communicate with the Producer or Director of the production company making the film. Within their own studio, they work closely with the VFX Supervisor, who oversees the creative work. The VFX Producer then works with the Production Manager and Production Coordinators to make sure the work is done on time.

How do I become a VFX Producer?

VFX Producer is a senior position so you’ll need a lot of experience in VFX first. Some get to the role of VFX Producer by working first as a Production Assistant in VFX and then as a Production Coordinator and then a Production Manager. Others come in through a VFX art route; you can start off as a Junior VFX Artist and then gain experience to become a Compositor or Technical Director (TD) and then move into production management.

You need to have excellent leadership and organization skills. A degree in VFX or a related course is a good idea for this role. VFX Producers have excellent project management skills.

Here are some tips:

Get a degree: You could either take a degree that equips you with the technical skills of a VFX artist or a degree in film production.

Create some VFX sequences: A good way of understanding the processes in VFX, is to learn the software, and start making some.

Look outside the industry: See if you can get a job as a Production Assistant with a 3D animation studio or company. This will help you build contacts, skills and knowledge related to VFX. While you are trying to break into VFX production, get management or project management experience. Any job that involves planning, organizing and budgeting will give you good experience.

Take a short course: Hone your skills in production management by taking a specialist course.

Search for jobs: Research VFX companies you’d like to work for. Go to their websites and check if they are advertising for junior roles. Even if they aren’t, send in your CV and showreel and ask them to bear you in mind for future roles or work experience. Keep looking on job websites too.

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For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Professional Organizations Associated With This Role

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Effects Department

A VFX Producer works in the Effects Department

VFX Supervisor

Department: Effects Department

VFX Supervisor: Responsible for overseeing all the VFX work and VFX personnel for a production.

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Producer

Department: Above the Line

Producer: Responsible for developing a project from the beginning, and supervises all aspects of pre-production, production and post-production.

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Special FX Supervisor

Also known as: SFX Coordinator, FX Coordinator

What does a Special FX Supervisor do?

Special effects (sometimes known as practical effects or SFX) are either manual or mechanical effects that are applied on set during production. Explosions, earthquakes, vehicle chases, animatronic dragons, and even atmospheric effects like fog and rain are now standard fare in any live-action feature picture.

The Special Effects Supervisor (also known as an SFX Supervisor or an SFX Coordinator) is in charge of a team of Special Effects Technicians who work together to create special effects. The SFX Supervisor is a senior-level professional in charge of ensuring that the effects are carried out efficiently and securely.

Early in pre-production, the SFX Supervisor reports directly to the Director and Producers to ensure that they grasp the Director’s vision for the effects. They also collaborate with Production Designers and Art Directors to iron out the finer points, such as how to attain specific appearances or what particular equipment they’ll need to construct. On-set special effects (SFX) or (SPFX) differ from those made in post-production, which are referred to as “visual effects” (VFX).

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What's a Special FX Supervisor good at?

Being accurate
Be methodical in your work, pay close attention to detail, have strong problem-solving skills
Being efficient
Work quickly and accurately on set so that the physical production can run smoothly, organize and prioritize your tasks
Familiarity with technical equipment
From fog machines to high-tech prosthetics, SFX Supervisors are expected to understand, use, and even repair many complex pieces of equipment on set
Collaboration
Work in pre-production with the director or producer to decide on which shots will need SFX work, respond to their creative and artistic direction
Leadership
Share the Director or Producers’ vision of the film with the SFX artists of all departments, inspire them to do their best work, manage their output in terms of quality and deadlines

Who does a Special FX Supervisor work with?

The Special FX Supervisor works closely with the director, producer, actors, and all of the special effects department.

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Effects Department

A Special FX Supervisor works in the Effects Department

Stunt Coordinator

Department: Stunts Department

Stunt Coordinator: Coordinates and arranges stunts for film and TV.

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Stunt Performer

Department: Stunts Department

Stunt Performer: A trained professional who performs stunts (often an athlete or martial artist).

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Modelling Artist

Also known as: Model Maker, Modeller

What does a Modelling Artist do?

Modelling Artists build the digital or physical versions of everything that is seen on screen in an animation, film or television project (using VFX). They translate concept art, character designs and environment designs into models ready to be animated.

In stop-motion animation the role is known as ‘model maker’. In 3D computer-generated animation and visual effects, it’s usually known as ‘modeler’.

They start with a brief, which might be 2D or 3D art produced by a Concept Artist. They can also work from reference materials (such as photographs or line drawing sketches) which can then be scanned into 3D software.

They first create a ‘wireframe’, commonly referred to as a ‘mesh,’ of the object. This looks like a series of overlapping lines in the shape of the intended 3D model. From the mesh, they are able to sculpt the model of the object to closely resemble what’s intended. They use digital tools, such as sculpting brushes, and a physical graphics pen and tablet.

Modelling Artists work at an early stage of the CG and 3D part of the VFX pipeline. The 3D models that they produce can then move on to be animated, given texture, and lit.

If a Modelling Artist specializes in creating a specific type of 3D model – for instance, characters – then they may refer to themselves as a Character Artist. In this case, they will likely create both the models and textures for characters.

What's a Modelling Artist good at?

Art
Be able to draw, have a good understanding of form, color and texture, and know how these elements work together
Interpretation
Be able to create a 3D model from a 2D brief, decide upon the best method to complete a 3D model quickly, while having a required level of detail and quality
Knowledge of 3D modeling programs
Be adept at using relevant programs such as Blender, Maya and ZBrush, continuously learn new ways to fix problems in your models
Organization
Work within the production schedule, manage files and meet deadlines

Who does a Modelling Artist work with?

Modelling Artists take the brief from the Concept Artist. They draw their models into the work created by Environment Artists, so they work closely with them. They then pass their work onto the Texture Artists, Riggers or Animators.

How do I become a Modelling Artist?

VFX companies or studios generally prefer it if you have a degree in graphic design, or another VFX-specific course. But the thing you need most is a strong portfolio that illustrates your abilities. If you can’t find a junior role as a Modelling Artist, it’s worth looking for one as a Motion Capture Technician and working your way up.

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For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Effects Department

A Modelling Artist works in the Effects Department

VFX Editor

Department: Effects Department

VFX Editor: The link between the live action shoot and the VFX studio that does the visual effects.

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Storyboard Artist

What does a Storyboard Artist do?

A Storyboard Artist visualizes a story for film or TV, and creates frame-by-frame sketches. Storyboard Artists may use photos, or they might illustrate the images themselves. They work under the supervision of the film’s Director and/or Cinematographer (DoP) to illustrate what the movie will eventually look like – sort of like a comic book version of the film that shows all the camera movements, angles and shots.

The purpose of storyboards is to help the Director, Cinematographer and crew plan how to set up certain shots. They can also sometimes be used by Producers as a way to illustrate the Director’s vision in a presentation to funders or other supporters. Animated projects are often pitched on the basis of storyboards alone (that is, a screenplay may not be written until later), and Storyboard Artists continue to work throughout the production to develop particular sequences. As a sequence is edited, the Director, Storyboard Artist and creative team may need to rework the sequence.

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What's a Storyboard Artist good at?

Drawing
Have excellent drawing skills and be able to produce artwork in a range of styles
Listening
Be able to listen and execute the visions of the Director, Writer and creative heads
Storytelling
Be able to communicate a narrative well
Learning by watching and asking
Observe what’s happening in your department and company, take initiative, ask questions at appropriate times
Watching films
Have a passion for the medium and a love of the industry
Computer software knowledge
Many Storyboard Artists choose to develop their frames using readily available storyboarding software

Who does a Storyboard Artist work with?

Once the script has been broken down into a ‘shooting script’. Storyboard Artists work with the Director, and sometimes the Director of Photography and/or the Writer to create a visual rendering of the proposed frames and shots.

How do I become a Storyboard Artist?

The most important thing when applying for roles in storyboarding is to demonstrate good drawing skills. You need to show storytelling skills and an understanding of film. Many Storyboard Artists have a degree but you don’t necessarily need one as long as you have a strong portfolio and can show your experience. In some companies you can move into being a Junior Storyboard Artist from being a Production Assistant.

Educational requirements: Any art school with an animation or illustration department is a solid place to build fundamental skills. The essential part is strong illustration skills.

Develop Art and Illustration Skills: Regularly practise drawing and observing how people and things around you move and look. Carry a sketchbook with you.

Build a portfolio: Learn how to show story sequences cut together in an animatic form. Start creating work that you can show to admissions tutors or employers.

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Production Management

A Storyboard Artist works in the Production Management Department

Previsualisation (Previs) Artist

Department: Effects Department

Previsualisation (Previs) Artist: Plans out what a film is going to look like by digitally visualizing scenes before shooting them, in order to map out how VFX will fit into a scene.

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