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VFX Runner

The UK host some of the finest VFX companies in the world, so if you are passionate about entering this area of post production there has never been a better time than now.

My First Job in Film: How to become a VFX runner

Stage 1

Research all areas working with VFX, apply for work experience opportunities. Create a website to showcase your work, quality over quantity is the watchword here, only include the best of the best.

Stage 2

Apply for running jobs at VFX companies. Research the companies you want to work for, highlight where in the process you would like to specialise in the future.

Stage 3

How long you are running for depends on opportunities presenting themselves, being in the right place and how quick you are to learn new things.

What are Visual Effects?

It isn’t just the big budget action films that visual effects are employed; VFX has become so integrated into the filmmaking process we barely notice it.  VFX artists can be responsible for creating crystal blue skylines; crowd scenes can expand from hundreds of background talent to thousands. Heavy makeup or prosthetics are evened out, and wrinkles can appear less noticeable. If the budget is there to enhance the filmmaker's world, then the VFX team will be working their magic on features, TV drama, commercials and promos.

Visual effects, or VFX, is a term to describe anything that cannot be accomplished in the real world during principle photography -such as explosions, alien invasion, dinosaurs stalking through the jungle or skyscrapers falling to the ground. VFX free up filmmakers to create the images that were once impossible. Predominantly all VFX are created using computers, and the demand is now so prevalent that packages such as Cinema 4D can be run on a laptop, opening up possibilities for independent filmmakers.

Any effects, however, do require time, it’s complicated intricate work that often takes many hands to produce a few moments of screen time.  One small last minute change from a director can have dramatic ramifications for VFX producers, months of work can be sidelined during one conversation. Consequently, VFX artists can be found ramping up the hours as they seek to maintain imposed deadlines from production companies.  

If working on a film that is heavily reliant on VFX, the VFX supervisors will begin work in pre-production consulting with the director, line producer, production designer and DoP. The pre-visualisation team (concept artists, animators and modellers) collaborate with the production designer to generate basic animations and images for the DoP and director to work out camera angles, the images or animations they produce also help actors visualise the scene when using green screen. During production members of VFX will cooperate with the Camera Department to make sure the production and post-production process sync up, this can mean attaching devices to the camera that track movement and details such as aperture and focal length. Their relationship with the Art Department will be ongoing during production, especially if the sets are partially-VFX, partially-real world. The UK has some of the finest VFX companies in the world who work across all areas of film, television and commercials, leading the way when it comes to innovation and creative output. 

WHAT ARE THE ENTRY LEVEL POSITIONS IN VFX?

Runners:

Runners are always in demand in post production, although you'll not have hands on the tools you will have a foot in the door - and that’s a start. Runners will find their duties similar to those in editing and post sound companies, and you should remember that companies are hiring you to be a runner, not a VFX supervisor. So although you should clearly demonstrate your passion for wanting to progress in VFX, don’t forget to show examples of the vigilance and diligence required in running work in your covering letter.

Work experience:

Work experience and internships are also offered but may not be advertised. If you are looking for work experience, make sure companies have a copy of your CV, and call to see if there is any possibility of shadowing a member of the team for a week. Ideally, you want to be taking work experience while you're studying, don't leave it to chance and call up companies on the first day of the holidays, get your CV in and make sure you get a place confirmed. Take any opportunity you are offered and make sure to introduce yourself to members of the team. Finding out from the in-house runner’s what their day is like can give you some valuable insight to structure your next steps in the industry.

Apprenticeship: 

Launched in 2016 this apprenticeship scheme is run annually for school leavers who have decided not to attend university, four major VFX facilities are taking on apprentices to fill junior 2D artist and assistant technical director roles. In 2016 the companies involved in the apprenticeship are Framestore, Double Negative, Lexhag and The Mill. This is a traditional apprenticeship which offers hands-on experience, run through the Nextgen Skills Academy in association with Skillset and the VFX companies. 20% of the apprenticeship is classroom based; the other 80% is learning on the job, being taught by some of the finest VFX artists in the UK. 


WHAT ARE THE OTHER POSITIONS WHEN WORKING IN VFX?

If you're going to work in VFX, then you'll come to understand the definition of teamwork. Much like the Camera Department, everyone has a particular role to perform before the process can move to the next stage. The jobs you will most likely find within a VFX company will be:

  • Rotoscoping. Extracting actors from the green or blue screen. In some situations, roto needs to extract the actors by hand, which can involve a lengthy process of ‘cutting them out’ of the scene. Rotoscoping is very detailed work and can mean hours of your life sat at your computer. Roto will also tidy up shots before moving onto the next stage.

  • Paint. Wonder why there is no such thing as a boom in shot anymore? This is the work of the paint artists, going through the film and fixing any mistakes or untidiness along the way. This can involve painting out telephone wires, power cables, cars or even people. Once the work is finished, they go through the process of creating other images to fill the gap. 

  • Modelling. The work of the modellers can be used in pre-vis and continue to be developed throughout the process. Models are produced at different standards with the highest resolution being provided for the final render. 

  • Rigging. Riggers create a ‘wireframe’ of a character that is to be computer generated. They create its style of movement down to the facial expressions, working out its skeleton and muscle movement. They hand over the frames to the animators to flesh out the characters.

  • Tracking and matchmoving. Mirroring the movements of the camera but within a 3D space. This is greatly aided if the VFX team are present during production to compile tracking markers and measurements. The camera movements are then used with the 3D software such as PF track or 3D Equaliser to merge the worlds together. 

  • Animator. Working with the wireframe they give the character its body. Animators also work in other areas of the film, creating elements of real life such as vehicles or any other animation that reacts with the live action characters. The position of the Animator is the most popular within VFX, keep this in mind when looking for opportunities.  

  • Texturing. This is when the animations have a texture map applied to them, which is a bit like a sweet wrapper. Fine lines, wrinkles, pores and so on are added in the texture process.  

  • Technical director (Crowd, Fluids, Lighting, Building, Creature/Character, Effects). The TD’s pull together the characters/animals/creatures that have been through the texture and shading process, and apply all the external elements to give the image depth. They then put them through a process known as rendering which requires a significant amount of computer power. The render allows all the above elements to work together in real time; this is then passed to the compositors.

  • Compositor. The compositors combine the real time action/locations, the paint, roto and characters together. They are the ones responsible for making VFX look believable. They render the full package and ship it back to the client.

  • Visual effects coordinator. The coordinator will work under the digital effects supervisor to keep on top of logistics. VFX teams require a significant amount of people power so the work on one film can be spread over several companies, it takes someone with unyielding organisation skills to stay on top of day to day activities. 

  • Visual effects supervisor. Collaborates with the director and all the departments within the VFX company. They conceptualise how they are going to make the project work technically while staying faithful to the director's vision artistically.   

  • Visual effects producer. Works with the line manager to ensure the production stays on target also collaborates with the post-production producer to ensure delivery of the finished film.

WHAT IS THE CAREER PATH IF I WANT TO WORK IN VFX?

Your time as a runner can present you with multiple career paths. Option one is to work within the company itself and move your way through their production route. This route enables you to liaise with clients, looking after the logistics and workflow of a particular project. If you are interested in production your path could look like this:

  • VFX bookings coordinator

  • Junior VFX producer

  • VFX producer

  • Senior VFX producer

The other option is to work your way into the technical roles. If this is your calling, it’s important to let people know what area you’re interested in when you join a VFX company. Many VFX companies believe in fostering new talent, so if you're working as a runner and an opportunity comes up, you'll be considered for a role in the department of your choice. If you are not on shift, you may be allowed to use the equipment, or sit in with the compositors to see how the process works. Your time as a runner can be dependent on an opportunity opening up and how quick you are at learning the technology. 

HOW DO I BECOME A VFX RUNNER?

There has never been a better time to get involved with VFX as it’s a flourishing market in the UK. However, with more VFX courses advertised and more interest in this particular area of post production, the more competition there is for entry level roles. If you are studying VFX, it would be wise to find work experience or internships during your summer holidays from college or university. When you begin looking for a job in earnest, you're going to need a CV which displays some career focus. When you start sending out your CV, it can feel like a never-ending task. Don't be tempted to send a blanket copy of your CV and covering letter to every VFX company in the UK; you should be smart - address it to the right people and tailor that CV to each and every company. 

CV

When working on your CV check it through (or ask someone else to) to see it reads well and is correctly formatted. You can use the CV advice to create a CV and covering letter, and you can check your CV against our example CVs to see it includes all the relevant information. You're going to want to keep your CV short and to the point, as many employers will be ‘scanning’ rather than reading, so keep it concise. If you can, follow up a week after and check they received your application. If you sent it without a job being advertised you will most likely be told they'll keep your CV for future reference, however, you could get lucky and they might be recruiting that week, or you can make a good impression on the phone. Use your common sense, and if they sound busy they probably are, but if you get chatting ask for some advice or if your CV is looking light on experience ask if they're offering work experience or opportunities to shadow members of the team.

Finding work and sending out CVs can feel like a full-time jobs. You can send your CV to VFX companies listed in The Knowledge or on the UK Screen Association website making clear your intentions. Some people will get lucky, finding work almost instantaneously after graduation. Some may have put in the hours (work experience/internships) while they are studying, some people might just be in the right place at the right time. In whatever situation you find yourself, the resounding advice from professionals working in the film industry is be persistent; persistent and relentless in the pursuit of your chosen career. 

 

 

Collaborations. 

Alongside working on your personal animated characters, you could ask short filmmakers if they would like some VFX work applied to their short film, I doubt they will turn the offer down. You can look at the collaborations board here on MFJF, or look at the resources section for other collaborations sites. Although we do recommend collaborations, if you're working with someone you don’t know make sure best industry practices are being observed; check out the producer's back catalogue of work, and if you're working without payment make sure to have your expenses paid. 

Research

Before you send out that CV research the company you're sending it to. If it's Framestore, Smoke and Mirrors or any of the large VFX companies, they're going to receive hundreds of CV sent in cold. If you're intending to do this conduct detailed research on the company and tailor your CV and covering letter specifically to them. Why you want to work for them, mention the projects they have been involved with, etc. Whilst researching job opportunities and companies you're going to need to further your knowledge of the VFX industry, pay attention to the trade papers and online resources such as:

 

Part of your progression in VFX will mean learning new software as you climb the career ladder, so display your willingness to further your knowledge in your own time. If you're interested in animation, build upon your understanding of light, shade and composition, an all round understanding of the post production process would be helpful too. So hit the library, some books to look at would be:

Each VFX company will be working with different software, so the more you know about the capabilities of each, the better. That being said they are expensive packages to obtain, and you might not be in the market for Nuke Studio or Maya. You can look at the free tutorials and information online such as:

Website and Portfolio for VFX

When applying for jobs make a website so you can upload your showreel to and make a feature of the link in your CV. If you're approaching VFX from a background in art, showcase any life drawing, sculpture or illustration alongside any relevant VFX/animation work. It's wise to remember what they are going to be looking for, which is photo real work rather than cartoon animation.  Remember to only include your best work, even if that's one or two shots, and include a breakdown if you can. Keep it short, no longer than two minutes and the recruiters will probably watch rather than listen to it, so don't spend days choosing a soundtrack. 

When listing your software skills don’t list titles that you've hardly used, be specific and demonstrate how well you know them by detailing:

  • What were the outcomes of those experiences?
  • How many times you have used it?
  • What have you used the software on?

These can be critical elements to your CV if you're coming to the workplace with little to no work experience. You will need to continue to build upon your skills as a VFX artist for the rest of your career, so get off to a good start and keep practising.

Personality and Attitude

Due to the nature of the work VFX requires individuals with patience and on your search for paid roles you're going to need patience in abundance, especially in those first few months. This is a great skill to master from those early stages as you'll need patience when waiting for an image to render and waiting on a client to make up their minds. 

A wage is going to be essential while you are looking for employment, especially if you already live in a big city. If you find yourself waiting tables, working behind a bar or pouring coffee it’s relatively the same starting wage as a runner, except you get tips! Your pay is most likely going to be low for the first few years of your career if you have no external source of income you may wish to consider saving up before you embark on your career plan, or looking for a secondary source of revenue.

Although you may not think it, the skills you are developing while working in these jobs will serve you well and can be the attributes employers are looking for to fill the position of runner. In both areas you'll need to display the same attitude to the work,  you shall be working on a rota, on your feet and working under pressure from customers to whom you need to provide excellent customer service. 

At times it can be frustrating when you’re not getting the roles you want, keep in mind the advice on being relentless and go back to your CV, think about what you can do to make it better, what experience could you gain in another capacity to start ticking boxes for potential employers. Reflect on the possible reasons your CV is not being chosen for roles; it could be a lack of experience, the way your CV is presented or if you’re sending in generic CVs and covering letters - you should give yourself the best possible chance by tailoring each one to each job role or production.

Although the industry is incredibly flexible when it comes to changing career, if you’re applying for positions in another area of the industry you will need to be clear why you want to make the change, and give examples of what you have been doing to facilitate the move.

Ask us for advice!

Looking for some advice or have a question on careers in this area? Then please get in touch, we are here to help!

 

 

WHAT ARE THE RESPONSIBILITIES OF A RUNNER WORKING IN VFX?

The work of a runner can sometimes feel insignificant, but runners are fundamental to the smooth running of the company. Runners will meet everyone in the building as you're at the disposal of directors, producers and members of all the technical departments. Some of the duties you will be required to undertake as a runner can be:

Keep offices clean and tidy.
Arrange meals.
Work on reception.
Locking up.
Client Liaison
Building maintenance.
Running between departments.
Scheduling.
Dealing with petty cash.
Handbook.


KEY SKILLS FOR WORKING AS A RUNNER

A runner needs to be a good reader of situations, instinctively sensing when the kitchen is down to its last pint of semi skimmed. If you have worked in any customer facing positions (bar work, waiting tables, customer service desk), then you can use this experience to your advantage while trying to navigate your way into the VFX industry, being a runner in post production is all about providing the clients with an excellent service. 

If you look at any job advert, skills or a list of aptitudes are always present. These markers offer candidates a great insight into what the company are looking for, make sure you identify them and give examples in your CV.  If you are still following stage 1 of your career plan and your CV is looking thin, think about the other activities you have been engaged in such as part-time work, voluntary or community activities. The personal skills attributed to running work can be:

  • Being proactive: If you can see something needs doing then get to it. Acting on your initiative shows confidence and resourcefulness. Ultimately there is ALWAYS something to do. Not being engaged in activity can come across as being lazy, so if you have completed your usual daily tasks find another one! Wipe down the kitchen surfaces, ask people if they want tea or do the washing up.

  • Prioritise: You are going to be asked (told) to do a lot of things when you’re a runner by many different people who think you exist to fulfil their tasks alone. Try not to tell people that you can’t do something or are too busy, use your skills of diplomacy and let them know it has been put ‘on the list’. Unless someone looks you dead in the eyes and tells you the whole company hinges on this one email being sent, work through the jobs methodically.  

  • Be enthusiastic: It sounds obvious, but you should act as though you want to be there. Don’t be on Snapchat all day sending out pictures of you in front of someone else’s BAFTA, take to your tasks with vigour, everyone likes a runner with positive energy.

  • Be confident: Especially when talking to colleagues or anyone who comes into the company. Don’t be overly confident; no one likes a show off just be yourself. When introduced make sure your handshake is firm, and you make eye contact as you say hello, don’t look down at your shoes.

  • Be friendly and approachable: Having a happy demeanour can take you a long way in this industry, this also applies to your relationships with your fellow runners (who will be like family within a few weeks) up to senior members of the team and the clients who use the facilities. 

  • Be adaptable: Situations can change at a moment's notice in VFX, one moment they may be ahead, the next two weeks behind - working until late in the night (and guess who can’t leave until everyone else has). Take it all in your stride; this is life in the industry not just as a runner.

WHAT IS VFX LIKE TO WORK IN?

For many members of the VFX team a working day can look a little like this:

  • Monitoring renders - that can take many hours depending on how heavy they are with assets.

  • Moving files.

  • Calling supervisors for feedback.

  • Making technical adjustments around the feedback.

  • Re-rendering the modified work.

  • Comparing the shot to surrounding shots.

  • Making adjustments.

  • Viewing the rushes.

  • Getting more feedback, making more adjustments - and re-rendering.

The tasks you're assigned as a runner may feel relentless at times, but consider the workload of the people you're working with. VFX can be a very pressured area of the industry to work in, with extremely tight deadlines on projects. The role of the runner not only exists to make clients happy, but they are also there to support their colleagues in whatever way they can.

Most companies will encourage you to use the equipment (in your own time) if it's available, which can be worth its weight in gold so take advantage of it when you can. It may not be obvious when you’re stirring your fifteenth ‘white and one’, but the skills you are learning as a runner will impact heavily on your future career. These may not be the hands-on technical skills you so desperately want to learn, they are the ‘interpersonal’ skills and professional mechanisms so vital to making your way through the industry such as:

  • Being able to smile and coolly say ‘no problem I shall get that right away’ when a client demands something.

  • Dealing with complex personalities and high-pressure situation.

  • Being asked to complete five tasks at the same time and methodically work through them.

  • The ability to take stock when things feel as though they are getting on top of you, and carry on.  

  • Maintain good manners, stay enthusiastic, remember you can get far with a smile.

If you're working in VFX, the company will most likely be under tight deadlines. Sometimes it can go smoothly, but more often than not it's a testing environment with long hours, lack of sleep and stress. In these situations be as helpful as possible but don’t pester producers and clients, knowing when to offer help is a skill in itself.

If it looks like a deadline is not going to be met the company will be employing more artists on the team to ensure they can hand over on the correct date. If it’s due to client changes or demands they may ask for an extension, or extra money to get more artists on the team. As a runner, make sure you learn everyone's name when they come to work at the company, most likely VFX artists who are drafted in will be flung into a high-pressure situation, so make them feel welcome.

DO I NEED ANY QUALIFICATIONS TO WORK IN VFX?

Most people who enter the VFX industry come from various backgrounds, engineering, computer science, physics, 3D animation, VFX course/degree, fine art or filmmaking to name but a few. A degree is a great starting point, but it's not always essential as companies take on runners who have a great personality, can do attitude and want to progress a career specifically in VFX. If you wish to work in production, this is not the right area of the industry for you, and VFX companies can spot people who are 'just looking for a job' in the industry a mile away. 

Companies value self-learning and professional development outside of the organisation. Taking a proactive approach can be hugely beneficial as you can speed up your career progression, it also doesn't hurt to let the company know how passionate and focused you are in this area of the industry. Ultimately, as with all aspects of filmmaking, passion and hard work are the most vital tools to get you where you want to go. Here are some courses you can look at if you are seeking to get a good all round knowledge of visual effects.

If you are interested in VFX training at Escape Studios, you might be interested to know they also offer scholarships for undergraduate students, such as the Paul Franklin Scholarship for Visual Effects. Applications are open at the beginning of the academic term. 


WHAT EQUIPMENT AND SOFTWARE/HARDWARE SHOULD I BE FAMILIAR WITH?

VFX is an ever changing, expanding discipline with new software and hardware being conceived and created. When applying for positions at VFX companies research what software they are using, it will vary from company to company. Never be untruthful about your abilities with specific programmes, you will get caught out very quickly. 

  • Autodesk Maya. This industry standard software, developed by the same company who created AutoCAD, allows animators to create wireframes and develop them for rendering.

  • Houdini. 3D animation tools used for film, broadcast, entertainment and pre-visualisation.

  • Autodesk Flame: Is used to bring a realistic finish to the work of the animators, used by compositors in the final stages of the VFX process, it is also used when working with motion capture.

  • Nuke: Another one stop shop compositing tool for managing VFX work in 2D and 3D. Nuke Studio includes an editing option making it an excellent all-round choice for filmmakers.

  • Fusion: The boundary is blurred on its professional and consumer application, making it a choice for the ‘prosumer’. It is used for rendering and composition effects.

  • UNIX operating system derivatives such as Sun's Solaris, Hewlett-Packard's HP-UX, and IBM's AIX®

  • LINUX operating systems. Linux is one of the best known open source operating systems and one you will be working with.

  • Python and C++ programming. If you have knowledge of either, it is best to show this in your CV to demonstrate your understanding of basic coding.

  • Local and external drives, servers and networks. It sounds basic, but if you want to work in VFX, you need to demonstrate in your CV an ability to navigate and understand an operating system, work with shortcuts that have been set up by the VFX and production team, move files safely, and know how to delete files from the system.

  • Photoshop and Illustrator. It can be very useful to have a good knowledge of the Adobe Creative Suite software.


10 ESSENTIAL TIPS FOR WORKING AS A RUNNER AT A VFX COMPANY.

Always arrive early.
Carry out your tasks with good humour.
Take pride in what you do.
Don't take anything personally.
Make connections.
Learn about each item of equipment.
Keep the VFX guys caffeinated.
Remember everyone's name.
Learn to become a team player.
Extra hours.


Phrases every entrant should know in VFX

  • CPU: Central Processing Unit

  • GPU: Graphics Processing Unit

  • EDL: Edit decision list

  • Offline: The edit before it has any VFX applied to it.

  • Online: The edit where VFX is inserted.

  • Rushes: All the footage that has been filmed on the shoot.

  • Stereo/Stereoscopic: Stereoscopy, sometimes called stereoscopic imaging, is a technique used to enable a three-dimensional effect, adding an illusion of depth to a flat image.

  • Pre-vis: A pre-visualisation created in 3D of the commercial or film before it’s shot to help the director visualise the VFX and their place in the final film.

  • HDRi: a 360 picture taken at different exposures on a shoot. Used to recreate the same lighting environment in the CG software.

FAQ’S

What hours will I be working?
How much do VFX runners get paid?
Who are the industry bodies for post production?
How long will I work as a runner before I progress in VFX?
What are the industry papers for VFX?
What are the industry shows I should know about?
How long should an internship be and what can I expect after?
I have been working in the games industry, can I cross over to film?
What is the difference between 2D and 3D?
What is the difference between SFX and VFX?

thank you's ...

My First Job in Film would like to thank Harry Jones for sharing her experience and giving up her time to offer advice for this career guide. 

Image copyright of Studio Canal.

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