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All the 120+ screens you see in Alien Covenant were simultaneously driven on-set by Soma CG's application MOTHER, made entirely in TouchDesigner. This enabled Director Ridley Scott to craft and adapt the timing, sequencing, effects and look of the screen graphics while setting up each shot with the actors, art director and cinematographer.

MOTHER was even put to uses that were not originally intended. This is what happens when TouchDesigner is used on-set, on-stage or (virtually) in-orbit. Boris Morris Bagattini (aka Chris Wilson) lays it out here.

"MOTHER" (interface below) was the remarkable (and very beautiful) TouchDesigner application designed for the task by Wilson. The application is based on replicated TouchDesigner Components, each having its own interface with all relevant settings for that screen. Further to the director's brief, the system feeding each screen needed to be able to:

Composite and control up to 8 layers of screen graphics videos, HUD (heads-up display) overlays and live camera feeds.

Apply and control several effects to different layers on each screen and adjust to the director's requests.

Drive precisely-cued playback from producer calls through to then end of the shoot.

Quickly wrap around screens as per the director's instruction.

Quickly load and play newly requested content as it was provided.

Enable the team to rapidly develop director-requested features, and distribute back to the screens.

Save out entire scenes so they could be recalled and used on request.

Color and level-adjust all or individual screens independently.

Derivative: Chris the design brief was daunting and the functionality required extensive! How did you go about building this system?
Chris Wilson: I received a call from Martin Crouch of PXL a motion design studio based in Sydney. He had been engaged to lead the Screen Graphics Department and was looking at options to fulfil the requirements of the software and hardware brief for Alien Covenant. Ridley Scott was unhappy with the level of control he was getting from existing systems he had used on previous productions and had a long wish list of functionality he wanted that wasn't currently offered. Martin had experimented with TouchDesigner on a few smaller productions, and had seen what was possible. Knowing the number of feeds required and the level of control needed, it was Martin's idea that TouchDesigner was going to be the best platform to handle all of the on set playback requirements.

The first obstacle was how to structure the entire system. I began by thinking about each screen as a stack of layers, each layer either being a piece of footage, a live video feed or custom .tox component and that the UI would be simply a method to make choices, provide feedback, but ultimately all processing would be handled by the slave nodes out on the set. I had built an initial sketch in TouchDesigner and then started to focus on the daunting hardware that would be involved.

Martin Crouch had already amassed a collection of bare LCD screens of various sizes and types, and was working with a Japanese partner on sourcing driver boards. These would ultimately be assembled by Martin and also Steven Paul, our on-set hardware technician.

We initially had a lot of problems with EM (electro-magnetic) interference due to the sea of radio and electrical noise that flows through a set during shooting and it was a battle that continued and only finally eliminated later in the filming schedule. I am sure a film set is the most hostile environment on earth for integrating sensitive electronics!

While I was battling with hardware and signal paths, I handed my initial sketch over to the excellent Peter Walker who began to write a class-based Python framework to unify all control information into a single base component that could be called from anywhere in the network. This was an elegant and efficient structure that worked well, but not without some stressful debugging occurring on our first set. Ultimately from what we learned I decided to rewrite MOTHER from the ground up to maximise its stability and flexibility, and this is the version that went on to finish Alien, then move on to the other films Pacific Rim Uprising and Aquaman.

The current version of MOTHER is based on replicated Components, each having its own interface with all relevant settings for that screen. The number of screens are set in the master configuration which automatically addresses the slaves based on the remote computers' physical video output and the corresponding TouchDesigner instance running under GPU affinity. Monitors are accessible in groups of eight in the interface and settings can be linked across monitors and cues for arbitrary flexibility.

Ultimately all interface settings are condensed into a single Touch Out DAT that is received by the slaves on an assigned UDP port. The Touch Out DAT dynamically increases and decreases in size to scale additional information such as layer-types and specific .tox settings that may be loaded on the fly for that screen (A "tox" is a TouchDesigner component file that gets loaded on demand into a TouchDesigner session).

All footage, layer types, effects and tox extensions are automatically copied to the slave computers in the background throughout the network of servers. This ensures any imagery or generative elements are local on the slave computers for minimum latency and direct processing, regardless of the load on the master. All elements across the system are synced through a master clock.
D: Can you give us a little background on your work history and how you came to adopt TouchDesigner and have the kind of trust in the software that lead you to using it in such a critical scenario on Aliens?
CW: I come from a visual effects and motion graphics background and started to move into live events. I originally began using Resolume as my main platform but discovered TouchDesigner 077 and it was a revelation. The unique interface and visual feedback was addictive and played into the established node-based creative processes I was familiar with in VFX.

I have been using TouchDesigner since 077 for large-scale theatre, projection mapping and interactive artworks. I'm a bona fide Touch nut. I have toured TouchDesigner-based dance projects in Australia, the UK and Canada.

Some of these projects have been very complex and I have always worked in theatre productions with real-time generative graphics and lighting control. I like to keep everything live, being able to react and perform with the on-stage performers so each show is slightly different. To me it makes the whole experience both as an audience member and as an artist more engaging.

Theatre is even more critical than film as if something goes wrong you can't go for another take. After doing many shows using TouchDesigner with some crazy set-ups and never having a problem with the stability of the platform or a creative challenge TouchDesigner could help solve, I had a lot of confidence going in. I was totally terrified though as well.
D: What are some of the functions you designed that makes MOTHER distinctive and original?
CW: MOTHER works as a distributed media server and real-time graphics generator tailored to on-set screen graphics.

A unique aspects is that it runs robustly on a variety of standard hardware from multi-Quadro workstations to laptops and Microsoft Surface Pros. The latest version integrates with cheap and small single-board computers, providing flexible hardware installation options. It can mix multiple screen sizes from multiple hardware vendors. Access through a unified EDID process results in no tearing or camera strobing artifacts at any frame-rate that the director wants to shoot at.

It is totally customizable through the tox system and scene/script specific animations.

Procedural or pre-rendered scenes can be built on the fly even during shooting and then loaded transparently without affecting the on-set imagery, even during a take. Master and slave are protected as all updates and control are on-demand, and procedural animations are locally processed.
D: Can you explain why TouchDesigner was an ideal choice for creating the platform.
CW: TouchDesigner was ideal in that it enabled:

the development of a unified media server platform that could be controlled over a network to media servers, each running 3 instances of the software, with each instance outputting up to 4 screens, each with 8 layers and multiple effects.

deployment of the same centrally controlled system on floating laptops and Surface Pros that could be moved to any location where floating screens might be requested.

tailor effects, playback control and generative content, deploying them instantly across the network.

creation of unique layer types that might within themselves composite, apply effects and generate content.

customization of a UI and system to reflect the unique needs of the project.

creation of our own routines to quickly identify the production team's name for the screen and locate them in the server network.

the resolution and orientation of screens customzable on-the-fly.

all configurations being centralized back to a master cue player so that a complex scene could be controlled with simple UI interactions.

multiple instances being deployed in a single machine to keep hardware costs minimized while maintaining performance.

routing multiple live video feeds to all instances on the network efficiently.

D: What were some of the incentives for creating MOTHER from scratch when there are existing software solutions you could have deployed?
CW: We decided to deploy a TouchDesigner system that used readily available hardware such as gaming motherboards and Quadro cards rather than a turnkey solution with overpriced licensing that was not tailored to our needs and could not be arbitrarily customized for both hardware and features.

The need to prototype and deploy fast turnaround requests was the ultimate reason. And TouchDesigner's procedural nature and high efficiency meant we could balance time constraints and loads on the graphics department and enact procedurally generated layers that mixed seamlessly with pre-generated content.

There was also a proportion of directly interactive elements that ran on Surface Pro, plus the need to pipe in Go-Pro and Alexa mini footage directly into the system through Blackmagic capture cards on the fly along with multi-layer overlays and color correction. No other software solution provided such flexibility.

Whatever crazy requests came through from the art director or director we were confident we would be able to find a solution in TouchDesigner in a short amount of time!
D: Because we are curious, can you give us an example of a "crazy request" from the director?!
CW: I remember one incident on the Lifter set. This was a 30 ton spaceship set that was constructed in an old storm-water reservoir. The whole set was on a massive hydraulic gimbal that allowed it to move freely and violently in any way, we had rigged the TouchDesigner servers underneath the ship with umbilical cords and bungee system that ran up through the sets centre of mass to reduce strain on the cabling.

We explored the idea of placing the servers on the ship but the size and violence of the hydraulics made it impossible. We had rigged up a gyroscope to feed into TouchDesigner to give us relative positional and rotational data to drive some of the instrumentation on the ship. It was all working well with me set up at control behind a massive wall of shipping containers that served as a giant blue screen.

We had fulfilled the brief for the set but Ridley was not happy with the actors not being able to know what they were supposed to be reacting to, so suddenly we had the camera department, visual effects and GoPro team asking us to coordinate a mocked pre-visualisation of the scene in real-time across the monitors in the ship.

We had footage coming in from video assist of Alexa footage that had just been shot of a big stunt where the ship crashes into a statue and Katherine Waterson is thrown over the side of the ship, we had live video feeds of the ship exterior and all this pre-vis footage from VFX of the alien and the ship in this big showdown.

The monitors in the ship went from screen graphics to a kind of live switching studio where we would be cueing segments and sources across various screens and with Ridley calling edits during the take so the actors understood what was going on in the scene and had stuff to react to. I think it was great that the system could actually make it all happen in-between takes and for a completely different purpose than for what it was intended. I think it improved the timing and engagement of the actors, which is why Ridley tries to build as much as possible practically and not in post during his films, he's not a fan of people acting blindly in front of a green screen.
D: Can you discuss some of the critical factors that make deploying a system like MOTHER on a major motion picture valuable and cost-effective?
CW: I think scale and the broad mix of hardware used on a film set makes MOTHER unique. We had screens the size of iPhones through to 70 inch 4k monitors all running in sync and off the same unified system. These were spread through complex sets with up to 70+ monitors that integrated thousands of practical LED lighting, SFX such as squibs, sparks and fire, and in the case of the Covenant and many other sets, suspended on a multi-ton hydraulic system to make the whole set move.

The pace and cost of shooting also makes robustness critical. With each take costing around 12,000 USD you don't want the system failing mid-take, eliminating a significant portion of the visual impact of the set, disrupting the actors and director and requiring costly delays or screen replacement in VFX.

Flexibility and rapidity of deployment is also the hallmark of the system. On the film Pacific Rim Uprising we had a 72 monitor set to install from scratch in 2 days. Most of this time is purely the installation of the screen hardware, with only a few hours to deploy the software and get everything up and running on all screens with the correct imagery, effects, layering and level controls.

Sometimes a director may have a complex new visual idea once he has seen the set and this may need to go from brainstorming a solution to a final cue-able scene within an hour sometimes. While shooting scenes with a single operator, rapid changes to imagery and content over large numbers of screens is where the system shines.
D: What advantages do you see in using real-time graphics on film sets vs. pre-rendered VFX or effects added in post-production?
CW: For the purposes of screen graphics real-time, in-camera is superior to VFX. It simplifies post production enormously reducing the need to track and rotoscope large portions of a film set and burn in imagery, especially with high depth of field and lots of actors occluding portions of the screens.

It also provides realistic ambient light from the screens which is always a concern for the director of photography who needs to balance very subtle light levels, and with many scenes in modern movies driven by screen-based plot points where actors are looking at a screen and reacting to its content, it helps enormously for that to be a real thing happening in front of them rather than a green square.

I think other areas of VFX such as set extension, realistic creatures and destructive elements are a while off, but there are great advantage in utilizing real-time techniques on set to pre-visualise post-produced environments or characters, allowing the director and the actors to better understand the virtual aspects of the scene.
D: What is your prediction in terms of real-time effects becoming more common in the film industry? What do you see as 'the path'?
CW: I think technically we are not there yet, despite the enormous advances being made in game engine development. I think technically we will come ever closer, however I still see films using non real-time techniques as primary for a long-time to come.

I do think that more and more cameras will integrate hardware and software solutions that will capture many aspects of the filming process that were traditionally post-based to being in-camera and real-time, eliminating the need for green screen, rotoscoping, lightfield capture and tracking. All the information needed will be captured by the camera itself, this will speed up both shooting and post-production enormously.

Artist Profile

Boris Morris Bagattini

(aka Chris Wilson) is a founder and director of SomaCG, a film, motion graphics and visual effects company. He has studied Design at UNSW, Digital Cinematography at AFTRS and Advanced Character Animation with Disney Feature Animator Murray Debus. He has directed and led visual effects teams on a multitude of film and broadcast projects. Since 2011 he has been working primarily in large and small scale theatre, projection mapping, event video, live television and interactive artworks.

His films have been shown at Sundance, Toronto Film Festival and Sydney Film Festival. He has collaborated with Stalker, Legs on the Wall, Strings Attached, DequincyCo, Synergy Percussion, Victoria Hunt, The Chaser and SCO, and has had major work commissioned by Sydney Festival, Vivid Festival, Nike and Apple. In 2016-2017 he has been engaged as Screen Graphics and In-Camera Interactives Programmer for Ridley Scott's Alien Covenant, Pacific Rim 2 Uprising and the DC Comics feature Aquaman.

Massive thanks to Chris Wilson for taking the time to talk to us and for congratulations on this great achievement. We look forward to your next endeavors!

All images unless otherwise noted copyright 2017 Twentieth Century Fox Film Corporation.
For another case-study of how TouchDesigner has been used on set of a major motion picture film please see Gravity: TouchDesigner Works in Zero-G

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Soma CG Drives All Screen Visuals On-Set for Ridley Scott's Alien Covenant

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All the 120+ screens you see in Alien Covenant were simultaneously driven on-set by Soma CG's application MOTHER, made entirely in TouchDesigner. This enabled Director Ridley Scott to craft and adapt the timing, sequencing, effects and look of the screen graphics while setting up each shot with the actors, art director and cinematographer.

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Creating the extraordinary. We are a global network of award-winning VFX artists & Creative Technologists with decades of experience across the Advertising and Brand Experience Industries.

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Framestore | We are Framestore. Extraordinary images, extraordinary talent.

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Framestore is a Bafta and Oscar-awarding winning creative studio that offers a range of visual effects, production, direction and post production services to its film and integrated advertising clients. It is famous for its VFX work for films such as Gravity, Harry Potter and Avatar, its CGI recreation of Audrey Hepburn for Galaxy and its pioneering virtual reality (VR) experiences, such as Game of Thrones: Ascend the Wall for HBO.

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YPIA organises monthly talks, workshops and networking opportunities for young cultural professionals in and around London. It aims to provide young people working in arts with a platform for development through creating dialogue between senior industry professionals and younger members, and hopes to inspire the next generation of arts leaders.

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Ready to join?

There are many great benefits to being a member of YPIA: you receive half-priced tickets to our events, earlybird booking for limited capacity events, last-minute discounted ticket scheme and an opportunity to opt-in to our brand new mentor scheme. An early bird membership for 2021/22 costs £20.00. We also have a 20% group discount available for groups of 5 or more looking to join from the same organisation (for group registration, please get in touch at info@ypia.co.uk).

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There are many great benefits to being a member of YPIA: you receive half-priced tickets to our events, earlybird booking for limited capacity events, last-minute discounted ticket scheme and an opportunity to opt-in to our brand new mentor scheme. An early bird membership for 2021/22 costs £20.00.

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We're a creative jobs board bringing the best opportunities to top talent. Find the next step in your creative career.

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Slack is a new way to communicate with your team. It's faster, better organised and more secure than email.

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"You can have it all, just not all at the same time.”― Betty Friedan

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"You can have it all, just not all at the same time.”― Betty Friedan

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"If you find a job you love, you'll never work again" - Winston Churchull

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"If you find a job you love, you'll never work again" - Winston Churchull

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...where you can belong to a school club, a gaming group, or a worldwide art community. Where just you and a handful of friends can spend time together. A place that makes it easy to talk every day and hang out more often.

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10 places to search for creative jobs in the UK

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10 places to search for creative jobs in the UK

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Job hunting can feel never-ending and relentless, but can be greatly helped if you know where to look. That's why we've collated a list of 10 websites, Instagram pages, and jobs boards catered specifically for creatives. With opportunities ranging from photography, film, graphic design and communications to marketing and project management, we recommend having a browse.

This might sound like an obvious one, but The Dots has helped many people's creative careers take off. Aimed at creatives spanning the entire industry, you can find jobs relating to your field and apply through their app - whether you're looking for opportunities in photography, marketing, advertising, design, or arts and crafts.

You can also showcase your recent work, and everything lives in one place so applying for jobs couldn't be any easier.

There's a misconception that LinkedIn isn't great for creative job seekers. But there are some roles on LinkedIn that aren't advertised anywhere else. It's always good to keep your profile up-to-date to ensure you see relevant suggestions for roles. You can also set up reminders to be updated when your favourite companies post a new opportunity.

If you haven't already, make a profile here.

Our sister company, If You Could Jobs, is a jobs board made by creatives for creatives. There are several jobs posted on the board every day ranging from junior to senior roles in the industry. You can also sign up for job alerts and their bi-weekly newsletter to stay in the know.

Social Fixt was created by marketeer and DJ Mercedes Benson, after observing that the creative industry rarely reflected her own experiences. Its core aim is to bridge the gap for Black talent. From internships to full-time jobs, each job is handpicked to help entry and mid-level creatives find their next opportunity.

Have a browse of the latest postings here.

Recruitment agency Represent is behind Design Jobs Board. With hundreds of new creative vacancies posted, keep an eye out for junior roles going at the moment - ranging from graphic design to communication roles.

Creative Access has helped countless creatives from underrepresented groups find their first internship or role in the creative industry. They work with organisations like the BBC, ITV, Universal Music Group, and many more to bring you the best internships, fellowships, and jobs.

Many moons ago, The Arts Council launched Arts Jobs, the destination for all creative industry-related jobs, from crafts, combined arts, film, photography to museum and gallery-related jobs and internships. All you have to do is select your preferences and get started.

See what's available here.

Our very own Opportunities Board serves as a centralised hub for entry-level creative opportunities and jobs. Opportunities range from short courses and grants to apprenticeships and many more, and all postings are checked for fair practice and payment.

Instagram account Run the Check features paid opportunities that reflect the interests of the next generation of creative talent. Created by a London-based student, this platform has already attracted a loyal and engaged following. It's worth following Instagram for daily job postings.

Follow on Instagram here.

People of Colour in Tech (or POCIT) is a company committed to transparency and integrity, aiming to highlight the experiences of marginalised groups in the tech industry. If you're looking for a role in the tech industry, this is a great place to start your search. Jobs are updated regularly and there's advice on the website to help you out too.
If you have any other websites that you think should be added, feel free to get in touch and let us know at [email protected]!

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10 places to search for creative jobs in the UK

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Job hunting can feel never-ending and relentless, but can be greatly helped if you know where to look. That's why we've collated a list of 10 websites, Instagram pages, and jobs boards catered specifically for creatives. With opportunities ranging from photography, film, graphic design and...

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A person's relationship with their job or career typically falls on a spectrum. Some people truly love their jobs. Others are much less fortunate and can't even stomach the thought of showing up for work. The vast majority of people probably fall somewhere between those two extremes.

After spending several years exploring the world of work, I've never found a job search or career expert who suggests anything other than people spending time finding work they enjoy - and possibly love. I want to spend this edition of #GetHired exploring methods you can use to find a job that's right for you.

I want to address two important points before we dive too far into this topic.

First, we need to talk about the elephant in the room. "Love" means different things to different people. You may not want to love your job or work, and that's OK. As with any relationship in your life, you should set the terms. Similarly, a relationship - even with work - shouldn't make you miserable. I hope this discussion will help you find a dynamic that is right for you.

The second point that I want to make is that we're talking about finding a job that you enjoy or love. While there is overlap between finding the right career and job, we're mostly focusing on the latter in this edition. People who are interested in exploring their overall career can learn more about that in a previous edition of #GetHired by clicking here.

Now, let's dive in!
Get to know what's important to you
The hustle and bustle of today's world can make it difficult for us to slow down and be by ourselves. Quiet moments are important because it allows us to better understand what's happening around us and how we feel about those events. Exploratory thoughts can help us discover who we are and what we want.

For example, I take a walk almost every morning. I always dedicate the time - usually an hour - to asking myself how I feel about the past day and what's ahead. Interviewing myself during those walks really helps guide what I do.

You need to find that time to be with yourself and explore what you want out of life and how your job can help make that possible.

"What makes your heart full," asks Amy Boatright, who is a recruiting specialist. "What makes you feel fulfilled at the end of the day? It won't be the same for everyone."

For those of you who may not be comfortable asking yourself those questions, you can also find a trusted friend who can give you time to guide you through some self-discovery. People with access to mental health benefits may find it especially helpful to enlist the services of a therapist.

You'll eventually want to build a realistic list of items that you want from a job. For example, a healthy work-life balance, the ability to be financially secure, supportive coworkers, and whatever else you decide is important for you.

Your list of must-haves from a job will help you figure out which roles are right for you.
Aligning with prospective jobs
The list of must-haves that you created can really help guide you through what's next. Some people will decide to create their own businesses, for example. In those cases, they may feel they can check the list's items off on their own. Others will take the more traditional route and turn to job ads and networking.

Obviously, the traditional rules apply when looking at job ads or when you hear of opportunities, but you also need to pay close attention to the employer.

You will need to dedicate time to researching the company to figure out if they meet your criteria. A previous edition of #GetHired can help you dive into a company's background. You can read that edition by clicking here.

One of the most important items to pay attention to when examining potential employers is how you align with the company's mission. To be clear, we're talking about what the company actually does - not just what they write in their mission statement online. You can figure all of that out through some research.

"Does this company have a mission that speaks to you personally and a culture that you can really get behind," asks Ed Cassas, who is a talent acquisition expert. "Find an industry, people, leaders and team camaraderie that excites you."
Be realistic and keep the process going
Once you know what's important to you and find a job that provides most - if not all - of those items, it's important to remember that you should still expect an occasional bad day. A few bad days should not spoil what may be an otherwise wonderful job. The key is knowing when the bad days outweigh the good.

"Find out what is out there, the grass is not always greener, you really have to know what makes you happy before you embark in a new role," wrote Julie Hagan-Belka, who is a staffing expert.

Finally, it's important to keep evaluating your current job and what's important to you. We all change over time and that may make us come out of alignment with our jobs. Perhaps you can recalibrate the job you have, but you may also want to look for something else.
What's your advice for people looking to find a job they love? Join the conversation.
I go live every Friday at 11:00 a.m. ET from the LinkedIn News page to discuss important issues affecting job seekers and to answer your questions about looking for work. I recently spoke with Nii Ato Bentsi-Enchill, who is the founder of Avenir Careers, about the intersection of mental health and job searching. You can watch the episode below or by clicking here.

We'll be back with a new Get Hired Live at 11 a.m. ET on Friday, August 27, with Jonathan Javier, who is the CEO and founder of Wonsulting. We'll be talking about how to use social media to help with your job search. You can RSVP by clicking the image below or by clicking here.

▶ The follow-up

Job seekers can find a lot of advice online about getting noticed by recruiters and hiring managers. Some of that advice may seem too good to be true, because it is. Talent professionals shared the truth about getting the attention of potential employers in the last #GetHired. They say job seekers should make sure they're qualified for the job. They should craft clear and concise resumes. Job seekers should network through traditional and non-traditional methods. Lastly, they should show that they're eager to work for the employer. Here's what people are saying about the advice.

▶ A lesson learned:

So many things are competing for our attention nowadays. Your cell phone just lit up. Did your smartwatch just vibrate? Your smart speaker just made a noise. How can you possibly focus? Dave Crenshaw, who is an author and leadership coach, offers some advice on learning to focus in this LinkedIn Learning course. You can watch it below or by clicking here.

How can you protect your mental health while job searching? Nii Ato Bentsi-Enchill, who is a career coach with a background in counseling, recently discussed on #GetHired Live some steps you can take to shield your mental health from the trials and tribulations of a job search. For example, he said it's best to job search with others, such as with a friend or group. You should also monitor your internal narratives and how you talk about yourself. It's also important to practice self-care by making time for what you enjoy. Finally, you should also consider seeking out professional therapy. Here's what people are saying about the advice.

Can you work in retail and also work from home? Many people were forced to work from home during the pandemic, but they were almost exclusively office workers. People who worked in retail often had to continue showing up for work despite the risks. Bloomberg reports that Apple is willing to test whether some retail tasks can be done at home to extend the flexibility to its store workers. Here's what retail workers are saying about the possible move.

Entry-level jobs often ask for years of experience. You likely know this to be true if you've looked for an entry-level job over the past few years, but LinkedIn's latest Workforce Report found that more than a third of job postings over a recent 45-month span asked for at least three years of experience. Dive into the data and see what others are saying by clicking here.

▶ Up next:

Many of the lists that showcase in-demand jobs highlight roles in the tech industry. Unfortunately, many people lack the skills for these jobs. Companies in that sector know this is a problem - for the workforce and their bottom lines. As a result, many of the biggest technology companies now offer a variety of free training programs that allow people to pivot into the tech industry. We'll be taking a look at some of these programs in the next #GetHired. Have you taken part in one of these programs or thought about it? Tell me about it by clicking here and leaving your comments.

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function get_gravatar_url( $email ) { // Trim leading and trailing whitespace from // an email address and force all characters // to lower case $address = strtolower( trim( $email ) ); // Create an SHA256 hash of the final string $hash = hash( 'sha256', $address ); // Grab the actual image URL return 'https://www.gravatar.com/avatar/' . $hash; }

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More than 200 million users and growing Your email address becomes your passport to the digital world, empowering you with complete control over your personal data. Create and manage your profile from a single place, telling the web who you are and where people can find you. Skip filling out profile pages forever.

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The art of networking (even during a pandemic) #PressPadRemote MASTERCLASS

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The art of networking (even during a pandemic) #PressPadRemote MASTERCLASS

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The art of networking (even during a pandemic) #PressPadRemote  MASTERCLASS

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Flexible Learning for Busy Creatives: Explore LABASAD's Online Masters

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Expose and expand the reach of your API to an ecosystem of 20M users, 200K developers, and 650+ services. x1 service with triggers, actions, and queries Works with IFTTT badge for marketing materials API performance and health dashboards Forum support Pay as you grow Take the next step by launching and embedding your integrations in any digital channel including mobile apps, website, and email.

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As a registered charity, Stanley Arts relies on your support to lift up talented young artists and foreground marginalised voices. With your help we will continue to provide a vital cultural home for local communities and the Stanley Artistic Family. Now more than ever, we need your help.

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Narrow Your Results Collapse Filters Show Filters Reset Filters Collapse Filters Show Filters Reset Filters As a registered charity, Stanley Arts relies on your support to lift up talented young artists and foreground marginalised voices. With your help we will continue to provide a vital cultural home for local communities and the Stanley Artistic Family.

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Filmmaker / Videographer / Content Creator Film BA 2021 graduate @University of Westminster, London. Festival Director of the Westminster Film Festival 2020

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Software Knowledge
Adobe Premier / Avid
Multi-tasking
Current Social Media Trends

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This role will focus on creating short-form content for social channels across Instagram and TikTok, as well as ad content for paid media channels. We’re looking for someone who has a good level of experience with the Adobe Suite, particularly After Effects. The candidate should have a good understanding and ability to create motion graphics, animating typography and various assets created by our in-house graphic designers. Knowledge of colour grading is a bonus, but a passion to learn more is a must.

At 303, we understand the importance of storytelling when creating video. It is therefore essential that the candidate understands how to craft compelling narratives within the assets they produce (where applicable). The candidate should also be tapped into current social/digital media trends - working with our digital team to propose how we can help our own clients stay in line and ahead of these trends.

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Freelance Video Production | The Crewing Company

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Freelance Video Production | The Crewing Company

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Join our world class community of video production freelancers specialising in freelance video editors, motion graphics designers & colourists - contact us.

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Artist Mentor | Coaching for Artists & Creatives

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Artist Mentor provides bespoke mentoring and coaching services for artists and creatives, enabling them to realise their potential and goals.

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Inspire. Access. Thrive.

We are a social enterprise providing career-long access, opportunities, support and training for people from under-represented groups, to make the creative industries reflect society.

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Our impact to date

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Providing access to jobs, opportunities and career-long support in the creative industries for people from under-represented communities.

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ERIC | The Best Careers Advice App for Young People

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ERIC was created by long-time friends Mae and Sam, having always felt failed by the lack of career guidance they received.

What frustrated them most was how careers advice was so unbelievably dull and uninspiring. So they decided to disrupt careers education by creating an informal, engaging and safe space for Gen Z to take control of their career and teach themselves.

ERIC in it's first version was a series of career festivals to educate young people about the creative industries and connect them with creative employers.

ERIC Festivals grew to be the biggest career fairs for the creative industries.

When the pandemic hit, Mae & Sam pivoted to create The ERIC App - a digital vehicle to keep giving young people the career education they want.

Now ERIC is purely a digital platform - The ERIC App.

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About - ERIC | The Best Careers Advice App for Young People

# data[].attributes.attachment_link.description
ERIC was created by long-time friends Mae and Sam, having always felt failed by the lack of career guidance they received. What frustrated them most was how careers advice was so unbelievably dull and uninspiring. So they decided to disrupt careers education by creating an informal, engaging and safe space for Gen Z to take control of their career and teach themselves.

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Transferable skills are soft skills that can be applied across various industries and roles. In most cases, you develop transferable skills as you work with different departments and roles. You can also gain transferable skills outside of work – in college or university, during a community project, when working on personal or creative projects or as a volunteer. As you continue to acquire more transferable skills, your job performance improves, no matter the profession (Indeed UK)

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Leadership and team management

Problem-solving

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CAREERS AND EMPLOYABILITY SERVICES @ University of Westminster

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CAREERS AND EMPLOYABILITY SERVICES @ University of Westminster

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Student Centre and our Employability Hubs

Please note: We are currently offering blended service delivery, and most of our services are delivered online.

You can contact us by email or submit a question via Engage.

If you have a pre-booked appointment at Marylebone, please come to the Student Centre on the ground floor of Marylebone Campus.

If you have a pre-booked appointment at Harrow Campus, you'll find us in Room AG 26 on campus.

If you have a pre-booked appointment at Cavendish Campus, you'll find us at the Employability Hub on the ground floor.

Opening times

We are open to respond to online queries at the following times:

Monday: 9.30am-4.30pm

Tuesday: 9.30-4.30pm

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Our rooms at Marylebone and Harrow Campus are both accessible by wheelchair. Enlarged photocopies of information can be provided, on request, at no extra charge.

If you need additional support while attending an appointment with us, please let us know and we'll endeavour to meet your requirements.

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Please note: We are currently offering blended service delivery, and most of our services are delivered online. You can contact us by email or submit a question via Engage. If you have a pre-booked appointment at Marylebone, please come to the Student Centre on the ground floor of Marylebone Campus .

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In order to put in a good performance and secure the job you need to make sure you're prepared. Take a look at these tips to get you interview ready

Types of interview

There are different types of job interview. In some cases, you'll only need to succeed at one of these to land the role. In others, particularly at large graduate employers, you may face several interview formats throughout the application process.

Face-to face - the traditional and still most common form of interview. You'll attend the employer's office and be questioned on your suitability for the job by an individual or panel. Face-to-face interviews usually last between 45 minutes and two hours, and may be preceded or followed by tests and exercises. Questions may be strength-based or competency-based.

Telephone - often used by employers early in the application process to filter large numbers of applicants. If you're successful, you'll typically be invited to a face-to-face interview or assessment centre. Expect a telephone interview to last around half an hour.

Video - increasingly popular among large employers, particularly for applications to graduate schemes. Video interviews can be live or pre-recorded and tend to last around half an hour.

Assessment centres - lasting a full day they enable employers to compare the performance of lots of candidates at the same time. You'll attend an assessment centre with other applicants and take part in tasks such as presentations, team exercises and psychometric tests.

Interview research

Your performance in an interview depends, to a significant extent, on how well you prepare. Don't leave this until the last minute. In the days leading up to the interview, focus your research on the:

Employer - you need to show that you understand the business beyond the basics. What sector does it operate in? What challenges does it face? Who are its competitors? What major projects has it recently completed? What are its culture and values? This kind of knowledge demonstrates a genuine interest.

Role - read the job description again and, if you completed an application form, go over it to refresh your memory of how your skills and qualifications match the job. It's vital that you can explain why you want the job, that you understand the role and, even more importantly, why the employer should choose you over other candidates.

Interview panel - try to find out who will be interviewing you. The email inviting you to the interview may include this information. Use LinkedIn and the 'About us' section of the company website to find out more about their professional interests and experience. This may help you to connect with your interviewers and create a positive impression during the interview.

Questions - consider how you'll answer common interview questions, as well as preparing some questions you'd like to ask the interviewer.

There are also some practical things to plan. When and where is the interview taking place? Have you planned your journey and checked the timetables for any public transport you need to take? Does all your equipment work for video and telephone interviews?

Getting a good nights sleep and having a healthy breakfast on the morning of your interview will stand you in good stead. If your interview is scheduled after lunchtime, make sure you eat something even if you're feeling nervous - you won't put in your best performance on an empty stomach.

Practice job interviews

It's a good idea to do at least one mock interview before the real thing. Your university careers and employability service will help you to practice your interview technique.

You can also write and practise answers to common interview questions with someone you trust - possibly even recording yourself and then reviewing your performance.

It's also worth testing your telephone connection and making sure that your laptop, microphone and any other technical equipment you need is working, and you know how to use them.

What to take

pen and notebook

your CV and interview invitation

your academic certificates and work examples if requested

photo ID

breath mints or gum

a bottle of water

money for transport and food.

In addition, for online interviews you may also need:

laptop/computer

headset/earphones

microphone

log in for the software you need to use.

What to wear to an interview

While many employers expect candidates to dress smartly, a growing number encourage casual wear at work, making it trickier than ever to choose an interview outfit.

What you'll be expected to wear depends on factors such as the size of the company, the industry it operates in and the culture it promotes. For example, a small creative agency may have different standards to a major accountancy firm.

If you're unsure on the dress code, ask before attending the interview. The key point to remember is that it's better to be too smart than too casual. Only opt for a more casual outfit if you're certain that's acceptable - if there's any doubt, go for smart business attire. Whatever you choose, make sure that your clothes are ironed and your shoes are clean.

For telephone and online interviews make sure you dress as though the interview is in person. Sitting in your tracksuit bottoms trying to act professional probably isn't going to go too well.

4 ways to make a good impression

As you're preparing for the interview, think about ways you can show yourself in a positive light:

1. Punctuality - arriving late will increase your stress levels and give the employer a bad first impression, so do your best to arrive in good time.

2. Positivity and enthusiasm - be polite and professional with any staff you meet before or after the interview and, if you're feeling particularly nervous, remind yourself that the worst thing that could happen is not getting the job. During the interview, respond to questions with positive statements, be enthusiastic about the job and avoid badmouthing your previous employers or university tutors.

3. Body language - give a firm handshake to your interviewer(s) before and after the session. Once you're seated, sit naturally without slouching in your chair or leaning on the desk. Throughout the interview, remember to smile frequently and maintain eye contact.

4. Clarity - answer all questions clearly and concisely, evidencing your most relevant skills, experiences and achievements. It's acceptable to pause before answering a difficult question to give yourself thinking time, or asking for clarification if you're unsure what a question means. When answering, don't speak too quickly.

After the interview

As your job interview comes to an end, make sure you find out when you'll be informed of the outcome - and thank the interviewer for giving you the chance to attend.

Make some notes about the questions that were asked and how you answered them while the interview is still fresh in your memory. This will help you prepare even better for future interviews.

There are three potential outcomes:

Success - if you're offered the job, make sure it's right for you by discussing it with friends and family, and double-check details such as the salary before deciding whether to accept.

Rejection - if you're unsuccessful, don't be too downhearted as graduate employers receive large numbers of applications for every role. Email the company to thank them for the opportunity and request feedback from your interview so that you can improve your performance next time.

Further steps - interviews are typically the final stage in the application process, but if the employer has not been able to make a decision you may be asked back for a second interview.

Written by Rachel Swain, Editorial manager

Prospects · May 2022

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Discover all you need to know about interview techniques including what to take with you, what to wear and four ways to make a good impression.

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-Project Management Skills
-Ability to work independently and as part of a team
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Support the work of Producers, Directors, Creative Directors and other Creative leads in the pre-production, and production stages of projects.

you love to create and love what you create.

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this role would require to use Sketch (software / IT skills)

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We are looking for a junior designer who can help out on a post-production project for one of our well known lifestyle clients.

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https://www.linkedin.com › company › linkedin

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LEADING THE WAY IN THE UK Powered by cutting-edge AI, Worksome gives you access to curated and highly skilled contractors and freelancers HIRING, THE WORKSOME WAY Worksome takes care of all things hiring, all in one place Step 1 Step 2 Step 3 Step 4 Tell us what you want and need, then sit back as Worksome's AI curates the best freelancers for you.

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The professional network for people who don’t wear suits to work

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Professional networking for the new world of work. Get advice. Meet collaborators. Find jobs. Upskill at events.

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Mentoring can help individuals and their career development. ScreenSkills supports:

Mentees

Mentors

Organisations that wish to participate in mentoring

Whether you are a mentee or a mentor, there are benefits for both. ScreenSkills runs an in-house mentoring programme as well as supporting other organisations that wish to offer mentoring. Please click below for more information on these options:
Find out about registering as a mentor Find out about registering as a mentee
All of our mentors are volunteers. If you identify a mentor without the help of ScreenSkills, you can both still join the programme. If you both agree to form a mentoring partnership and would like the support of ScreenSkills, please email mentoring@screenskills.com and we can include you and your mentor in our programme and support you with training and resources. You will need the agreement of your mentor in order to join.
E-Learning modules
ScreenSkills e-learning modules supporting mentoring partnerships - Mentoring for mentors and Mentoring for mentees - are free to access and provide an introduction to the concept of mentoring for either the mentor or mentee. This online training is supported by the BFI, awarding National Lottery funds as part of its Future Film Skills strategy. The e-learning modules can be found in the ScreenSkills training course directory or can be accessed via the links below:
Benefits of mentoring
Benefits of mentoring for both parties include:

Seeing things from another's perspective

Increasing your network

Giving and receiving feedback

Developing communication skills

Learning from the ideas and experiences of someone who is different to you

Using your creativity

Boosting your job satisfaction

A deeper appreciation of diversity and inclusivity

Download mentoring resources
Below is some information for mentors and mentees. More information and guidance for organisations is available through emailing mentoring@screenskills.com.

You will find a longer guide and a shorter briefing about what mentoring is all about, what to expect and what is expected of you. The 'sessions flow' document illustrates how you can structure the mentoring conversations. Use the session log template to record what was discussed and agreed in the session. Use the action plan template to formalise the actions the mentee will do between sessions. If as a mentor you ever feel you are not able to help your mentee you may find the information in 'great mentors do not need all the answers' useful.

Our mentoring community

Join our mentoring community

Can your organisation give back to the industry whilst developing its own staff? Do you and your colleagues want to share your industry experience and boost your careers?

To assist organisations in setting up mentoring programmes, ScreenSkills can provide:

Free information and support

Free training and consultancy

Advice on sourcing suitable mentees from within your organisation, external to your organisation or from the ScreenSkills Mentoring Programme

In some cases, financial support

Follow these three steps to become of ScreenSkills' mentoring partner organisations:

1. Contact us to find out more about mentoring benefits and activities at mentoring@screenskills.com

2. We will provide free information and support to make sure your organisation has everything needed to start mentoring. This can include training, consultancy or funding to run your own mentoring programme.

3. Recruit mentors in your organisation to help professionals across the UK develop and progress in their careers.

The ScreenSkills Mentoring Network is supported by the BFI with funds from the National Lottery under the BFI's Future Film Skills Strategy. The Mentoring Network runs across all sectors of the screen industry and across the UK. It is aimed at:

Those who want to progress within or across the industry

Those who want to return after a break

Meet our mentoring community
Here you can find a list of organisations and charities within the wider screen industry across the UK which have been supported by ScreenSkills to offer mentoring schemes or mentoring support as part of a wider initiative or as part of our Mentoring Network. Together we are providing a mentoring community of best practice. If you are an organisation charity or a production company interested in finding out more about joining the community of best practice, please contact mentoring@screenskills.com.

ACCESS: VFX

Association of Camera Operators (ACO)

A New Direction

BBC Studioworks

BEATS

Bectu Cymru

British Society of Cinematographers (BSC)

Comedy 50:50

Creative Access

Creative Mentor Network

Directors UK

DV Talent

Edinburgh TV Festival

Encounters

Hat Trick Productions

Iconic Steps

illuminatrix

MAMA Youth

Media Trust

Moving Body Arts

NextGen Skills Academy

PUNCH

Resource Production

The Royal Television Society

Sara Putt Associates

Scottish Documentary Institute

The Screen Community

Screen Northants

SIGN

SOUL Film Festival

Talking Point

The Garden Productions

The TV Foundation

ThinkBIGGER!

TV Talent North

Under the Moon

Women in Film & TV

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Mentoring can help individuals and their career development. ScreenSkills supports: Mentees Mentors Organisations that wish to participate in mentoring Whether you are a mentee or a mentor, there are benefits for both. ScreenSkills runs an in-house mentoring programme as well as supporting other organisations that wish to offer mentoring.

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Funding your Art Projects (some useful resoucers)

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Funding your Art Projects (some useful resoucers)

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https://www.artquest.org.uk/

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Artquest Exchange

Artquest Exchange is our free, professional, peer to peer online community for visual artists. Use it to find artists around the corner or around the world to:

find artists to work with, get feedback on your work, and advice on your career,

get to know artists in new places when you plan to travel,

find relevant content on our site more easily,

extend your professional network,

arrange temporary studio and apartment exchange.

Artquest Exchange is open to any professional artist to join for free.

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Artquest - visual artists development, opportunities, research

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Supporting visual artists at all stages of their careers through free access to information, opportunities, and resources. Research into artists' livelihoods.