UK Screen Alliance collects comprehensive data about the VFX workforce in the UK each year with the cooperation of the HR departments of the leading companies. We can therefore achieve a large sample size which gives a highly credible analysis of the composition of the workforce.
The BFI in its Screen Business report of 2018 also made an estimate of the number of people employed directly by VFX and the number of jobs supported by VFX in the wider economy. A bespoke job creation model was developed by Olsberg SPI with data from UK Screen Alliance to extrapolate from the data collected.
The following most recent statistics are drawn from these sources.
Number of people employed in VFX:
Direct employment: 8,140  – FTE (Full Time Equivalents)
Total jobs supported by VFX in the complete film & TV value chain including indirect employment in the supply chain, induced jobs by spending of wages and spillover employment from tourism, merchandise and brand value: 17,940 FTE
Total direct employment costs VFX: £372.3m 
52% of VFX employees are basic rate taxpayers 
46% of VFX employees are higher rate taxpayers  (salary >£44.5k- 2017 tax band)
1% of VFX employees pay additional rate tax  (salary >£150k)
Median age of VFX artists is 31
Median salary of VFX artists is £47,000
Note on the chart above that on average VFX artists hit the £25,000 threshold to be required to pay back UK student loans by age 24 i.e. 3 years after graduation.
Also note that VFX artists earn do not an average of £30,000 until aged 26. This is the proposed minimum salary threshold for UK Skilled Worker Visas and therefore will constrain the recruitment of emerging talent from Europe if the UK government implements this proposal.
However the average pay in VFX at all ages exceeds the overall UK average as well as exceeding the average pay for the creative industries by a good margin.
The UK Screen Workforce Survey shows that in contrast to many parts of the film & TV industry, permanent employment is a lot more common with day or week rate freelance contracts being relatively rare. There are also significant differences between VFX for film & TV and VFX for advertising.
|Contract Type||VFX (Film/TV)||VFX (Advertising)|
|Fixed term < 6 months||22%||6%|
|Fixed term between 6 months and 1year||16%||4%|
|Fixed term > 1 year||16%||5%|
The VFX industry is highly cosmopolitan with more than 70 nationalities represented.
Whilst UK workers make up 60% of the total VFX workforce, the concentration of international workers is greater in the operational workforce (i.e artists, production, R&D and technical support but excluding admin, HR, finance an client services). Without the operational workforce there would be no business.
European workers make up one in three of the operational workforce, so the ending of the free movement of labour as the UK exits the EU, will have an adverse effect as visas are introduced for EU skilled workers. Note that there is also 13% of the workforce from non-EU countries (ROTW = Rest of the World)
Only 27% of the workforce in VFX are female. There remains much to do in breaking down gender stereotyping to encourage women to study for and apply for the many roles that require technical or coding skills.
There is however an improving picture and evidence in the UK Screen Alliance workforce survey suggest that the gender balance is better in the younger age group of VFX workers. Therefore if this pattern of recruitment and retention is maintained, over time this will have a beneficial effect on the ratio in the whole workforce. There is also a need to ensure that women return to the VFX industry after the birth of their children, so that their experience is not lost.
The gender balance is not the same in all departments. The IT and R&D departments are the most male dominated but the production departments are a 60% women.
Many VFX companies do not routinely collate statistics on the racial origins of their workforce. UK Screen Alliance is encouraging them to do so in future so that progress in this important area can be monitored. It may be become mandatory in future if ethnicity pay gap reporting becomes mandatory.
The statistics presented here may not be entirely representative of the whole VFX industry as they come from a limited number of companies and the sample size is smaller than the rest of our survey.
However these results show some encouraging signs in that the proportion of BAME workers in VFX (12%) is greater than the proportion of BAME workers in the film & TV industry in general (3%). It also compares well to the proportion of BAME citizens in the general UK population (14%), but as these businesses are concentrated in London, we should be looking to reflect the local population, where the BAME proportion is 40%.
We do not have figures for the prevalence of disability in VFX. We anticipate that the percentage will not be very high. As an industry that deals with visual images, there can be challenges for people with sensory disabilities in roles that rely on good eyesight with normal colour vision. There are however many other suitable roles. Our sister organisation, Access:VFX strives to break down barriers to inclusion in all its forms, including disability.
On the other hand, we believe that there is a higher than average incidence of neurodiversity in VFX, such as varying degrees of autism. Whilst we have no statistics to confirm this, there is anecdotal evidence. Creativity is often strong in people who think differently and a managed preoccupation for detail can also be an advantage.
 UK Screen Alliance workforce survey 2017
 UK Screen Alliance workforce survey 2017