UK dataswitch to US
Graphic and multimedia designers
creating 2D Animated content by producing a series of sequential 2D images, editing animations to enhance storytelling and visual flow and preparing drawings for storyboards or other preparatory visualisations. If that's your week, this page is about your job.
The honest answer
AI is already taking a real slice of the routine work here: manipulating static images to give the illusion of motion. That is a slice of tasks, not of you.
That slice is not coming back; the core of the job, animating characters in stop motion in line with production requirements and ensuring continuity throughout the shots, stays yours. The tools change hands, the accountability doesn't.
Your week, as this page understands it
Graphic and multimedia designers use illustrative, sound, visual and multimedia techniques to convey a message for information, entertainment, advertising, promotion or publicity purposes, and create special visual effects, 3D models and animations for computer games, film, interactive and other media. The job title says “graphic” or “multimedia designers”: officially one job, two names. The real job is the part underneath: animating characters in stop motion in line with production requirements and ensuring continuity throughout the shots. That is the thing someone has to be right about.
The exposed part of this job is specific, and we won’t pretend it is coming back. But graphic and multimedia designers is not one task. It is 47 scored ones, and they are nowhere near equally exposed. The most durable of them, on this evidence, is animating characters in stop motion in line with production requirements and ensuring continuity throughout the shots, and the ledger below shows exactly why.
Where the work sits, by task weight
- shifting to AI
- 30%
- changing shape
- 49%
- staying human
- 20%
These bars are tasks changing hands, not people being counted out. The ledger below shows which.
Whole-job exposure score 54 out of 100 (48–61 allowing for uncertainty): partial exposure, across 47 scored tasks. The number is the support for the sentence above it, not a headline about anyone’s future.
How we know this
What is measured: Every published task statement for graphic and multimedia designers is rated on five dimensions: can a model produce the output, does the work need a body in a room, does it need a legally accountable person, does it depend on a person being trusted in the moment, and how much data exists. A published formula turns those five ratings into the score; the model never writes the number.
How the bar is built: Each task’s share of the bar is its published importance weight, so a task you do all day counts for more than one you do twice a year.
Release: 2026-q4.1, scores computed 2026-08-04. Read the full method.
Your job, task by task
These are the official task statements for this occupation, in plain English, sorted by what the evidence says is happening to each one. The official wording sits under every line so you can check the rewrite against it.
- 4 rows are marked low confidence, so treat them as a ballpark rather than a fine measurement.
- 3 of this occupation's scored task statements carry a score that was measured under a different occupation's context, because the statement is shared between jobs and has only been scored once so far. Each one names the occupation it was measured under in the free routes below; none is presented as a measurement for this job.
- Task clusters are not derived in this release, so the task-cluster field is empty and no Collab365 Space routing is attached to this occupation yet.
Shifting to AI
15 tasksTasks today’s tools can already do most of. This is the part we will not soften: where these rows are the bulk of your week, the week changes.
Assessing the brief's requirements to prepare for creating animated characters
This is reading one thing and writing another: the brief's requirements in, a record out. That is the shape today's tools are built for.
importance 90 · 2142/01Source: “Assess the brief's requirements to prepare for creating animated characters, objects, or creatures.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Reading a brief and pulling out what it asks for is written analysis, which software handles well from the document itself.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using models to simulate the behaviour of animated objects in the finished sequence
This is reading one thing and writing another: models in, a record out. That is the shape today's tools are built for.
importance 90 · 2142/01Source: “Use models to simulate the behaviour of animated objects in the finished sequence.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (68–82 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Simulating how objects move and collide is a standard software calculation, set up once and then run automatically.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Designing graphics and animations to enhance multimedia content
It is the same call made over and over on graphics, with a right answer to check it against. That is what a model is trained on.
importance 90 · 2142/01Source: “Design graphics and animations to enhance multimedia content.” (UK task statement)
How this row was scored
Exposure score: 65 out of 100 (58–72 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Generators produce usable graphics and short animations quickly, though matching a house style and layout still needs a designer.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Manipulating static images to give the illusion of motion
This is reading one thing and writing another: static images in, a record out. That is the shape today's tools are built for.
importance 85 · 2142/01Source: “Manipulate static images to give the illusion of motion.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Turning a still picture into convincing movement is now a standard, widely available software feature.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Changing shape
22 tasksTasks where the machine takes the producing and a person keeps the checking, the deciding, or the answering-for-it. For most jobs this is the biggest group, and it is where "transformation, not termination" is literally visible.
Creating 2D Animated content by producing a series of sequential 2D images
The software now makes the first pass at 2D animated content, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 95 · 2142/01Source: “Create 2D Animated content by producing a series of sequential 2D images, which, when played back, produce the illusion of movement.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tools can generate moving image sequences, but getting them on-brief and consistent still takes an animator's hands on the timeline.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Designing storyboards
The software now makes the first pass at storyboards, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 95 · 2142/01Source: “Design storyboards.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Storyboards can be roughed out by software, though the final sequencing is a designer's call.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using computer modelling and animation software to make characters and scenes
The software now makes the first pass at computer, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 95 · 2142/01Source: “Use computer modelling and animation software to make characters and scenes.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Modelling and animation tools automate a lot, but building characters and scenes still needs an artist.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Staying human
10 tasksTasks that stay with a person, because they happen in the physical world, because the rules need someone accountable, or because the value is that a specific person does them.
Animating characters in stop motion in line with production requirements and ensuring continuity throughout the shots
This work happens in the physical world: characters, in a real place. Software cannot follow it there.
importance 90 · 2142/01Source: “Animate characters in stop motion in line with production requirements and ensure continuity throughout the shots.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Stop motion means physically posing puppets and models on a set, one shot at a time, so a person has to be there.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Converting real objects to animated objects using modelling and optical scanning techniques
This work happens in the physical world: real objects, in a real place. Software cannot follow it there.
importance 85 · 2142/01Source: “Convert real objects to animated objects using modelling and optical scanning techniques.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Turning a real object into a digital model starts with physically scanning it, so someone has to handle the object and the kit.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using motion capture methods to create expressions and movements that are lifelike
This work happens in the physical world: motion capture methods, in a real place. Software cannot follow it there.
importance 85 · 2142/01Source: “Use motion capture methods to create expressions and movements that are lifelike.” (UK task statement)
How this row was scored
Exposure score: 16 out of 100 (9–23 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Motion capture starts with real performers in suits on a stage, so the recording step needs people in a room.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Show the other 37 tasks
Researching and finding resources and tools to create credible animations
shifting to AIThis is reading one thing and writing another: resources in, a record out. That is the shape today's tools are built for.
importance 80 · 2142/01Source: “Research and find resources and tools to create credible animations.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Finding references, tools and techniques is exactly the kind of research that software does quickly and thoroughly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Developing briefings, brochures and multimedia presentations for various uses
shifting to AIThis is reading one thing and writing another: briefings, brochures and multimedia presentations in, a record out. That is the shape today's tools are built for.
importance 75 · 2142/01Source: “Develop briefings, brochures, and multimedia presentations for various uses.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Briefings, brochures and presentation decks are document work with plenty of examples, so drafts come out ready to tidy.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Writing efficient computer code to integrate sound
shifting to AIThis is reading one thing and writing another: efficient computer code in, a record out. That is the shape today's tools are built for.
importance 65 · 2142/01Source: “Write efficient computer code to integrate sound, graphics, and animations, optimising for processing and storage.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Writing and optimising code is heavily documented and something software produces at a good standard from a clear spec.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Creating web pages, promotional products and technical illustrations for products and literature
shifting to AIThis is reading one thing and writing another: web pages, promotional products and technical illustrations in, a record out. That is the shape today's tools are built for.
importance 60 · 2142/01Source: “Create web pages, promotional products, and technical illustrations for products and literature.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Web pages and technical illustrations follow well-known patterns, and generated drafts come out close to usable.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Writing HTML or similar input and using authoring packages where appropriate to create content and effects
shifting to AIThis is reading one thing and writing another: HTML in, a record out. That is the shape today's tools are built for.
importance 60 · 2142/01Source: “Write HTML or similar input and use authoring packages where appropriate to create content and effects.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (76–90 allowing for uncertainty): very high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Writing mark-up and driving authoring packages is well-trodden ground where generated output usually needs only tidying.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Performing basic compositing and rendering of animations to meet organisational requirements
shifting to AIThis is reading one thing and writing another: basic in, a record out. That is the shape today's tools are built for.
importance 80 · 2142/01Source: “Perform basic compositing and rendering of animations to meet organisational requirements.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Basic compositing and rendering follow set recipes, and studios already run these steps largely unattended.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Managing own VFX assets through the workflow in line with production requirements
shifting to AIThis is reading one thing and writing another: own VFX assets in, a record out. That is the shape today's tools are built for.
importance 70 · 2142/01Source: “Manage own VFX assets through the workflow in line with production requirements for organising, storing and retrieving assets.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Organising, storing and finding assets to a set convention is routine file management that software handles reliably.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Managing and archiving legacy media content according to organisational standards
shifting to AIThis is reading one thing and writing another: legacy media content in, a record out. That is the shape today's tools are built for.
importance 60 · 2142/01Source: “Manage and archive legacy media content according to organisational standards.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Cataloguing and archiving old media to a set standard is repetitive filing work that software does quickly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing graphics for product illustrations and company logos
shifting to AIIt is the same call made over and over on graphics, with a right answer to check it against. That is what a model is trained on.
importance 80 · 2142/01Source: “Develop graphics for product illustrations and company logos.” (UK task statement)
How this row was scored
Exposure score: 65 out of 100 (58–72 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Logo and illustration drafts come out fast, though turning one into clean, usable brand artwork still needs a designer.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Designing and producing multimedia campaigns to meet marketing objectives
shifting to AIIt is the same call made over and over on multimedia campaigns, with a right answer to check it against. That is what a model is trained on.
importance 70 · 2142/01Source: “Design and produce multimedia campaigns to meet marketing objectives.” (UK task statement)
How this row was scored
Exposure score: 65 out of 100 (58–72 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Campaign concepts and assets can be generated fast, though hitting a real marketing objective takes human shaping.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Ensuring production deadlines are met by monitoring progress
shifting to AIThis is reading one thing and writing another: production deadlines are met in, a record out. That is the shape today's tools are built for.
importance 70 · 2142/01Source: “Ensure production deadlines are met by monitoring progress.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracking progress against deadlines is what project software does, with a nudge from a person when something slips.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Creating animated assets for use in computer games
changing shapeThe software now makes the first pass at animated assets, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 90 · 2142/01Source: “Create animated assets for use in computer games, interactive media or immersive reality.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Game and immersive assets can be generated as starting points, but they need real rework to fit the engine and art style.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Drawing characters and scenes by hand
changing shapeThe software now makes the first pass at characters, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 90 · 2142/01Source: “Draw characters and scenes by hand.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Software can produce the artwork, but this task specifies drawing by hand, which means pencil, paper and a person's own line.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Analysing and interpreting a creative brief or script to create storyboards within production parameters
changing shapeThe software now makes the first pass at a creative brief, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 2142/01Source: “Analyse and interpret a creative brief or script to create storyboards within production parameters.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Storyboards can be drafted from a script automatically, but the shot choices that make a sequence read well still need a human eye.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Applying lighting, shading, colour and texture to enhance visual projects
changing shapeThe software now makes the first pass at colour, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 2142/01Source: “Apply lighting, shading, colour, and texture to enhance visual projects.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Lighting and texturing have strong automatic helpers, though the final look is judged by eye and adjusted by the artist.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing animations based on client concepts
changing shapeThe software now makes the first pass at animations, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 2142/01Source: “Develop animations based on client concepts.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: A client concept can be turned into draft animation quickly, but delivering the finished piece still involves substantial reworking.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing sets and environments for animated narratives
changing shapeThe software now makes the first pass at sets, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 2142/01Source: “Develop sets and environments for animated narratives.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Environment concepts come out well, but building sets that hold up across a whole story needs an artist to rebuild and refine them.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Editing animations to enhance storytelling and visual flow
changing shapeThe software now makes the first pass at animations, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 2142/01Source: “Edit animations to enhance storytelling and visual flow.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Editing tools can suggest cuts, but deciding what makes a sequence flow is a judgement made by watching it back.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Preparing drawings for storyboards or other preparatory visualisations
changing shapeThe software now makes the first pass at drawings, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 2142/01Source: “Prepare drawings for storyboards or other preparatory visualisations.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Rough visualisations can be generated, though preparing usable storyboard drawings still needs an artist.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Testing 2D animated sequences to confirm and checking continuity
changing shapeThe software now makes the first pass at 2D animated sequences, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 2142/01Source: “Test 2D animated sequences to confirm and check continuity.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Software can flag continuity slips automatically, but confirming a sequence actually works still means a person watching it.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Applying directing and cinematography principles to animation story development
changing shapeThe software now makes the first pass at cinematography principles, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 2142/01Source: “Apply directing and cinematography principles to animation story development.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: The principles are well written up and can be applied to a draft, but the storytelling choices still come from the director.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Evaluating 3D animations created in line with feedback to ensure requirements are met
changing shapeThe software now makes the first pass at 3D animations, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 2142/01Source: “Evaluate 3D animations created in line with feedback to ensure requirements are met.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Checking an animation against written feedback can be partly automated, but confirming it looks right means watching it.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Evaluating characters and sequences in line with feedback to ensure requirements are met
changing shapeThe software now makes the first pass at characters, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 2142/01Source: “Evaluate characters and sequences in line with feedback to ensure requirements are met.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Notes can be tracked and matched automatically, but judging whether a character now works is still done by eye.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Performing tasks quickly and accurately under time pressure
changing shapeThe software now makes the first pass at tasks, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 2142/01Source: “Perform tasks quickly and accurately under time pressure.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (46–70 allowing for uncertainty): partial exposure, low confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Speed and accuracy are software strengths, though what is actually being done under pressure is left unstated here.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Learning and testing new technologies
changing shapeThe software now makes the first pass at new technologies, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 2142/01Source: “Learn and test new technologies, frameworks and languages.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: New tools can be explored and trialled with a lot of help, but the point is the person building working knowledge.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Writing scripts for animated narrative sequences under tight deadlines using computer software and hand drawing techniques
changing shapeThe software now makes the first pass at scripts, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 2142/01Source: “Write scripts for animated narrative sequences under tight deadlines using computer software and hand drawing techniques.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Script drafts come out quickly, though the task also involves drawing by hand, which still needs the writer's pen.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Managing storyboard work on designated projects
changing shapeThe software now makes the first pass at storyboard work, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 2142/01Source: “Manage storyboard work on designated projects.” (UK task statement)
How this row was scored
Exposure score: 49 out of 100 (42–56 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracking storyboard progress can be automated, but keeping a team's work on course involves the people doing it.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Creating 3D Animation by producing accurate key frames and in-betweens
changing shapeThe software now makes the first pass at 3D animation, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 95 · 2142/01Source: “Create 3D Animation by producing accurate key frames and in-betweens, breathing life into the character, object, creature where necessary.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over.
The rating behind it: Software can fill in between poses, but giving a character believable weight and personality is still craft work done frame by frame.
The five ratings: output a model can produce 1/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Improving own knowledge and performance in VFX by seeking out information about emerging practices
changing shapeThe software now makes the first pass at own knowledge, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 2142/01Source: “Improve own knowledge and performance in VFX by seeking out information about emerging practices.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over.
The rating behind it: Software can gather the latest techniques, but the point of the task is the person's own skill improving.
The five ratings: output a model can produce 1/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Collaborating with designers to enhance product usability
changing shapeThe software now makes the first pass at designers, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 70 · 2142/01Source: “Collaborate with designers to enhance product usability.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Usability suggestions can be drafted, but improving a product with designers happens through back-and-forth between people.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Managing and marketing oneself and services to productions
staying humanThe value here is that a specific person handles oneself and stands behind it. That is earned, not computed.
importance 55 · 2142/01Source: “Manage and market oneself and services to productions.” (UK task statement)
How this row was scored
Exposure score: 35 out of 100 (28–42 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Marketing yourself to productions rests on the impression you make on the people doing the hiring.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Assuming design and animation roles in smaller projects based on expertise level
staying humanThe ratings behind this row put design well outside what today's tools can do on their own.
importance 75 · 2142/01Source: “Assume design and animation roles in smaller projects based on expertise level.” (UK task statement)
How this row was scored
Exposure score: 33 out of 100 (21–45 allowing for uncertainty): low exposure, low confidence.
Why it sits in this group: the five ratings behind the score, with no single dominant reason.
The rating behind it: This is about a person stepping into whichever role a small project needs, which is not something software takes on.
The five ratings: output a model can produce 1/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Working independently in the animation industry to meet agreed production requirements
staying humanThe ratings behind this row put the animation industry well outside what today's tools can do on their own.
importance 70 · 2142/01Source: “Work independently in the animation industry to meet agreed production requirements.” (UK task statement)
How this row was scored
Exposure score: 33 out of 100 (21–45 allowing for uncertainty): low exposure, low confidence.
Why it sits in this group: the five ratings behind the score, with no single dominant reason.
The rating behind it: This describes a person working under their own steam to an agreed standard, rather than a specific output to produce.
The five ratings: output a model can produce 1/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Managing own working practices in the creative industries
staying humanThe ratings behind this row put own working practices well outside what today's tools can do on their own.
importance 65 · 2142/01Source: “Manage own working practices in the creative industries.” (UK task statement)
How this row was scored
Exposure score: 33 out of 100 (21–45 allowing for uncertainty): low exposure, low confidence.
Why it sits in this group: the five ratings behind the score, with no single dominant reason.
The rating behind it: Managing your own working practices is about how a person organises themselves, not a work product that can be generated.
The five ratings: output a model can produce 1/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Creating pen-and-paper images for digital enhancement
staying humanThis work happens in the physical world: pen-and-paper images, in a real place. Software cannot follow it there.
importance 70 · 2142/01Source: “Create pen-and-paper images for digital enhancement.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: The images are meant to be made on paper first, so this starts with a pen in someone's hand before anything is scanned.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Working effectively in collaboration with colleagues
staying humanThe value here is that a specific person handles collaboration and stands behind it. That is earned, not computed.
importance 75 · 2142/01Source: “Work effectively in collaboration with colleagues, partners and suppliers in the animation industry.” (UK task statement)
How this row was scored
Exposure score: 23 out of 100 (16–30 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Working well with colleagues, partners and suppliers depends on relationships built between people over time.
The five ratings: output a model can produce 1/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Using stop-motion techniques to film 3D models
staying humanThis work happens in the physical world: stop-motion techniques, in a real place. Software cannot follow it there.
importance 80 · 2142/01Source: “Use stop-motion techniques to film 3D models.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Filming models with stop-motion technique means moving real objects in front of a real camera, shot by shot.
The five ratings: output a model can produce 1/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
What this job pays, and how many people do it
- Median pay
- £32,500a year, before tax, the middle of the range, so half earn more and half earn less.ashe-t14, 2025 · ASHE 2025 provisional (reference April 2025)Provisional, because the ONS revises this figure in the autumn.
How we know this
Source: ashe-t14
Reference period: ASHE 2025 provisional (reference April 2025)
Rounding: Shown to the nearest £100. The exact published figure is in the downloadable dataset. We do not render pounds the survey cannot support.
- People doing this job
- 123,000in the UK, 2026.nomis-aps · Apr 2025-Mar 2026 (latest APS 12-month period)This headcount comes from a survey, not a census, so treat it as a good estimate rather than an exact count.
What is deliberately not here: a forecast of how many of these jobs exist in ten years. Where an official projection exists for a market we publish it with its vintage; where it does not, we leave the space empty rather than borrow the other country’s number.
Why this is shifting
The reason is boringly specific. Most of what is shifting here is reading one thing and writing another: static images in, a record out. The rows above are exactly that shape: manipulating static images to give the illusion of motion and assessing the brief's requirements to prepare for creating animated characters. What it cannot do is be there in the room, and that is still where characters get done. Which is why this page talks about your tasks changing, not your job ending.
Your move
Over a pint: what I’d tell you if you were my friend
Your week is splitting in two, and which half fills it is the whole question. Manipulating static images to give the illusion of motion is going; animating characters in stop motion in line with production requirements and ensuring continuity throughout the shots is not.
So, given all that: 30% of this job's task weight sits in rows the software is already learning, 49% in rows that change shape rather than disappear, and 20% in rows it is nowhere near. That is the position, measured across 47 scored tasks. It is not a forecast about you.
The occupation is an average and you are not, so the first job below is finding out where your own week actually sits.
This week: one thing
Print the task ledger above and put your own hours next to each row. Roughly, in pen, in one sitting. Then look at which group your hours actually pile up in. Twenty minutes, this week.
- What you end up holding
- your own week, on one page, sorted into what is shifting and what is not
- How long it takes
- about twenty minutes
If printing it isn’t practical: Read the rows off this page and write the same list on the back of an envelope. Same twenty minutes, same page, and it works just as well said out loud to someone who knows the job. The point is your hours next to the rows, not the paper it is on.
Over the next 90 days
Volunteer toward the durable end, visibly. Over the next ninety days put your hand up for the work in the bottom group (animating characters in stop motion in line with production requirements and ensuring continuity throughout the shots) and let people see you doing it. Not a new project: the same job, with your mix deliberately tilted. The point is that when the rota or the reorganisation comes, the version of you people picture is the one doing the part that stays.
Over the next 12 months
Claim a specialism at the durable end and let the other end go. Over a year, deliberately become the person who handles animating characters in stop motion in line with production requirements and ensuring continuity throughout the shots, and deliberately stop being the first choice for the rows in the top group. That trade costs something, because the exposed work is often the comfortable work. Decide it on purpose rather than by drift. Before you pay for anything, spend an hour with National Careers Service. It is free and government-funded, and it is listed below with the rest of the free routes.
The roads out of here, and why I am not sending you down them
I looked at the obvious moves out of this job, and here is what I found.
I checked the 12 nearest UK occupations to graphic and multimedia designers (nearest by the work that AI is not taking, not by job title), and none of them survived. The closest was artists: only about 4% of its durable work is work you already do. Your own job splits about 30/70: that share of the list sits in the top exposure band and the rest does not. On this evidence the honest move is inside the job rather than out of it. Become the person who owns “create 2D Animated content by producing a series of sequential 2D images…”, and let the exposed end go.
How that was checked: this job was compared against all 412 UK occupations in this release on their official task statements, and the 12 nearest were examined one by one. A move that turns on an industry, an employer or a qualification rather than on the work itself will not show up in a check like that. And this release carries no licence register, so anything you are weighing needs that looked up separately.
3 moves I checked and rejected
These are the obvious-looking jumps. They are here with their reasons rather than quietly dropped, because the ones that fail are worth knowing about. It is one less thing to turn over at night.
Artists
Why it looked obvious: It came up as a near neighbour on the work AI is not taking: you already design graphics and animations to enhance multimedia content, and their equivalent is to develop graphics and animations using traditional techniques to create engaging content. Across both published task lists that is about 4% of the durable work in that job.
Why I am not recommending it: Almost none of it is work you already do: about 4% of the durable side of that job. That is a different job, not a next step.
Programmers and software development professionals
Why it looked obvious: It came up as a near neighbour on the work AI is not taking: you already collaborate with designers to enhance product usability, and their equivalent is to collaborate with other designers and product design teams to develop new products. Across both published task lists that is about 3% of the durable work in that job.
Why I am not recommending it: Almost none of it is work you already do: about 3% of the durable side of that job. That is a different job, not a next step. I will not move you off one melting floe onto another: 61% of its own task list already scores in the top exposure band (63/100 in this release), so the same software is eating it.
Interior designers
Why it looked obvious: It came up as a near neighbour on the work AI is not taking: you already collaborate with designers to enhance product usability, and their equivalent is to collaborate with other designers and product design teams to develop new products. Across both published task lists that is about 1% of the durable work in that job.
Why I am not recommending it: Almost none of it is work you already do: about 1% of the durable side of that job. That is a different job, not a next step.
What I’d stop worrying about
A friend tells you what not to spend fear on. This is that list.
The headline number you read somewhere
The big “X% of jobs” figures are about the whole economy, not about you. The number that describes your job is on this page: 30% of its task weight, across 47 scored tasks. Every row behind it is printed above with the source. Check ours; ignore theirs.
The whole-job doom story
Nothing on this page says this job ends. It says the mix inside it moves. Half the rows above are unchanged or changing shape, and the plan is about which half your week sits in. That is a very different problem, and a solvable one.
Panic-buying a course
Do the twenty-minute sorting exercise first. Most people who buy a course before they have done it buy the wrong one, and the free services listed below will tell you the same thing without charging for it.
The “obvious” next job everyone suggests
I checked the obvious moves and most of them did not survive. The reasons are printed with the routes above, including the pay and the gate. A move that fails on the numbers is worth knowing about so you can stop turning it over at night.
You are reading the United Kingdom figures
The United States splits this work across more than one official group, of which Special Effects Artists and Animators is the closest. The pay and employment figures are not directly comparable, and we do not average them together.
Switch to the United States page →partial match
The other groups this work is counted across:
In US official statistics this job is counted as Special Effects Artists and Animators and Graphic Designers. Pay is shown separately for each of those groups (medians cannot be averaged together), while the task list and the scores on this page are for this group only.
Your route through this
Where to go next, and what it costs
Free, and complete
The moves above cost nothing. These are the real services that go with them: public, government-funded, and free at the point of use. Nothing on this page is behind an email address or a payment.
In England:
A free hour with a government-funded careers adviser is worth more than another evening of reading. In England that's the National Careers Service.
Free, government-funded
In England:
National Careers Service - Find a course
Search what's actually running near you before you spend anything.
Free to search; individual courses vary
In England:
Free courses for jobs (Level 3 qualifications)
A free Level 3 qualification you already qualify for beats a paid course you don't need.
Free for eligible adults
In England:
Free, up to 16 weeks, and you get a job interview at the end. In England these are Skills Bootcamps - search what's running near you.
Free for eligible adults in England
In Scotland:
My World of Work (Skills Development Scotland)
In Scotland it's My World of Work, from Skills Development Scotland.
Free, publicly funded
In Wales:
In Wales it's Careers Wales.
Free, Welsh Government-funded
In Northern Ireland:
Careers Service Northern Ireland
In Northern Ireland it's the Careers Service on nidirect.
Free, Department for the Economy-funded
No Space for this job, but one for what is happening to it
Nothing Collab365 runs is built for graphic / multimedia designers, and we are not going to point you at the nearest one and call it a fit.
There is one that is not about a job title at all. The AI Authority is about being the person who directs these tools at work rather than the person they get compared to. That is worth saying here, because 30% of the work on this page is already inside what they can do.
7 days free, no card needed. Explore up to 2 Spaces before you choose a plan: you pick a plan later, not now.
The AI Authority is a general community about working with AI, not a course for graphic / multimedia designers. You do not need it to act on anything here: the moves above cost nothing and stand on their own. The data on this page is the same either way.
Noted, and thank you. We’ll email you if a Space for graphic / multimedia designers launches. Nothing else.
That did not look like an email address, so nothing was saved. Have another go below.
We could not save that. The fault is ours, not yours, and your address was not stored. Please try again later.
No deadline on any of this. The page will still be here, and the data is refreshed on a published schedule rather than when someone wants a headline.
Questions people ask about this job
- Will AI replace Graphic and multimedia designers?
- Not as a job, but it is already doing parts of the work. Across the 47 official task statements scored for Graphic and multimedia designers (United Kingdom, SOC 2142), 30% of the importance-weighted core work is made of tasks today's AI could already do most of. The overall exposure score is 54 out of 100 (range 48–61, band: partial). That is a statement about tasks, not about headcount: this measures what AI could do, not whether any employer adopts it, whether the law allows it, or whether doing the routine parts faster creates more demand for the human parts. Figures are from release 2026-q4.1.
- Which tasks in “Graphic and multimedia designers” can AI already do?
- The highest-scoring tasks in release 2026-q4.1 are: “Manipulate static images to give the illusion of motion” (83/100, very high); “Research and find resources and tools to create credible animations” (83/100, very high); “Develop briefings, brochures, and multimedia presentations for various uses” (83/100, very high). Each score comes from five published 0–4 ratings turned into a number by a published formula, and each carries the model's one-sentence reason on the page.
- Which tasks in “Graphic and multimedia designers” stay human?
- About 20% of this job's task weight sits in work that scores low for AI exposure. The lowest-scoring tasks in release 2026-q4.1 are: “Use stop-motion techniques to film 3D models” (0/100, minimal); “Animate characters in stop motion in line with production requirements and ensure continuity throughout the shots” (0/100, minimal); “Use motion capture methods to create expressions and movements that are lifelike” (16/100, minimal). Low scores usually mean the task needs a body in a room, a legally accountable human, or trust built in real time. Those are the three things the scoring rubric treats as gates rather than obstacles.
- What should someone working in “Graphic and multimedia designers” do about AI?
- Start from the ledger rather than the headline: 30% of this job's weighted core work is exposed, and roughly 20% is not. The practical move is to spend more of your week on the tasks that score low, the ones above, and to get fluent at directing AI through the tasks that score high, because those are the parts that change whether or not you are ready for them. This page does not predict your job, and nothing here is career advice tailored to you: the score describes the occupation, not the person.
- How is the AI exposure score for Graphic and multimedia designers calculated?
- Each official task statement for the occupation is rated on five published 0–4 dimensions (output replicability, physical embodiment, licensed accountability, real-time human trust, and data availability) by claude-opus-5 using scoring prompt task_scoring_v1.0. The model never writes the score; a published formula turns the five ratings into a 0–100 number, so every score can be recomputed by hand. The occupation figure is the importance-weighted mean across 47 scored tasks. The prompt, the rubric, the formula and the full dataset are published at https://futureproof.collab365.com/method and https://futureproof.collab365.com/data/2026-q4.1 under CC BY 4.0.
Where these numbers come from
About the data on this page
- Provisional, because the ONS revises this figure in the autumn.
- This headcount comes from a survey, not a census, so treat it as a good estimate rather than an exact count.
- 4 rows are marked low confidence, so treat them as a ballpark rather than a fine measurement.
- The match between this job and its counterpart in the other country is partial, so the two pages count slightly different groups of people.
- 3 of this occupation's scored task statements carry a score that was measured under a different occupation's context, because the statement is shared between jobs and has only been scored once so far. Each one names the occupation it was measured under in the free routes below; none is presented as a measurement for this job.
- Task clusters are not derived in this release, so the task-cluster field is empty and no Collab365 Space routing is attached to this occupation yet.
- Task statements
- gaisi-indexProcessing: catalogue-bridge → ssc-relatedness-weighting → task-scoring → score-aggregation
- Task weights
- gaisi-index (relatedness)
- Scores
- Rubric task_scoring_v1.0, model claude-opus-5, computed 2026-08-04.
- Pay and employment
- ashe-t14 (ASHE 2025 provisional (reference April 2025))nomis-aps (Apr 2025-Mar 2026 (latest APS 12-month period))
Figures on this page come from release 2026-q4.1, published 2026-08-05. Every release keeps its own permanent address, so a figure you cite in March is still there, unchanged, in November.
The plain-English wording on this page is assembled directly from the task statements and the published ratings, not written by hand for this occupation. That is why it is specific, and it is also why we say so.
The routes and free resources further up are today’s, not the release’s (last reviewed 2026-08-05). A route is an offer, not a historical fact, so it moves on its own clock.
Using these figures?
Cite this
Everything on this site is published under CC BY 4.0. Quote it, chart it, sell something built on it. Just say where it came from, and cite the dated release rather than the site, so the figure you quote stays checkable.
Plain text
Collab365 (2026). Collab365 Futureproof: task-level AI exposure for US and UK occupations, release 2026-q4.1 (methodVersion 2.0.0, promptVersion task_scoring_v1.0). https://futureproof.collab365.com/data/2026-q4.1. Licensed CC BY 4.0. Built with O*NET data (USDOL/ETA, CC BY 4.0); ONS data (Open Government Licence v3.0); GAISI task framework (arXiv:2507.22748, MIT); BLS data (public domain).
BibTeX
@misc{collab365futureproof2026q41,
title = {Collab365 Futureproof: task-level AI exposure for US and UK occupations, release 2026-q4.1},
author = {{Collab365}},
year = {2026},
url = {https://futureproof.collab365.com/data/2026-q4.1},
note = {Release 2026-q4.1, methodVersion 2.0.0, promptVersion task_scoring_v1.0, CC BY 4.0}
}Data as of release 2026-q4.1, published . Releases never change after publication; when the figures move, a new dated release is published beside this one and this one stays exactly where it is.