---
title: "The Guardian - Moth"
description: "Meet Alice, holder of the last recognisable job on Earth, trying to make sense of her role in an automated world.

  'The Last Job on Earth' is a film produced in collaboration with the Guardian Sustainable Business section."
canonical_url: "https://moth.studio/projects/the-last-job-on-earth"
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  author: Moth
  "og:description": "Meet Alice, holder of the last recognisable job on Earth, trying to make sense of her role in an automated world.

    'The Last Job on Earth' is a film produced in collaboration with the Guardian Sustainable Business section."
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> Index of every page on this site: [llms.txt](https://moth.studio/llms.txt)

The Guardian: The Last Job on Earth

Meet Alice, holder of the last recognisable job on Earth, trying to make sense of her role in an automated world.

'The Last Job on Earth' is a film produced in collaboration with the Guardian Sustainable Business section.

- **Directed**

  Moth Studio
- **Designed**

  Moth Studio
- **Produced**

  Moth Studio
- **Lead Animator**

  Carlos De Faria
- **2D animation**

  Sabine Volkert and Moth Studio
- **3D animation**

  Claudio Salas
- **Compositing**

  Claudio Salas and Moth Studio
- **Clean up**

  Stephen Vuillemin, Sabine Volkert, Frankie Swan and Moth Studio
- **Music and Sound Design**

  Box of Toys Audio
- **Client**

  The Guardian
- **Commissioning Editors**

  Tess Riley, Laura Paddison
- **Writer and Creative Director**

  Alistair Campbell
- **Senior Producer**

  Lucile Weigel
- **Executive Producer**

  Amelie von Harrach
- **Script Editor**

  Frances Polletti
- **Supported by**

  Doen Foundation
- **Production Year**

  2016

"Machines could take 50% of jobs in the next 30 years"

Moshe Vardi, Professor of computer science, Rice University.

As we were building a ‘near future’ reality, we needed to develop a utilitarian coldness to the way things were designed yet still keep them interesting and engaging. We made much of these design decisions in the storyboarding, making composition simple and bold to focus our attention on the story.

Being sci-fi in nature, there was a temptation to add detail but we quickly realised the absence of the detail made everything feel slicker and more minimal. That meant when we employed more texture in the ‘old town’ scenes of the film there was greater contrast, creating a more gritty and ‘real-world’ feel. We also developed a colour script that evolves throughout the film, going from warm to clinical, becoming cooler and darker with higher contrast toward the end, accenting Alice’s emotional journey throughout.

See the full article on The Guardian

[theguardian.com/sustainable-business/2016/feb/17/automation-may-mean-a-post-work-society-but-we-shouldnt-be-afraid](https://www.theguardian.com/sustainable-business/2016/feb/17/automation-may-mean-a-post-work-society-but-we-shouldnt-be-afraid)

### Something similar

- [The New York Times: Modern Love: A Kiss, Deferred](https://moth.studio/projects/modern-love) [

  The New York Times: Modern Love: A Kiss, Deferred

  'A Kiss, Deferred' is our contribution to The New York Times' Modern Love column, based on a true story written by Nikolina Kulidžan.](https://moth.studio/projects/modern-love)
- [The Salvation Army: The Fight for Good](https://moth.studio/projects/the-fight-for-good-the-salvation-army) [

  The Salvation Army: The Fight for Good

  Christmas campaign for The Salvation Army which tells three different stories about hardship and the power of individual generosity.](https://moth.studio/projects/the-fight-for-good-the-salvation-army)

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## Sitemap

See the full [sitemap](https://moth.studio/sitemap.md) for all pages.