Tips for getting hired in an animation studio

One of the main aspects of the annual festival of SIGGRAPH confab is its ability to match animation and vfx special effects studies with recent graduates and job candidates. In this interview www.animationmagazine.com asked some of the top firm recruiters and hiring managers to talk about the role of the key positions they were looking to fill and the skills they are looking for in their ideal candidates:

Bento Box | Brooke Keesling, Head of Animation Talent Development

Now assuming: We have hired all year and have been very busy producing even during the quarantine, with all of our artists and producers working safely from home. As I write this, we have openings for storyboard artists, directors, designers (background, character, prop, color), art directors, animation controllers, producers, post production supervisors, etc. We are incredibly busy right now and are so excited to hire many talented people and welcome them to the Bento Box. We have many shows in production (Bob's Burgers, Central Park, Bless the Harts, The Great North, to name a few) as well as under development. It's a great time to get into animation!

Portfolio Tips: Make sure your portfolio is up-to-date and organized, so we can easily find the work you'd like us to see! And be sure to check our website regularly for careers, as we're always adding new positions!

Best approach: Lots of people reach out to me via LinkedIn and email, which is delightful. But the main thing we would like people to do is apply on our website (www.bentoboxent.com) - that's where we can see all the talented candidates in one place, and that's the first step in our hiring pipeline.

As I said before, Bento Box is extremely busy right now and we are always on the lookout for a wide range of talent! Check out our website often and keep applying - we Bento Box recruiters always do our best to help talent find a job in our studio!

Useful tips: I like to see work in a variety of platforms and formats like Vimeo, Instagram, Twitter, personal websites, zines, comics, etc. As long as we can find the job you want us to see, you're fine. For example, if you are applying for a Character Designer job, be sure to send us a link to your character designs. I know it sounds simple, but you'd be surprised how much research we recruiters have to do sometimes!

The biggest no-nos: Sometimes we find amazing artists who don't have contact information listed or their email address no longer works. Make sure your current email address is easy to find so we can contact you to hire you. Also, if your wallet is password protected, include the password in your application.

Disney Feature Animation | Matt Roberts, art recruiter

Now assuming: Most of all our current hires are focused on our next film, Raya and the last dragon, with just a splash of recruiting focused on our unannounced film to follow.

Available positions: Since we are already in production Stingray, our hires have focused on disciplines for production of footage such as Character TD (especially technical animation / character effects) and Lighting. We're also looking for Look Development Artists (our CG texture / shading artist title) for future roles.

Best approach: Our recruiting team is on LinkedIn. Those interested in our opportunities can also check out our Open Positions page on www.disneyanimation.com and can follow us on social media such as Walt Disney Animation Studios on LinkedIn, @DisneyAnimJobs on Twitter and @DisneyAnimationCareers on Facebook.

Portfolio Tips: To make your application as specific as possible for the job you are applying to and to carefully read the job posting for your preferred format for the job. If a specific format is required, such as a reel versus still images or a specific file format like .mov or .pdf, it is because it is the presentation format of choice for hiring managers to display the full potential of your work and it will. just prepare yourself for potential success with your application.

Desired skill sets: This can vary by role, but the universal criteria that tend to hold true for most of our disciplines are the appeal, observation, storytelling, and versatility of the craft (as in, whatever specific role you are in. candid, you can show a range of skills and variety of work within that discipline).

The biggest no-no: I would say forget to include a password in a password protected reel. You'd be surprised how often this happens. Including both a link and the related password to your reel in your resume can definitely help you cover your basics to make sure your password isn't lost during the application process.

DreamWorks Animation | Doeri Welch, director, animated feature film recruitment

Now assuming: DreamWorks Animation is actively taking on many television and film projects in development and production at the studio.

Available positions: Story, Graphics, Forecast / Rough Layout, Storyboarding, CG (Animation, Effects, Character TD, Crowd, Lighting, Riggers) and Production

Best approach: Apply for open positions or express interest in future positions on DreamWorksAnimation.com.

Portfolio Tips: Submit your latest released job and customize your applications based on the job you are applying for by reviewing the job description. Across all of our disciplines, we're striving for a balance between the point of view of your unique and strong artists and your ability to adapt to the different artistic directions and story needs of our various DreamWorks projects. Show us a job that demonstrates your innovative ideas, solid artistic foundation, technical skills, storytelling, acting, history and passion. Also, check out our #CareerTipsTuesday at facebook.com/DreamWorksCareers.

Desired skill sets: More than just being experts with a software program or technique, we're looking for artists and production workers who love collaboration, contributing to a variety of styles needed for art and storytelling, problem solving and a sense of fun. You can learn to use the newest toolset if you have a well-developed eye and a flair for creating the unknown.

The biggest no-no: Forget to provide the password to your reel or portfolio!

Netflix animation

Now assuming: Netflix is ​​in an exciting position to have an unprecedented number of shows in production across feature films, children's and family series, preschool series and adult series. We are actively working on development, pre-production and production projects.

Available positions: As we continue to grow as a studio, we are always looking to connect with the fantastic talent in the industry. We will be looking to hire artists not only this summer but throughout the year in the front-end production areas as storyboard artist, storyboard revisionist, visual development artist, character designer and production management.

Desired skill sets: Each position will have a job description outlining specific needs, but overall we're looking for amazing artists who are passionate and willing to help shape the new wave of animation! We are looking for creativity and imagination, narrative sensitivity, communication and collaboration eaability to innovate!

Best approach: Imagine getting a birthday card from someone who just signed their name at the bottom. Occasionally we all get them from people who may have sold us life insurance in the past. They are easily ignored; open-read-launch. Now, imagine a card where, along with the typical banal prose included in birthday cards, that person added their own personal note. Something you both shared, an experience, etc. It is more difficult to cast that second card because the person has invested their time in addition to signing their name. It is the same with applicants who contact the studios. I

If in their email or social media PM they offer a thought like, “Hey, I liked what you did in Episode XYZ of the 123 Show. So beautiful! I think the work I do can add a certain something, something to that show, can you take a look? ”Elevates them from those who simply send a CV or a link. It's all about branding and investing. How are they different from other candidates? What can they add to the mix that we might miss: a unique style, a unique story? We are thirsty for new voices to come in and expand our points of view; be it through art, storytelling or elsewhere in the production pipeline.

Portfolio Tips: It will look as worn as an old doormat, but it's still true: the best pictures before and the best just work! Some artists think that quantity of work outweighs quality. This is rarely the case. We would prefer to see fewer well-executed images than many that fit the so and so category. viewing so and so job, the candidate is saying to the recruiter, "I don't know the difference between good things and things that require more work." This is not the message a candidate wants to convey.

As the expression goes, "Kill your loved ones!" A candidate should be strict about curating their portfolio, only their best work! It may be wise to ask a peer artist or trusted professor to help with this selection / killing process as they can offer a more unbiased opinion.

The biggest no-nos: Each recruiter has a story about No-Nos. A recruiter on our team shares that at an animation conference, a candidate followed her to the bathroom to start a conversation. Others will share stories of candidates they contact weekly to ask for an update on their status. We as a recruiting community have to do better to communicate with candidates, too often the norm is for a candidate to apply and after receiving an automatic “Thank you for your interest” email they receive no further correspondence. This ghosting it must be frustrating and it is something we should face.

It's nice to check in once a month or so, even better when the candidate has a new job they want to share, but checking in repeatedly without a new job is just embarrassing.

Candidates need to know that the feeling of helping a candidate find the right role for them, one that we know they will crush, is why we do it.

That matchmaking takes time, or doesn't take it at all; sometimes it's like magic, but most of the time it's like that car they use when you get new glasses (you know that, A or B? B or C?) with the recruiter showing the work of the various candidates to the teams and looking for the one that best aligns the candidate's talent with the needs of the show. Trust me, if production sees how that candidate responds to that need, the recruiter will jump to connect!

Sony Pictures Animation | Jana Day, executive director, recruiting

Now assuming: Sony Pictures Animation is actively recruiting two films into production (one being the Spider-Man: in spider-verse sequel scheduled for 2022) and several in development. We also recruit for TV animation development and have multiple projects moving through the process at any given time.

Available positions: We have the creative front end of production. We are looking for visual development artists (characters, environment, props, colors and lights and 3D vis dev), story artists and publishers.

Best approach: Sony Pictures Animation posts on our website, SonyPicturesAnimation.com, as well as LinkedIn and chirping. You can also find our individual recruiting pages on LinkedIn or Instagram.

Useful tips:

• Be simple. Your portfolio website should be easy to navigate and only showcase your best work. Include work that demonstrates charm, versatility, solid drawing, originality and a range of styles and designs.
• Show all work from start to rendered piece. We like to see how you think and how you have overcome certain challenges. The final pieces are great, but there is beauty in the process.
• Build relationships. We are a small industry and there are so many resources available to connect with other artists. Connect through alumni networks, entertainment events or associations. Connect and share your work.
• Be patient. We work in an industry that can churn out at 100 miles per minute one day and slow down to a crawl the next.
• Reply. We review all graphics, but we can't always provide specific feedback to everyone.
• Rejection happens. It's not that we don't like your artwork, it just means we don't have a style that suits you at that particular moment.

Desired skill sets: Our artists work on a wide variety of projects. We don't have a specific home style. Our artists always push themselves into their projects or storytelling. They are looking for unique ways to tell a story and want to work with artists who like to push boundaries.

To do this, we are looking for artists with excellent drawing skills, a good sense of design and color, versatility in styles and approaches. Someone who can color inside the lines, but more importantly, can also color outside of them. Someone with a unique, highly creative and unusual sense of charm. We like team players who take direction well but are also easily adaptable and can turn their art direction into a dime.

The biggest no-nos: To be prepared. Research the studio you are applying to and become familiar with the projects. It's frustrating when we get a generic cover letter or email addressed to another firm. Review and Edit: Ask someone to take a quick look at your work before hitting enter. Edit any job that may not be as successful. It's always better to let us want more than ask questions about why you left a picture.

Make sure recruiters have access to all of the artwork in your portfolio. If any of your jobs are password protected, make sure recruiters have access to the password before any reviews take place.

Titmouse Studios | Ben Kalina, COO and executive producer

Now assuming: We're hiring pretty much across the board over the next three months, including storyboard, design, animation, composite, production and post-production. Titmouse is working on 15 series and multiple short projects (advertising, pilot projects, development, short films, etc.).

Useful tips: Keep your online wallets updated and treat it like a physical wallet. Include the best of your relevant work, not every piece you've ever created (or make them available elsewhere). We keep the portfolios on file and recall them when openings arise. I always tell people: just because we're not looking for someone today doesn't mean I won't be looking for someone by Friday. We hire through online submissions and recommendations. We have a lot of people submitting jobs through our website, but current and past employee referrals always go a long way. In-person events at schools and festivals are also great because you know the artists. You can find listings at titmouse.net/careers.

Desired skill sets (response from Antonio Canobbio, SVP and CCO, Titmouse): The main requirements once past the obvious ones, academic skills in art and animation seen in your portfolio, we are looking for weird people who want to spend their life drawing and making cool things. Now, an animated project is rarely completed alone, so we're also looking for people who work well on a team and appreciate the collaborative process. For the D & D first edition nerds like me, here are the stats you need to work with us:

• Force 3
• intelligence 15
• Wisdom 10
• Dexterity 5
• Constitution 3
• Charisma 5

Portfolio Tips: With online submissions, people have a tendency to submit work as it is without really thinking about the job they are applying for or who is reviewing it. There is also a tendency to apply to all open positions at the same time, using the same materials. We see a lot of people applying for character design, BG design, production assistant, director, line producer, all at the same time. We love to hire multifaceted people, but we want artists to keep in mind that these are different positions and require different types of portfolios, applications and resumes. Whenever you apply, be sure to update your portfolio and highlight new / key skills.

Warner Bros. Animation | Patty Willert, Director of Artist Management

Now assuming: We are actively taking on several projects both in production and in development. We stay very busy in the studio producing a number of home entertainment series and titles, as well as many exciting projects in development.

Desired skill sets:We are examining a range of skills from design, boarding, art direction, writing and production management.

Best approach: For us direct is the best thing. WBARecruiting@warnerbros.com or patricia.willert@warnerbros.com. You can also connect via LinkedIn and the Women In Animation website.

Portfolio Tips: Organize your work clearly and try to use a portfolio site that displays your work best. Send password to protected areas when you contact me directly.

The biggest no-nos: Do not send general introductory emails to everyone in a studio. We often have artists who think this is useful, but sending the same note to 50 people is a bit sloppy and disruptive. Be thoughtful and specific about how and why you are connecting.

Visit the virtual job fair SIGGRAPH 2020 at s2020.siggraph.org/exhibition/job-fair.