Be aware that the people doing the hiring were once on the other side of the desk as well. They will want somebody who fits well into the mould of the teams already established there. When it comes to the crunch time of spending eighteen hour days at work in order to complete a clients project nobody wants to be with someone they don’t get along with.

If you don’t have any industry contacts don’t fret. They are a phone call away, be friendly and honest and keep in mind that they are more than likely to be extremely busy. Don’t be offended if they turn you away. Being assertive and out going in your approach not pestering and annoying, be memorable for the right reasons. Even if you do not get the job, the work experience or meeting if you leave a positive impression you will be remembered the next time around.

After researching a few visual effects house I sent an email to “The Lab” in
Sydney asking as politely as possible if I could get work experience or even just a look around the facility. I received no reply to my inquiry. Not content with that outcome I rang the receptionist at “The Lab” and asked who I would talk to about getting work some work experience. It’s much harder for people to say no to you in person. Unfortunately the receptionist had no idea who I should speak to so she gave me the contact details of one of the producers. Now I could have sourced this info off of their web site but by establishing contact with the facility in person I was able to say in my email request that person X on reception advised me to contact you. After a week goes by and I get a response, the producer says she would love to have me visit and suggest what dates I would be available. I got my in. In November I have a personalised tour of “The Lab” with one of its producers.

During the semester I was fortunate enough to meet with Doug Whip, Presentation Manager of Southern Cross Ten Broadcasting Canberra. The uni had organised a meet and great where we were able to talk to him as a group and then on a personal level. He invited all students to visit
Canberra and have a look around their play out facility. I took him up on the offer and went for a day trip to
Canberra. This was invaluable because I knew that two departments there were hiring and I had the opportunity to sit in with both and chat to the teams already their. Well two days latter I got a call from Doug asking me what I thought of the facility. He then invited me to apply for a job that was only being advertised internally within the company. As with most places they promote within house so I was lucky enough to be one of few who actually knew the job was going and was able to apply. I received an interview and travelled back to
Canberra.

The interview stage, I thought, went well. There where two interviewees and I was able to communicate to them in a friendly manner. Unfortunately I did not receive an offer of employment however all was not lost. With my two brief experiences at the facility I was able to give a resounding impression of myself. I now have a few contacts within the company who have readily requested that I maintain contact with them in order to be at the forefront of any upcoming positions.

It seems to be the catch twenty two of visual effects industry. How do you get experience if no one is willing to hire you so you can get experience? Bigger studios have the luxury of being able to head hunt whomever they want, and they have no qualms about this either. Amy Bendotti from Nintendo had this to say,

“What we look for is experience, 100 percent. We hardly ever hire entry-level just because we don’t really have to. For artists, we don’t really look at anybody that doesn’t have at least two years experience and hasn’t at least published one title.”

So the majority of the time it is better off to start at a small boutique studio. This also allows you to be more of a generalist than a specialist, which allows you to determine which areas you are fonder of and allows for a greater understanding of how each potential role interacts with one another.

Apart from advertised jobs you’ll probably have to rely on who you know and cold canvassing. So how do you get contacts in the industry? Well the best way is start at your training institution. The alumni of grads preceding you will determine your future. If there is a position available within a company you stand a much better chance of landing the job if you have someone on the inside who can give the boss a first-person testimonial to your character.

As Lindsey Adams said, “if you send me your show reel I’ll do all I can to show it to the right people within my company and others . . . but don’t send me shit! By recommending you it’s my reputation on the line as well as yours.”

It’s for that reason that a recommendation is such a boost, because nobody, no matter how close your friendship with them is going to risk their job for you.

Brain Freisinger at ESC said this, “three guys I hired out of school, and three other guys I knew. Two of them I’d worked with before and one was a friend of a friend who came highly recommended. You glance at their reels to ensure their genuine then you grab them, you cut through 90 percent of the stuff you have to deal with.”

If you don’t know anybody in the industry then all you’ve got are your peers. The industry is that small and it always will come back to your attitude and relationships. Be pleasant and outgoing and get to know the people around you because if they respect you and your work then the likely hood of them to clue you in when something comes up is increased. Don’t burn your bridges; the people you went to school with may be responsible for your income one day.

First impressions last, put your best work first and exhibit complete professionalism for that first brief encounter.

Use recognised and established formates only. VHS and DVD are two readily available and increasingly cheap methods of distribution. There are many DVD authoring software packages available, even Nero Burning Rom which is commonly bundled with new DVD burners will create an automated basic menu set up and navigation. Your DVD menus do not have to be fancy, (unless you’re trying to demonstrate your ability to author a DVD,) keep it simple, and easy to read. Label your disc with a printed label and not a hand written message penned across the surface of the disc. Create a label with your contact information clearly typed out. Sleek designs are not necessary; simplicity can be just as striking. Often glitzy labels and packaging detract from your work and make it seem like your covering up for something. Let your work speak for itself. 

Remember to include a credit sheet for both your portfolio and your demo reel. This is a simple written breakdown that explains exactly what work you did on each shot within the reel. This is critical when you’ve worked in collaborations and demonstrates to the employer exactly what you were responsible for. If you get to an interview stage there is an extremely high possibility that your breakdown sheet will be discussed. Craig Lyn explains that it is always better to have someone talk you through their shot. This is what I did, how I did it, what I was looking at and what I was thinking when I did it. It’s much better than people who go, “Yeah, I just put in there and lit it.”

The things you put in your demo real should be at least minimally animated. Typically your reel should have a short title screen and closing credits, but do not waste time, jump straight into it and show your best work first. Remember that you’re more than likely to be applying for a visual effects position so audio is optional, and if you do decide to include a track make sure it matches the pace of your reel.

Each reel you make should conform to the same tailoring techniques as you resume. If you want to be an animator than your reel should show a single character go through a gamut of emotions and reactions. This shows your versatility and is much better than ten different characters doing the same walk cycle.

If you’re a modeller show turntables of your models and objects, it is important to show both a textured and a wireframe view, even if texturing isn’t your strong point. The wireframe is going to reveal your proficiency in modelling however if your reel is going to be screened by a recruiter than the shaded view is going to give a better overall impression.   

Texture artists need to demonstrate interesting and rich textures, in both stylised and realistic surfaces. Show your fully rendered models as well as un-textured shaded models in order to show the detail in the maps you used to create the surface.

Effects artist are not only going to need to show interesting effects but also show the effect composited into live action footage. You need to demonstrate a seamless blend, it’s a good idea to include source footage, rendered plates, and composited clips within the reel to demonstrate where your work lies.

In reality there is no limit to how much you need to have in your portfolio but remember to only include things of your highest standard. Get a mentor or friend with a well developed eye to review what you’ve compiled, if an item falls into question then consider pulling omitting it.

Organisation is paramount; everything should be labelled under clear headings. If you present an art folder filled with images how is a potential employer meant to know if they are looking at a half decent character model or a detailed texture map, if the viewer has to question an aspect of your work than you’ve already blown your chance. 

It is increasingly more common to have your work available online. Once again organise your web space so that viewers can peruse through your work quickly and easily.

Sean Wagstaff recommends this layout for a visual effects resume.

• Summary – a single paragraph that explains why you should be hired over somebody else. Include notable projects you’ve worked on and any awards or festivals that you’ve won. Be specific about your desirable qualities (you’re flexible, adaptable, hard working, technically savvy etc). Identify the special skill sets you have and use keywords like, Maya, mental ray, particles, compositing, scripting.

• Skills and toolset – this should be simple and easy to read. Use bullet points and be specific. Quote your core skills, tools and programming languages, platforms and operating systems. Your employer should be able to briefly scan through this section and determine whether or not you have the skills to be able to perform with a minimum amount of training.

• Experience (with emphasis on projects) – for school leavers there is not much you can put into this section, however if you’ve managed to land any internships or work experience this is where it should be chronicled.

• Education – once again keep it simple, where you went to school and what degree you earned. Include awards or merits of achievement that you have won, but only if they’re relevant to the position you’re applying for. Remember most people aren’t going to care what school you come from, it’s your experience, portfolio, reel, and personality that are far more important. An employer is going to hold quality in work over the name of your school.

• Personal Information – some employers do like to know a little about your personal life, remember personal not private. It is my personal preference not to include this information because I would rather relay it in person if I get as far as an interview. However when looking for a prospective new team member most employers look for people who are a good cultural fit for the team they will be working with.

Jo Ann Pacho;  

                        “The other thing is knowing what they do in their free time. That’s something I always ask. If I know a particular department at a company is looking for a designer, and they’re all snowboarders or they’re really physical people, then I might want to try to find somebody that’s a similar type of person, because then they’ll be like-minded and they’ll mesh better.” 

The tailored resume;

It has been my personal experience that a tailored resume is far and beyond better than the generic, thoughts echoed by presentation manager Doug Whip of Southern Cross Broadcasting Group Canberra. If you’re preparing any materials for a potential employer, do your research and know what the employer is looking for. If you tailor your CV and reels you stand a much better chance of showing the employer that you’re actually interested and have a basic understanding of what the strengths of the company are. For example, if you were a 3D modeller for games and you were trying to cross over to film you would want to de-emphasise low-poly modelling on your CV and reel and focus on high res modelling techniques. It pays to be specific when tailoring your material.

Emmanuel Shiu from “The Orphanage”;

When I was looking for a job, a lot of the times what I would do was try to find out what they’re doing, what are the upcoming projects that you think you may be hired for. For example when Tippett were hiring for Hellboy, it was set in WWII. If you showed work based in that era you were much more likely to grab their attention then by showing futuristic objects.

Having an interest in a niche is a definite advantage, however keep the following in mind. A 3D artist fresh out of school is highly unlikely to be employed as a lead character designer and animator. You have to ask yourself, yes I can model and rig a character, but can you model a tree or a cabbage for the background or prop piece.

Be aware, when tailoring material use common sense, you never want to come across as the starry-eyed fan. This is a quote from Brain Freisinger;

“. . . If you’re obsessed with the film, if you’re a Star Wars nut, or a Matrix nut, get a job at a different studio, because nobody’s going to like you. You’re going to be one of those guys, “Dude, DUDE, this is so cool!” Just shut up. We’ve been working on it for three years. We know.” 

Be aware that short statements and key works in your CV are critical. A lot of larger studios and companies use a database system when you submit your resume. Then when they require an artist with a particular skill set or program knowledge they will simply search the database. If they want a shake artist and you have only mentioned yourself as a compositor then your resume is unlikely to be flagged within the search results.

Your curriculum vitae or CV is a text document of one or two pages that summarises and chronicles everything relevant to the job for which you’re applying.

Your portfolio is a collection of 2D images that shows what you can do as an artist. Include drawings, paintings, illustrations, photographs of sculptures as well as stills from rendered 3D work.

Your demo reel is essentially an animated version of your portfolio. Its sole role is to demonstrate your skills and aesthetics as an animator, effects artist, or compositor. Even if you’re a modeller or texture artist 3D turntables and simple animations showing off your model is essential in proving your process and technical mastery.