Showing posts with label education. Show all posts
Showing posts with label education. Show all posts

Tuesday, May 01, 2012

What happened?


What happened?

A week or two ago the LA Time ran an article on some of the problems of the visual effects industry. It covered someone who had been in visual effects for awhile and wanted things as bold as health care insurance (you know, that thing that comes with most full time jobs). The amount of overtime, it’s difficulty on workers physically and the need to keep finding work to help pay for things (like health care) were also among the topics.

And anytime someone who has been working in this industry for awhile speaks out there are always detractors. In forums where this issue was discussed young people who are in this industry always asked “what happened to all the money this experienced person had been paid?”  "Why don't they just quit?" And I’ve talked to a few of these people. They think, ‘wow, visual effects pay is nice. Anybody who works a long time has got to be rolling in money. Rich, rich, rich. As in taking a personal helicopter to their yacht to go to their private island where their pet pandas eat caviar out of golden bowl, rich’. Well maybe not that rich but certainly the feeling is these people should have been able to stash away millions and be able to retire with no cares.

Young people myths
1. You will create, discover or invent the next Facebook and be a multi-billionaire by the time you’re 30. It was a million when I started but hey, inflation.
2. You will be a rock legend playing to millions of fans.
3. You will always be in high demand for your visual effects skills and always be offered work. Certainly aways able to work as much as you like.
4. Companies will have bidding wars just to have you join their projects.
5. You will have your choice of projects and will be able to pick the coolest ones.
6. You will always be paid more on each project.
7. The expenses you have at 23 will be the same expenses throughout your life.
8. You will have perfect health for your entire life.
9. You’ll never make any bad decisions.
10. It’s easy to save and hey, you’ll start saving more as soon as you buy the latest xbox game and your new car and that other thing you just have to have.

Expenses
When you start out you’re single and have little needs and certainly minimal commitments. I was surveyed when working on Close Encounters about how much I spent on groceries per week. I answered less than $10. 1 gallon of milk and a box of cereal and I was set for breakfast and dinner. Fast food for lunch. I took a bus to work for little transportation costs. (2 hrs bus to travel what would have taken 20 minute by car) Later I bought a bike and then later a car. Unfurnished apartments saw a bed, chair, basic desk and tv. These days you’d probably add in a computer and video game box. You can always have roommates. So to a young person with very modest real expenses, the pay of visual effects is fantastic. They can buy and indulge in whatever they want. After all, they’ll be doing this for years.

It’s easy to get in the mindset that the work will always continue and to spend it as if you’re a full time staff employee. You’ve worked hard for your money and see no problem with splurging at times on the things you want. You can’t even wrap your head around the idea of retirement plans since that seems so distant. At 23 you’re fine making work the highest priority.

But then you grow up. Maybe get married. The desire to get a little nicer place and actually buy furniture and framed pictures along with real dishes and silverware. All this stuff starts to add up quickly, especially if you’ve never priced it. Maybe move up from a few pairs of jeans and show t-shirts to real clothing.

You may have children and before you know it you have a couple of cars to pay for along with a house mortgage and other expenses. You now have a lot of bills to pay per month. Don’t forget that costs (housing, food, clothing, etc) tend to rise faster than your wages actually do so it will cost you more. And there’s always added unexpected expenses. Your car breaks down and needs repairs, your house needs some work done, your child needs braces.  If you have children you’ll probably want them to attend college. It currently costs around $100,000 or so to send one child to college. How much will it cost 20 years from now? What if you have three children? But of course you’ll be so rich by then  money will be no object.

Jobs
Right now you may be easily going from project to project. You’re moving up through the ranks. You’re the hot shot guy or gal. But that winning streak will not last forever. That 9 month project you’ve signed on for just got yanked by the client. You turned down a job last week because you had this project lined up. Now that job you had turned down is gone as well. You find yourself without a project for 6 months. Do you take a lavish vacation during this downtime? How’s your high wages looking now that they’ve been cut in half?

You have a buddy at another company but that company has gone out of business so now there are even more people like you looking for work. The studios have cut back on making films. The tax incentives in your area are cut back. The tax incentives have increased elsewhere. The studios and companies have discovered yet a new location with lower labor costs. The works drying up at least for the time being.

A company tells you they can’t pay your going rate.They underbid a project and can’t afford to make the project they have agreed to do for the price they agreed on. Company management decision. Sorry. Take it or leave it. You have years of experience and can make it worth their while but they’re offering you 1/2 of what you’ve been paid. Oh and they require 80 hours weeks, no overtime. Can you wait it out and find other work nearby? Are you willing to leave your family and move around the world to work?

You interview at another company. They’re looking for someone who has experience in this new thing that was just announced yesterday and they require people who’ve already done 5 projects in it. Impossible but they persist. You’re experienced in a lot of things but they think this is so new how could you possibly grasp this new concept. They say they can get 2 young people for your cost and simply have the department head guide them. And these hip new people will obviously have lots of great ideas. The idea that they will be making a lot of mistakes and lack the experience never dawns on the company since many of them have been moved into management positions without experience or knowledge.

Your career, like your job, will likely be feast or famine. You will have lows and you will have highs. One thing you likely won’t have is consistency. I know people who worked at ILM over 20 years that are laid off for 6 months or more at a time with no definitive date to restart. All because the sales people and management there couldn’t get projects in. And that happens at every visual effects company.

And that money you’ve been saving? Now you have to start spending it to cover all of your expenses since they don’t stop.

Life happens
You make a lot of plans and have set a course for your future but something always comes up. Many things are out of your control. Many times due to random issues or small minded management. If you saw the movie UP (spoiler alert) you saw how their plans for a family changed. You saw how their plans for the ultimate trip were always thwarted by one thing after another. The time flies by.  Real life is like that. To quote John Lennon “Life is what happens while you are busy making other plans.”

What seems to be crystal clear black and white issues to the young turn into shades of gray with multiple view points for those experienced in living life.

Your time
You like to boast of the number of hours you worked the week before. Shows just how tough and how committed you are. You and your friends compare number of hours worked like bikers compare scars. That’s what makes you great. The number of hours you worked. And certainly the company will respect you and rehire you since you worked so many extra hours for them. Oops. Turns out the company doesn’t care. They now require everyone to work extra hours. Well those older workers complaining are just whiners. You’re much tougher than that. Besides in a few years you’ll be so rich by then money will be no object.

As time marches on you actually want to spend some time now at home. And you realize that your children only grow up once and most of that happens while you’re at work. That 4 or more extra hours you spend working per day more than your neighbor and those weekends may not be so wonderful then. Maybe you get overtime pay but that doesn’t begin to pay for the loss of seeing your spouse or children at a certain point. Your priorities change and you want to balance work and life.

Do you think your company will be willing to employ you for normal (non-vfx) hours? What leverage would you have to work less hours? After all, the rest of the crew is being forced to put in 60-80+ hr weeks so you feel compelled to do the same. Well it was a good idea while it lasted. And your spouse can always take photos at your daughters birthday party you missed (again).

Health care
Most young people don’t understand the big deal about health care. The astronomical costs of the care and insurance have little bearing on them because at that point they’re in perfect health. Believe me, that can change in a moment. You slip off your skateboard or have some strange pain in the middle of the night. An overnight stay in the hospital can set you back over $20,000. An appendicitis could cost you $135,000. Do you have enough money saved to cover those types of emergencies? Even if you have insurance you have to cover at least 20% and have deductibles. The insurance companies know the odds and they always win. You could be diagnosed with a chronic illness (even in your 20's) and forever be labeled as an existing condition. Your health insurance costs will skyrocket at that point, if you can find coverage. What if you hurt your hand and can’t work for 6 months? Many insurance plans don’t cover disabilities or job loss.

And if you have a family any of these things could happen to someone you love. Most of the foreclosures in this country happen due to medical expenses. And most of those are by people who were covered by insurance or thought they were covered more than they were. The insurance companies have plenty of outs to minimize their payouts.

But hey, it’s you. You’ll never have these problems.

What about your parents and siblings? Are they going to remain in perfect health and do they have enough saved to cover themselves? What about retirement homes at some point for your parents or someone you love? Currently they run $3,000 to $6,000 a month in LA. They can be over $10,000 a month for skilled nursing. How much will it be when that happens? But of course you’ll be so rich by then money will be no object.

Pensions
Many jobs have pension funds. Visual effects do not. How much money will you have saved for retirement? Will your social security cover you in your retirement? The average person doesn’t save much for retirement since other things were always a priority and used up the money. Can you live the manner you are now for the next 30 years without working or being paid?

Joe Harkin had an issue with joining the union originally since he didn’t think he should contribute into a pension pool that others would be using. That process is similar to any type of insurance. You pay money in every month for health insurance, car insurance, house insurance, etc. Rates are based on the number of people paying in. The insurance companies have done the math and it’s simply a matter of the odds that something will happen to any of these people. If you’re fortunate never having to need it you may think why should I bother. The day you’re hospitalized is the day you will be thankful that so many have contributed as well that it will help cover those who drew the short straw through no fault of their own. If you pay into the pension the idea is you will be able to access the funds set aside for you if the fund has been properly managed and the corporations don’t force it to be closed so they can make even more profits.

But you’re tough and smart. You’re going to go it alone. Skip that insurance and pension stuff. That’s for suckers. It's a dog eat dog world and you're not about to contribute to something that may benefit someone else and you certainly wouldn't want people to contribute to help you. People should not be banding together to help each other. You should grow all your own food, build your own roads and learn medicine so you don't need any health care.

You’ll be loaded with so much money from all your savings that it will cover anything that could possibly happen.

Decisions and savings
It’s certainly easy enough to make bad decisions in life. Some seem like good decisions at the time. Things change. Many things out of your control. That house you bought and still owe money on is now worth less than half because of the housing bust but you still have to pay the entire amount to the bank.

For those who made solid investments in stocks, bonds and other instruments that have long been reliable investments - the tech bubble happened in 2000 and wiped out a number of retirement funds and other savings. In 2008 the Wall Street bankers directly caused the destruction of the world economy. That wasn’t your fault but you’re the one that will be paying for it the rest of your life. So 75% of this careful scrimping and saving is gone in an instant. Was that part of your plan? What will happen when the next one happens and how much will you lose? But of course you’ll be so rich by then money will be no object.  For more info on the current economy and why this happened click here.

Unions
Unions are made up of communists and caused the downfall of the American auto industry, which has to be true because you read that somewhere on the internet. Hey, you’re an artist, not a mechanic. You can look after yourself and don’t need a union. Unions are for slackers, whiners and old-timers who can’t make the grade.  If they don’t like it they can quit. Switching to a different career is easy. After all there must be a large call for Maya animators or Nuke compositors in other industries. Those people working next to you who have been doing this for years? Their problems aren’t your problems. (not yet) You’ll be immune to all of those problems. All those others union members working in the film industry (directors, writers, actors, cinematographers, etc) are all suckers. You’ll show them by working unpaid overtime, going without continuous health insurance, no pension plan, and no profit participation. Yeah, you’ll show them how it should be done. You’re obviously a lot smarter than all of those people combined.

If you don’t like what a company offers or what they’re doing you’ll tell them and they will simply bow to your suggestion. If that doesn’t work, and why wouldn’t it, then you can always quit. There’s plenty of work always out there. What’s the big deal? And of course you’ll be so rich by then money will be no object.

Starting in visual effects
Anyone considering going into visual effects should understand what it involves and what the trade-offs you’re making. You will have to go from project to project, company to company. This is a world of freelance. There are no guarantees. There will be times where you will be unemployed. You will have to work hard. You will be asked to work ridiculous hours at times. You may or may not have health insurance where you work. You may or may not be paid overtime. You’re the only one looking out for yourself. The company will not be looking out for you.

Many young people graduate from some schools with the entire notion that they now deserve a job, no matter how good they actually are. They expect their professors to set up their interviews and help them get their job. They feel a sense of entitlement. They did the school and now it should simply rain money and fun projects. Some students focus on the notion that they will graduate and fill a visual effects supervisor role without the mess of having to do that hands on stuff. They’re busy looking up wages of visual effects supervisors on the internet without considering what the job actually entails. They think whatever they’ve learned and where ever they learned it will be more than sufficient to jump in the deep end on a show in full speed mode. They consider many job categories as being beneath them. These people will be very disappointed. School cannot teach you experience. You will learn an enormous amount on each project you work on and that experience is what helps you become a better visual effects artist.

If you’re doing this for the money you’ll be disappointed. If you don’t love doing visual effects and being interested in absorbing the experience and knowledge of working on different projects you should consider going into some other industry.

But hey, it’s you. The world will recognize your genius and none of any of this will affect you.

Summary
Life happens. Sh*t happens. It happens to one and all. The world is not a video game. You control what you can and you do the best you can with life as it comes. Don’t judge others based on your ignorance. You don’t know their story or what they’ve had to deal with. Show some compassion.

Really think about your future. Pensions, 401k, health care, family time, etc are not things that should be considered 10 years from now. Do you plan to work at just one company for your entire life? Will they be able to keep you busy and not have to lay you off for 6 months or more at a time? Will they even be in business for the next 40 years? Will all companies you are going to work for going to be well organized and only make smart decisions? Are all companies you work for going to  consider your needs? How are you going to have health care coverage as you go from company to company? How are you going to have a pension plan as you move from company to company? How are you going to make sure you’re paid overtime when you are working?

At some point you’re going to have to seriously look at a union and what it offers. Oh that’s right, you’ll be so rich by then money will be no object.


[Update: Just to be clear some of the this was meant as obvious tongue and cheek. Humorous exaggeration to make a point. It seems it may not have been obvious to a few people and they're taking some of this as a personal attack on them personally or think that others may take offense(?!) A sense of humor is very useful in visual effects.]

Related
Forbes article 20 things for 20 year olds

Thursday, October 13, 2011

Rotoscoping - The Basics

Mike Seymour @ fxguide has written up a great article on Rotoscoping.
It covers the history, the process and the list of the various roto tools available.

I'm glad he spoke to Tom Bertino and Jack Mongovan. Both of them worked in the ILM roto department and there have been countless unsung heros there that did and do fantastic work. Dragonheart is an example of an all roto show. Quite a bit of the successful work you see today has to credit the hard working roto and paint teams. And as pointed out in the article, good roto requires good artists. While roto is considered a starter position it requires real skill and experience to do it well. Many people at ILM continued to work for years in roto because they enjoyed it and did it very well. I can't say enough good things about what they brought to vfx production. Many starting in visual effects now take all of this for granted.

I'm interviewed about Commotion, a roto/paint and compositing tool I developed and that was used around the world until purchased by Pinnacle (and then by Avid)

Links here related to Rotoscoping:
Rotoscoping - Part 1 video
Rotoscoping - Part 2 video
Rotoscoping Hair article

In real production:
Walking pants breakdown - Part 1 video (approaching a vfx sequence)
Walking pants breakdown - Part  2 video (actually rotoing and compositing)

Commotion article  (I'll try to expand this in more detail in the future)
I've gotten many emails and tweets about restarting Commotion since there's still a lack of some of the tools and techniques that Commotion had over 15 years ago. As flattering as it is I'd probably prefer to focus on new challenges. Thank you.

Friday, September 24, 2010

VES business for film and VFX artists event

The Visual Effects Society is having an educational business event for artists.

1099 forms, payroll, insurance and other issues will be covered. Open to non members as well (for a fee)

Oct 5, 2010 in Los Angeles, CA

More details

Update:
fxguide did a write up and interview regarding this as a follow up to the event.
Read the article here.

Monday, September 20, 2010

Price of VFX Education

VFXSoldier has a good posting about VFX education.

As VFXSoldier points out all of these VFX schools are in it for profit, which is fine, but be aware of what the true costs are, especially to what they're selling and that you actually end up with at the end of the day.  This is like all the books, DVDs, classes and other items related to screenwriting where there are a very limited number of actual script sold.  There's a whole business of selling to those with dreams in a limited market.

It's good to have dreams but don't go into early and costly debt, especially if you don't have to.

I recently replied to a comment in another posting and through email to someone asking about education:


Degree course - I don't know of any vfx company that requires a degree in vfx or a specific software package. I suppose some type of 'degree' shows you've taken a class but the thing that will get you hired is your reel, list of credits and your list of software you know and the level you know it. (be honest on your resume) 

If you want to get a university/college degree then best to check out the colleges near you or well know ones. However very few colleges offer real vfx classes.

You can learn quite a bit of the basics of any software with books, DVDs or online.  Good books and the better online classes cover the material at a professional level.   obviously you have to push yourself because it's self-education but this allows you to learn at your own pace and location without a lot of expense.   I'm self taught in electronics, computer programming, photography, vfx and many other things.

Many in person classes only run through the process of learning the software unless the teacher actually has hands on experience in production and the class is structured to cover those issues as well.


Many of the vendors of software have learning additions and tutorials.  As with most software read the manual first.

Check out the School Post if you haven't already.


Lynda.com has classes on Maya, Nuke and others. Steve Write does the Nuke tutorial. Relatively cheap.

fxphd.com and escapestudios.co.uk are some of the ones that offer more in-depth online tutorials. Please see the school links for the others.  

The only classes I've actually seen have seen the ones at Lynda.com so I can't provide any pros/cons.

The downside to all/most of the online classes is they are English only. 

Obviously the online classes require a reasonable computer and internet access.

The advantages of an actual course is it's likely to be in your language, hopefully the teacher will offer critiques and have you do various exercises. 

If you do need to take a clas I would recommend trying to find websites/forums that cover those schools to see what other opinions are. You can contact many companies and see if they have recommended schools. (i.e. these would be high on their list of likely candidates)

Nuke and Maya - Those tend to be the most popular for high end work. After Effects is also used extensively.

However you might want to check the local vfx companies to see what their job listings include.  It may be that Max or Lightwave are more popular where you are and that After Effects is the most popular compositing software.  So keep in mind what your marketable skills are.  If you know a software product that's not in use at most of the places that would hire you then it may not be much value so be sure to consider that first.

The other key thing as mentioned in my blog is to make sure you understand the actual process of what's happening.  If you understand the basics concepts of compositing, pulling keys, dealing with color then it's much easier to switch to another software package and learn the specific functions.  It also much easier to problem solve and adapt.  If you only know which button to push then it's going to be difficult to deal with anything out of the ordinary.

Thursday, July 12, 2007

Filming the Fantastic

I recieved this email the other day from Mark Sawicki along with a notice from the Visual Effects Society. Unfortunately I haven't seen the book yet (looks good on Amazon) and probably won't be able to attend the screening.

----
From Mark Sawicki:
Another reason I'm writing is to let you know of a new book I've written on visual effects called "Filming the Fantastic" published by Focal Press and available through Amazon. (His site is Filming the Fantastic
I thought you might be kind enough to mention it on your site for your viewers who might be interested. It is my attempt to bridge the traditional era and the digital era by way of my varied experiences in the business. I have also been invited to show my film "Twilight Cameraman" at a Visual Effects Society event on July 25th. I did a romantic look back on the craft of the optical cameraman that I hope people will enjoy.

--
Here's the VES notice:
The VES Education/Technology Committee will present a screening and panel discussion looking back at the optical era of visual effects production to bid it a fond (and perhaps thankful) farewell while exploring those traditions and techniques that can still inform and inspire today's digital artists.
The evening begins with a reception before a screening of Mark Sawicki's short film, Twilight Cameraman, Sawicki's ode to the optical effects era shot during his last day on the job at Custom Film Effects as a motion picture optical cameraman.
After the screening, a panel of industry veterans will compare and contrast optical and digital effects pipelines to illustrate how past techniques can illuminate and inform current digital practices.
DATE: Wednesday, July 25, 2007
TIME: Reception: 6:30pm
Presentation: 7:30-9:00pm
LOCATION: Sony Picture Imageworks, Ince Theater 10202 West Washington Blvd., Culver City, CA 90232

This event if FREE for VES members and their guests. To RSVP, log onto www.visualeffectssociety.com, enter your username and password, then click "RSVP for Screening & Event." Although we will try to accommodate everyone who RSVPs to this event, this screening will be overbooked to ensure a full house, with admission determined on a first come, first served.



Thursday, June 14, 2007

Visual Effects Schools

[For anyone considering visual effects school please check out this article:
VFX in Los Angeles – 100 hour weeks & homeless  Puts things in perspective. ]



For those with questions about possible schools for visual effects I've had no direct experience with visual effects classes but thought I'd list a few here.
I know there are quite a few others world-wide so don't look at this list as the only available source of training.
(Note that I'm not making any endorsements - good or bad)

As I note in my VFX Career posting/podcast you don't necessarily have to go to an official school to work in visual effects.

[Update: I urge you to first check out the VFX Career posting if you haven't already. Is Visual Effects truly what you want to do and are you willing to do the work and accept the risk? Getting a job and keeping employed in VFX is not easy. Many schools (including for profit vfx schools) continue to pump out many more graduates than the vfx industry can hire. And a lot depends on timing and where you are located.

Important: Do not go into massive debt to get schooling for visual effects. School itself is a good thing but these days many people are racking up huge debts of $60,000 or more and not finding a job afterward. There are no guarantees of jobs from any school. The competition is stiff. If you just wish to be educated regarding just visual effects there are alternatives. Books, DVDs, online, etc.]

Update 6/26/2013 Don't go to art school

[Update: 7-21-12 NBC recently did an investigation into For Profit Schools, among those was Art Institute.  Here's the video.  Many For Profit Schools focus on signing up as many students as possible without regard to how suitable those students are. They're push the students to get government loans to pay for the schools at at very high cost. End result is the students go greatly into debt and may not be able to get the jobs as expected. The interest rates can be very high so they end yup paying the rest of their lie and ruining their lives. And NBC has an article how student loans mimic the housing collapse in this article here.  The key issue here is to know what you're getting into.  Visual Effects companies do not require degrees for most positions. They require people who know what they are doing and can do it well. As mentioned consider lower cost alternatives if you don't plan to go to a full college (or have finished college) and certainly if you can't afford to pay $100,000 or more for school. There are qualified online classes much cheaper.

Here's photo of a poster at a high school:


Another article on for profit schools

[Update: 12-21-13 


]

It's important to check the range and detail of classes they offer.
How much hands on experience do the teachers have?
How much hands on experience do the student get?
Do you want a full college experience (along with a degree) or do you want more of a technical school?
Do they have internships at companies or any placement services?

Make sure to do a search for reviews and opinions of others.

Of course there are universities and colleges expanding their film classes
to include some visual effects and animation classes.
The range and depth of classes at these film schools may not be as great as some of the others.
USC
UCLA
Chapman University
Sheridan Institue
CalArts


I do know people who teach or run some of the programs at the following schools:
Savannah College of Art and Design
School of Visual Arts
Academy of Art
Gnomon 3D
Expression College

Others I've seen advertised:

Vancouver Film School
Ringling

[Update 8/24/2012 based on info from some recruiters regarding current full schools.
These are some of the key physical schools they find good potential employees.
Please note that these aren't the only schools with good programs but tend to produce more students suitable to different areas.
In no particular order:


Technical Directors, R&D and pipeline development:
University of PA, Carnegie MellonTexas A&MOhio State, Univ of Toronto

Character animation, visual development, story, modeling:
San Jose State (very good), RinglingCal ArtsArt Center Pasadena, Goeblins (for non-US companies )

Schools that aren't as specialized
SVA, SCAD, Art Academy SF, Sheridan, Filmakademie (for non-US companies )

Companies also tend to cover local colleges if they provide reasonable education.
]


For online classes:
Lynda.com - Inexpensive. Good for started class on a wide range of things -Photoshop, Nuke, Photography, Editing, etc. (Lynda worked for me at Dream Quest heading up the animation department. For $25 a month you get a lot of value for your money.)

Gnomon - They have both a physical school and online school

fxphd  - Nuke, Mari, Fusion, Silhouette, Maya, DSLR storytelling, Supervising, etc.  Very in-depth classes specializing in visual effects.  I recently was involved in a class they did on practical effects and visual effects.

Digital Tutors is a another site that does online Vfx training. Here's their post about demo reels.

New one: www.td-u.com  Technical Director U. Lighting, compositing, rigging. Future matte ptg, storyboards, cloth, etc.

Stan Winston School - Focuses on character and creature design. Includes CG and practical markup class.

Video Copilot - After Effects online tutorials

From Readers:
Another school to add to your list is AnimationMentor.com, an online character animation school where all the teachers a working studio animators. Check it out on the web. The school has had great success placing students--more then 50% graduate to studio animation jobs.

For online VFX learning (or in site if you are in San Francisco) i´d also add Pixelcorps.com , run by ex-ILM-er Alex Lindsay.

Another great site for online VFX learning is PixelboxAcademy.Net. I am enrolled on their 'VFX Compositing' online course and it's being really cool.

An excellent online VFX training school/community i highly recommend is fxphd.
They offer excellent courses and acces to high quality footage for a low price.

And there are a wealth of DVDs and Books available. Do an internet search or check the Effects Corner Store.

Another view on VFX schools from vfxhack VFX School Confidential.



Update 8/3/2010
Some other schools have been added to comments since this was first posted so I'm adding those along with a few other notes.

Just a reminder that these days VFX can be a difficult area to find work, especially consistent work.  Much also depends where you live.  Do a reality check by checking the various vfx company websites and vfx recruiting sites to see what types of jobs are available, where they are and what the requirements are.


The National Film & Television School in the UK (www.nfts.co.uk) runs an MA programme for both SFX/VFX and Digital Post Production, both of which are tutored by current industry practitioners and have an excellent employment record for graduates.

There’s a new VFX school in UK set up by a leading VFX company. They have produced visual effects for films like Da Vinci Code and Batman and they are currently working on Shahrukh Khan’s Ra. One, so you can’t get more qualified then that. Best of all, they are based in Pinewood Studios, home of James Bond and so many other big screen movies. Check out the website, http://www.thevfxacademy.com.

There's also Escape Studios in the UK that offers VFX classes (including online).

From 10-14-2011

I was wanting to know if you could add Lost Boys Learning. They are a superior VFX School in Vancouver Canada.

Also look at some of the Almuni reels at http://lostboys-vfx.com/alumni

From 3-12-2012 - General film production

Raindance http://www.raindance.co.uk/  http://www.raindance.co.uk/

From 11-07-12
CG Masters  Vancouver Canada visual effects school

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If you're a member of VES they have an arrangement with Lynda.com so check the VES website.

Please note I haven't dealt with any of these directly as a student so PLEASE do a full search yourself on the internet for reviews and be sure to do a full check of any company offering training.  I know that someone posted a complaint on one of my YouTube videos about a school or two that specifically focuses on VFX saying they were now greatly in debt.  Some of these places are very expensive, especially if you're focusing on one aspect and not a full college degree.  

Is it worth it?  Can you learn more on your own with books and other training materials? Is online training as good?  All of this depends on your current level and how you personally learn the best.
Sometimes it's best to have someone leading you by the hand at least to start so you can interact and ask questions as you proceed.  Other times if you're already know the basics you may find it just easy to follow another source of information.

My first suggestion would be to pickup a basic book on the subject you're interested in.  Assuming it's a reasonable book it should be useful as a reference even if you decide to take classes.  Most software companies offer free trail versions or possibly a personal version.  There are also a great number of online tutorials, including at the software company site and other places to get you started.  That should allow you to get at least a handle of what you're dealing with.  If it's way too over your head then you may need to back up to more fundamental things or you should probably consider some type of class - in person or online.  One of the other problems with learning on your own is you may develop gaps in your knowledge and you don't get the feedback.  It's also not a structured learning process so some students may have issues if they're not in a traditional class format.

Some people learn best by actually seeing the steps being taken as opposed to just reading about them.  This probably applies to most visual artists.

In person classes have the advantage that you have an instructor who you can ask questions and critique your work. Classes also have other students who you can work and network. Possibly handy in the future.  These classes can be expensive, especially if you have to travel.

Online classes - If it's an online interactive class then you can ask questions and get feedback.

If the online class is prerecorded then it's similar to a DVD class.  The advantage is you can do it on your own schedule - home from work, compressing the time, expanding the time, etc.  The disadvantage is no interaction with the instructor.  

Other things to look for in schools-
What type of real world experience do the instructors have?  The flip side is that not all professionals are not good teachers.

Is there a forum you can interact with other students, even if it's for a prerecorded online class or DVD. 
Does the instructor visit these forums.

Does the school offer a real placement program? 
Do vfx companies actively recruit from the school?
It can be difficult to get honest answers at times to even these basic questions.

Be realistic about what you plan to get out of any education.
A 3 day bootcamp is unlikely to provide as much information and feedback as a 12 week seminar.

As noted earlier in this posting be sure to check out another view on VFX schools from vfxhack VFX School Confidential.

Tom Cruise list of schools, companies and other info


Believe me,  you don't want to see most vfx artists stripping.

Related post:  Price of a VFX Education 

Update 3/22/2011
VFX School on Facebook (I know nothing about it but thought I'd add the link here)

[Update: 5/3/2012  Be aware of schools that charge you to learn and require you to work for free such as Digital Domain Media is proposing.  Also be aware some internships are simply non-paid jobs whcih are illegal. More on internships. ]

And please read VFX Career posting if you haven't already. It will prepare you for the real world of visual effects.

Also please check the comments below for more feedback and responses.

Also related: Getting  A Visual Effects Job
Visual Effects Positions
What makes a good visual effects artist?

Update 6-11-2013 new post
Sad State of Visual Effects Industry

Wednesday, January 25, 2006

Rotoscoping - Part 2

Rotoscoping - Part 2
I cover the process of creating rotosplines for visual effects and some tips and suggestions. Examples are in Commotion but should apply to any application that has rotosplines (or masks in the case of After Effects)

I've changed this to use the YouTube version which should be easier to view.



In case you missed it:
Rotoscoping - Part 1


[Update: I have a Rotoscoping Basics post that links to the various roto posts, covers some basic notes and provides a linking to the fxGuide  article on roto that discusses the history of rotoscoping and some of the currently available tools. It also includes an interview with me talking about Commotion, which is the package I did the video demos with.]

Monday, January 23, 2006

Rotoscoping - Part 1


Rotoscoping for Animation and Visual Effects.
In this first part I cover what is rotoscoping and when do you use it. Includes examples of creating animation and roto mattes.

I've changed this to link to the YouTube video which should make it easier for viewing.






:41 Rotoscoping Basics and Examples
2:50 Tracing for animation
6:42 Matting with GreenScreen
8:02 Garbage Matting
9:55 Mid Ground Roto
12:08 Compositing Mid Ground
14:54 Creating Twins
19:10 Colorizing
20:36 Animated Wipe


Part 2 video

Rotoscoping Hair article

Wacom tablets for roto and paint work.

Wacom Intuos3 6X8


Wacom Graphire4 6x8


[April 2010 - Wacom has new tablets available]
The wireless uses Bluetooth to connect to the machine. Very nice.

Wacom Intuos4 Medium Pen Tablet
Wacom Intuos4 Wireless Pen Tablet

Wacom also makes their Bamboo series tablets at a lower cost. I haven't used these but suspect they're fine for basic roto and general work for the budget limited. As always students should check on educational discounts.



For those interested I show more rotoscoping in use in a Levis commercial. It's in the archives.
Levis Breakdown Part 2

Rotoscoping hair article

[Update: I have a Rotoscoping Basics post that links to the various roto posts, covers some basic notes and provides a linking to the fxGuide  article entitled The Art of Roto: 2011that discusses the history of rotoscoping and some of the currently available tools. It also includes an interview with me talking about Commotion, which is the package I did the video demos with.]

Thursday, January 12, 2006

Visual Effects lesson 101-106

(Blog post, no podcast)

Here is a basic visual effects lesson for those just starting out:

1. Think of a simple concept to do as a test shot.
Do this as a still so you don't have to worry about moving images,interlacing, compressed video, etc.
Select something that is realistic - feasible and believable. (i.e. no pink whales type creatures with feathers floating in the clouds.)

2. Shoot the background with and without a reference. Repeat step 1 if you can not shoot a reference. If you're going to composite a person in the scene shoot it with and without a person. If you're going to create and render a CG model then put in the real object you're duplicating.

3. Shoot or create your additional elements.

4. Composite this image with the background. Adjust until it looks real (without looking at the reference).

5. Compare this result with your reference. Do they match? If not, repeat adjustments (color, matte edges, etc) until it does. You may find you have to go back to the shooting of the FG element or modeling and rendering to get it to work.

6. Try some variations- put the object in the far background if you have an outdoor scene. You'll see how atmospheric perspective comes into play. What matched up front no longer looks real when reduced and placed in the background. Move the image to an area with different lighting. See how that stands out.

There are a number of lessons to be learned here (I'll cover some of these in more detail in future podcasts):

1. You don't need a teacher or VFX supervisor to tell you if you've gotten the objective issues of a shot correct.
With a real reference as both a reference and a goal, keep thinking what's wrong with this picture.
You will have creative and subjective issues in the future but for now you're focused on how to obtain a match.
A good visual effects crew member is able to take the ball and run with it to the point where only creative issues need to be discussed.

2. What you think was real and what was actually real are probably two different things. Bounce light, highlights, shadows and textures are all issues that can be surprising.
What the director wants and what's cinematic are two additional variations. These four things may match or may be wildly different.

3. A reference clip or still is handy to have when shooting or creating your other elements.

4. Do you know your tools and techniques well enough to accomplish this? If not take a look at your problem area and try to learn more about it.

5. Developing your eye takes time and effort. It involves making observations of what happens in real life and what happens in photography. Learn to see.

6. Creating reality has the advantage that you can have a real reference and that you know exactly what it needs to look like.
Creating a pink whale type creatures with feathers floating in the clouds doesn't offer that. It will always be something of a guesstimate on exactly how that would look and it will more likely be a creative decision.
A totally fictional and impossible image is always going to be 'unreal' even with the best rendering and compositing. Your mind knows it can't exist and each person is going to imagine it should be a slightly different way, if it were real. It works because the audience is hopefully willing to suspend disbelief, especially if it's a good story.

Future projects:
Repeat with different scenes. If you created a CG object place it in these new scenes.
Try with multiple objects or people.

Next try with moving footage. If you're an animator try the same thing.
Have a person walk and jump over something. Try to re-create that.

Good luck.

If you're interested in Visual Effects Schools (including online) click here for that posting.

Wednesday, December 14, 2005

Visual Effects Career

Getting started in a career in Visual Effects.


[For anyone considering visual effects career please check out this article:
VFX in Los Angeles – 100 hour weeks & homeless  Puts things in perspective.  Much has changed from when I wrote the original article]


The pros and cons as well as learning and applying for jobs.

1:39 The Upside
2:49 The Downside
7:30 Education
13:04 Self Education
14:33 Hands on
17:58 On the job training
18:32 Company Projects
19:49 Hiring practices
20:50 Applying for a job
23:21 Demo Reels

Transcript:

Today I'll be talking about Visual Effects Careers. This is primarily for those considering visual effects careers but there may be some items of value for those already in the business.

The big question
The first question is do you really want to do Visual Effects for a living.
Just because it sounds kind of cool isn't a good enough reason.

Fame and fortune – forget it, this is not the place for either of these.

If your main goal is to do something else such as direct or write I would not suggest starting in visual effects. It's no shortcut to other jobs in the industry, especially since you're exposure to the live action side of production will be minimal.

The upside:

If you enjoy creating visuals whether it's art or photography then visual effects can be a good fit.
Moving images can be very compelling and provide even more room for creativity.
It involves technology and problem solving with art so can be rewarding for those who have an interest in both of these areas and like a challenge.
There's a wide range of jobs from computer programming to art direction so your interest level can be quite diverse.
There's certainly a sense of accomplishment when you finish a shot and a project.
Your work is likely to be seen by millions of people whether it's a commercial or a feature film.
If it's a feature or TV show there's a record of your work in the form of a DVD that others can still see years later.
The work is usually a combination of individual and teamwork.
Each show and most shots have different challenges so you're not likely to be bored.
The money is good.

The downside:
Some people work 8 hours a day in this field but most work 10 to 12 hours a day. That's 50 to 60 hours for a 5-day week. The number of hours can go up toward the end of a project. If you're involved in live action shooting you'll be working 12-hour days. That's 50% more hours a day than a typical job.

Sometimes you have to work Saturdays and even some Sundays, especially toward the end of the project. I worked 90 days straight at 12 hours a day at the end of Star Trek The Motion Picture. I've also worked a few 24-hour days. Luckily it's usually not quite that crazy in the digital age. [Update: It's actually now worse in the digital age than it was before. 24hr work days not as rare as they once were. Certainly 16-18hr days are on the rise.] Needless to say this can put a damper on social events such going to concerts or sporting events. If you're married it can be difficult on you and your family. If you're not married it can be difficult to have a social life

There are only a few locations where visual effects for features are done on a large scale. Los Angeles, San Francisco, London and New Zealand are the largest. There are other pockets of work throughout the world, especially if you work in TV or commercials. That means it's likely you'll need to relocate to one of these metropolitan areas with all their pros and cons. Some of the downsides include a higher cost of living and heavy traffic with longer commute times. 12-hour days combined with an hour travel to work and hour back gives you only 10 hours to sleep and spend time with your family.

In the future more work may be able to be outsourced so it may become possible to live elsewhere. Some matte painters are able to do this.

In the digital age you will probably spend the majority of your time sitting in front of a monitor working on very detailed issues.

Much of the work is ultimately freelance. You may get a staff job at an effects facility but a sizable number of people are hired on a project-by-project basis. . You may work long days at the end of a project and have no break to the next project or you could find yourself out of work for 6 months. How much you work at one facility will be dependent on how efficient management is on obtaining new projects and scheduling them.

You may have to switch to different companies to keep working. This is when it becomes problematic to be working in a location with only 1 or 2 effects companies. You'll need to make contacts and start developing a credit list to try to keep working. The higher level you go (such as an animation lead) the less number of jobs there are available. It's not unusual for a director of photography to be without work for 1 to 2 years. So keep that in mind when looking at wages. This also causes problems maintaining health insurance. ILM is one of the few places (maybe the only place?) that have some of their employees, including CG, in a union. One of the reasons for Hollywood unions is to allow for the freelance nature of this business.

The business of visual effects goes through cycles of feast or famine. You may get multiple job offers one week and at other times there may not be anything available for 6 or more months. Some facilities reduce to a skeleton staff just to keep the doors open when there's no work. Other times they'll be turning down work since they can't expand and handle it.

Even with the expanding need for content, the number of jobs available is less than the number of people trying to break in. This is probably better than filmmaking in general where hundreds of schools are now producing thousands of film school graduates for a very limited number of jobs.

Out sourcing- with the speed of the Internet it's becoming easier for companies to start outsourcing work to less expensive locations such as Asia. This happened with 2D animation and now the same process is occurring for 3D animation and lower level or entry-level visual effects jobs.

[Update 8/8/2010 - Be sure to check out the links on the right under the heading VFX INDUSTRY - STATE OF THE INDUSTRY.  All of these are worth reading for those considering visual effects as a career. Today there is much more outsourcing and more work going outside the US due to tax incentives and other factors. How easily you can get a career in vfx will be very dependent on where you are located. If you're in Canada, England, India, China and a few other places you're likely to have an easier time than someone in the U.S. currently.   See Globalization and VFX for more info.]

[Here's another insight into the work place: Letter to the Animation Guild]

[Update: 11/19/2011 Worth reading: 7 Reasons You Don't Want To Work in the Video Game Industry - There is some overlap of Visual Effects and Video Games and some people move between the two.  Visual Effects isn't quite this bad but there are some sad similarities]

[Update 5/3/2012 I've posted What happened? that explains some of the facts of life in the visual effects industry. Check the comments as well.]

[Update 11/19/2012 Lesson in perspective is a note from a creative person in advertising. Same issues. ]

[Update: Most areas have now reached a saturation point of visual effects artists. That means it's becoming more and more difficult to not only get a job in visual effects but to keep it long enough to make it a career. All this in contrast to what some school recruiters and web sites may want you to believe.  It's important to understand what you're up against before you commit to a career in it and potentially spending a lot of time and money on specific education that may have limited usefulness outside visual effects and video games. Even though places like the UK are pushing for more students they too will become saturated shortly and the incentives there will not last forever.]


I've covered this not to scare you but to give you an idea of what the realities are. If you have a real desire for it, have some talent and are willing to work hard then you have a reasonable chance possibility of succeeding.

Education
When I started there were few film schools and certainly no effects classes. While in high school I shot Super-8 and 16mm film, was a newspaper photographer for the local paper and was a theater projectionist. Since film schools at that time required you to be a junior before doing any film work I opted to go from high school directly into visual effects. I was fortunate to find work as Doug Trumbull's assistant and to work on Close Encounters.

You don't have to have a college degree to work in this business and having a masters in film is not going to get you a job by itself. If you're planning to focus on the pure technical aspects such as computer programming a college degree will more likely be required. Many of the larger effects companies have Human Resource departments and they're the ones likely to put college requirements in job postings even though they're not required by the people who would actually be your boss.

Having said that there are certainly some advantages to going to college and getting a degree. If you have problems getting work in visual effects or wish to switch to a different line of work a college degree may be required for an alternate job. A good college should be exposing you to a wide range of ideas and experiences. I would suggest a college that has film and other liberal arts classes.

There are now a few specialized schools that offer visual effects and animation training. I don't have any direct experience with any of these.

The specific school is up to you but you might contact some of the effects houses and see if they have any preference. For a time a number of animators at ILM came from Sheridan College in Canada. Some effects companies send recruiters to specific schools but that's certainly not a guarantee. Be sure to check out information and opinions for the school as much as you can before you commit. If the school is near an effects company it may be possible to intern there or that someone may come to you school to speak.

[ Visual Effects School post]


While you're in a school (high school, college or tech school) take full advantage of it. You're unlikely to get the chance again once you graduate. Make friends and start networking with your fellow classmates. You never know who might call you at a later date with a job. Help out on a variety of film and video projects.

Don't limit yourself to only classes in your specific film area.
And please don't focus all your attention on one piece of software. There are no standard software packages that all companies use. A company may have their own in house software. It's important for you to understand the underlying principals and develop your eye. If you know the reasoning you can learn to use any software but if you only know how to push specific key commands then you're going to have a tough time. When ILM was doing Casper they were hiring 2D animators and training them to use the software. It's much faster and easier teaching someone to use a tool than to develop the artistic skills and underlying concepts.

Take art classes to get a better understanding of color, composition and developing your visual sense. You don't have to be an expert artist but you do want to be able to communicate ideas with sketches and doodles.
Make sure you cross train yourself.
Animators should take TD and composting classes if they offer them. TD's and compositors should take animation classes.
Take editing, writing, sound and other film classes. You're part of the filmmaking team and it's good to understand these related disciplines.
If you want to be an animator take acting and dance classes.
If you want to be a TD or compositor take photography and cinematography classes to understand how the real world appears. There are a lot of people entering this area who don't understand such things as depth of field or image compression caused by telephoto lenses. Since you're trying to recreate a virtual photoreal world or to augment a real world on film it's vital to understand these factors. Learn to really look at shadow from different sources. See how lighting and bounce light affect the image. Observe atmospheric haze.

Explore Theater classes. Set lighting is good for TDs. Set building may be worthwhile for modelers.

Team up with others in your class. If someone is a great modeler and someone else is a great animator you could work together to make demo material.

If your school has guest speaks from the film industry go to see them.

Chances are you school has video and film cameras so you can shoot some tests or shorts on them. They may have some advanced computer or editing systems that you can take advantage of.
As a student you also have access to a lot of software and computer hardware at education pricing which can be 1/3 or ½ of the retail price. Take advantage of this to learn and work with these packages.

Take some art and film history classes to get a frame of reference.

Self-Education
There are a number of other sources of information to explore whether you're in school or already working and want to cross train.

If you have a software read the manual it comes with and do the tutorials.

Publishers have a large selection of books covering specific packages to general techniques. Some good, some not so good so you should review it in a bookstore if you can. Does it provide real information and examples? I've posted a few I recommend in the effects corner store and I'll be adding to this. If you have any recommended books or other info you can post it on the effects corner website.

In addition to books on specific software packages there are plenty of DVD and even online learning available. Do an Internet search for material and reviews by users. Many feature films with effects have extras on their DVD's that you can rent or buy. Some provide more details than others. Some foreign films do a good job as well. The Japanese film Avalon had some nice behind the scenes.

For magazines there's similarities does a good job of covering visual effects.

Always take any of this information with a grain of salt. It's very easy to make even a process such as dirt removal sound very grandiose and new, especially in the world of sound bites.

Hands On
The fortunate thing about the current state of digital technology is that you can do it all at home reasonably easy. When I was in high school if I shot a stop motion animation test the film would have to be dropped off at the drug store and then I'd have to wait a week to see the results. 3 minutes of film without sound would cost $20. Today you can shoot an hour of MiniDV for $5. All visual effects had to be done in the camera when you're dealing with Super-8. Optical printing was not feasible for personal projects.
Yusei, a matte painter at ILM, learned how to machine to build his own Super-8 optical printer so he could do his own matte painting composites. So a MiniDV camera and even a simple home computer will provide a better starting point than previously available.

If you want to do compositing or matte painting get some hands on experience with Photoshop. If budget is an issue take a look at Gimp or other applications. Make sure to explore all the different composite modes, creating masks, blending and layering of images. If you have a digital still camera then go ahead and plan out a shot and shoot the pieces for it. Assemble it as a final still image. Does it look real? Does everything fit together as planned? Did you take into account the lighting of the background and foreground? By working on stills to start with you can focus on the actual final image and the process to create it.

Once you've done this a few times you now have a taste for some of the complexities involved in doing a real composite. You might have had to make some compromises or do a lot of hand paintwork to get it it finsihed. If you hand cut paths then you know how tricky this can be.

As Dave Stewart used to say "Now show me frame two." Dave was a motion control operator on Close Encounters who unfortunately passed away a few years ago. The point being that when you add motion the difficulty suddenly increases since you have to make 24 perfect images for every second of film.

If you have access to a MiniDV camera shoot some test footage. Experiment. Pick up a piece of green poster board at a craft store if you want to try green screen tests. Some people are locked into doing nothing until they have the ultimate system with the perfect camera. Don't wait, start doing. These are tests for you.

If you have access to compositing or 3D software go ahead and put it to the full test. Don't worry about making a full short, just try different scenes.

A note here: Please don't pirate software. People have worked long and hard to create it. The more a program is pirated the less it will be developed. And I'm sure you'll want to be paid for your own work.
As mentioned if you're still in a school of some type you can get an educational discount. Most software is available in a demo form that you can try out. Some, like Maya, are available as a downloadable learning edition.

On the job training
If you're not in a major effects center you might see if there are any related companies or jobs around. Anything to do with film or video would be useful. Look at working at a tv station or small post production company if one exists where you live.

As mentioned look into internships with effects companies. Be warned that some are more paperwork than hands on. These days most companies have a web site that has contact info as well as internships and job information.

{Update 5/3/2012 Be aware that some companies that are not totally legal or ethical may have you doing productive work for no pay. If you're in college then some intern jobs offer credits in return for interning. However if this is displacing someone that's a problem. And it's even more of a problem if you're paing for schooling and working for free. Internship issues. Paying to work.]

[Update 8/12/2014  Do you legally qualify as an intern and what are your rights as an intern?]

Company projects
Here's an average scenario for an effects company.
There's no work. Then there's a possible job. That goes away. Suddenly they get a greenlit picture and need to start immediately. They bring on the key people and the art dept. Now each area will be hired on as needed, usually in limited time windows. Modelers are hired early on but animators, TDs and compositors are brought on when the edited shots are going to be turned over. The project may continue with the staffed crew and then if a major crunch happens toward the end they may farm out some of the work or bring on additional crew for a short time.

Depending on the company they may not even be reviewing resumes and reels during the down time.

Most big effects films come out in the summer or Christmas time and take anywhere from 6 months to 2 years in total. The summer is usually the slowest for getting projects started and hiring people.

Hiring practices
Employment in the visual effects industry goes something like this:

When a company has a project they will employee the people that already work there first. Next on the list will be people who have worked there but had been laid off or temporarily working elsewhere.
The next level recruited will be people from outside the company who are recommended (and have worked with) by someone on the current crew.
Next on the list will be people with credits and experience on feature films.
Last on the list will be the people with no experience.

Companies know that most people without hands on experience are going to need some additional hand holding and possibly training. Note that even those employees who have come from other places will need some training to learn the systems and possibly any specialized software used at the new company.

If two inexperienced people are up for the same job and are similar in other qualities, they will give the job to the person that knows their software (assuming it's not proprietary software)

Applying for a job
Check the company website to see what jobs are currently available and what their requirements are. If you don't quite match the qualifications or if your job isn't listed you can still submit an application just note this on the cover sheet. Large companies will have a human resource department or possibly a department manger that will do the initial review.

You can apply to multiple companies at the same time. You might as well start with the biggest ones rather than submitting only to small or obscure companies.
Keep track of when you sent it and who, if anyone, you spoke to. You can follow-up with them if you haven't heard in a few weeks. Some companies will have a ‘we'll call you if interested' policy since they receive so many applications.

Many companies recruit at SIGGRAPH and other conferences. SIGGRAPH is a computer graphic conference held once a year in a different city. There are also large animation conferences around the world. Check on the company web sites and see if they will be recruiting. They may require you to signup or submit your resume and reel before the show since they will have a limited time to interview people. Recent Visitor Activity

[Update 5/3/2012  The Visual Effects Society (VES) now has a yearly career fair that is held in major visual effects centers around the world. Be sure to check this out since it's specific to visual effects.]


Don't contact a supervisor or crewmember that you don't know. If they don't know you it's unlikely they'll make a recommendation. Also note that most of the crew is either 1. Not working 2. Shooting on location 3. Very busy so your submission may end sitting on a desk for months. Better to get it to the actual people doing the hiring.

The main things you will need to provide are a resume and a demo reel.
Your resume should be focused on any and all applicable work experience you've had. If you've worked on any productions be sure to list these credits. Be clear about what it is (student film, feature currently in production, etc) and what you did (compositing, PA, etc) Your work experience and credits are more important to these people so cover that first before your education. You want to make everything sound good but do not lie on your resume. This will bite you at some point in the future. If you say you know specific software and don't then they will find out even sooner.

[Update 5/3/2012  Please read about getting a Deal memo with the company who is hiring you. You don't want to move across country or to another country only to find out it's not what you thought.]


Demo reels
If you're an experienced effects artist with a list of credits a demo reel probably isn't necessary but if you're inexperienced this can be more important than your resume. This demonstrates to them several things. The range of work you've done, the complexity of the shots you've worked on, and the quality of your work.
Hopefully you've been working on some great pieces while in school and working on your own.

There are no standards for reels so I'll just run through some of my own preferences.
Check the company web site to see if they have any specifics for demo reels. These days they're on DVDs and usually 3 to 5 minutes in length. Put only your best work on the reel. It's better to have 3 great minutes than 5 minutes padded with poor shots.

Be honest. Would these shots hold up in a feature film or TV commercial? If they aren't then your odds of getting hired are much lower since you'll be competing against people who do have polished work.

You don't need to create a short as your demo reel. If you've already done a short that has won a number of awards then you might consider including it or a snippet of it but don't bother writing and completed a full short just for the purposes of a visual effects demo reel. It may be a little bit more appropriate for animation but take a hard look at it.

When you create a short you're going to be spending a lot of time, money and effort on things unrelated to what you're applying for, which is visual effects. A short will end up being judged to some extent on how good the short is, how well the music works, etc. You're unlikely to show a range of different techniques or processes in one short and more likely to be showing a number non-effects scenes. If it's animation then you'll only be showing one style of animation.

Put that same amount of time and effort into different shots that show case your work.

Avoid using tutorials, no matter what their source. A tutorial just shows that you were able to complete something with the help of a teacher or book. When a company hires you they expect a professional who can figure out what steps are needed to do to finish the shot. You also want your work to stand out but if 30 other people from a class submit a demo with the same tutorial it doesn't make a good impression.

Try editing your shots to determine what shows off your work the best. You might want to show the finished shot and then the original image and then back to the finished shot. This is showing the before and after so it's clear what you changed or added. If it's a complex shot you could quickly show the build up of each element. Look at some of the behind the scene DVD's to get a sense for this. Don't spend the entire DVD breaking down one shot. The point here is to show the complexity and finished quality of a number of shots, not to teach them.
Include one to three seconds of black between sections. You can include a shot or two before and after if it is from a larger project and if it's relevant to the visual effects shot.
Don't turn on auto-run for the DVD and don't have motion menu that shows them the demo in a thumbnail. You want them to see it at full quality all at once.
Don't go fancy with the titles and transitions on the DVD. Keep it simple.
You don't need to run your name at the bottom of the DVD image. You don't have operators standing by and the potential employer doesn't have a limited time to call in. Just a simple start menu with your name and contact info is fine.
Include your name and contact info on the DVD case and the DVD insert as well as your resume.

If you have long segments consider putting chapter markers and or an index so they can jump ahead.

I suggest printing on 5 x7 paper for the DVD inside insert. List the shots that will be shown and list what you did on each. You want to be clear about what role was on each shot.

Sound track – Many people watching will turn off the sound but sound does play an important roll when viewing visuals. Keep it simple. Avoid things like electronic trance or heavy metal since that quickly becomes grating when watching dozens of demo reels. Likewise don't put them to sleep with very slow classical or new age music. Keep the music level down, especially if you have sound effects.

You can use a permanent marker to write your contact info on the DVD cover and the DVD itself. If you have the option you might consider printing the cover label to make it a bit cleaner. They sell DVD cover in matte and glossy finish for inkjets. The DVD can also be printed on if you have a printer that can do this. Watch out for stick on labels since they can cause problems playing the disk.

Don't bother doing a full mass produced disk. You probably have access to a computer than can burn DVDs. Check each one before sending it out and put it in a bubble pack for shipping. Don't use the paper filled padded envelops.

Don't get fancy with the final package. A hand carved wood case isn't going to mean anything if the content of the reel is poor.

Well that concludes this weeks Effects Corner podcast. There may be some delays with the next few podcasts with the holidays.

As always this podcast is copyright by Scott Squires 2005

Another reference: Demo reel notes from vfxhack
Making a Demo Reel that Doesn't suck

And Digital Tutors has a helpful page on making visual effects demo reels.
Making a Demo Digital Tutors Demo Reel help

Making Demo Reels for technical directors and riggers tips
Rigging Demo Reel tips


Additional Notes-
For printable DVD (Not required but certainly nice looking)
Epson R200 Printer
Epson R220 Printer
Epson R300 Printer
Epson R320 Printer

Latest which is relatively inexpensive and much improved DVD transport
Epson Artisan 50 Color Inkjet Printer (C11CA45201)

[Just a heads up for those with Mac 10.5 or newer. Epson seems to have a hard time updating their print drivers and their tech support is very poor so make sure whatever printer you select runs on your system and can print to DVDs]

Printable DVD's
Avoid Memorex since they have their name printed on them.
Ridek have the nicest printing surface.
Fuji is fine in a pinch (available from some local camera stores)
Discmakers Premium have the smoothest edges but aren't as opaque

Latest:
Taiyo Yuden WaterShield - 50 x DVD-R - 4.7 GB 16x - white - ink jet printable surface - spindle - storage media


Check the disc order. Since some of these come with no spindle order a cake box for the discs or you're likely to see them spill over your floor. Dirty discs aren't great for burning.

If you plan to print photos on the cover of your DVD case get Meritline Photo Gloss DVD case inserts. Avoid Memorex- printing quality and look is substandard for any photos.

Related posts:

Visual Effects Positions

Getting  A Visual Effects Job
What to do when you're laid off

 What makes a good visual effects artist?
 Visual Effects union, Tk 2

Other site:
Why is the VFX business failing at its moment of greatest success?
Tom Cruise info on schools, companies and software for vfx