How to get hired as a VFX artist - Post News

Post, June, 2003 by Art Durinski

HOLLYWOOD--Last month, the Visual Effects Society (VES) hosted a special one-day seminar called Finding and Keeping a job in Today's Visual Effects Industry." The free event, which was held at the Los Angeles Film School in Hollywood, was designed to provide a valuable service for the VES's members, as well for all pros working within the visual effects industry. The event featured five different one-hour panel sessions each representing different segments of the visual effects industry: "Computer Animated Feature Films" (hosted by DreamWorks SKG), "Visual Effects for Broadcast" (hosted by Rhythm & Hues, Zoic), "Visual Effects in the Game Industry" (hosted by Electronic Arts), "Visual Effects for Feature Films" (hosted by Sony Pictures Imageworks), and "Mind Your Own Business--Your Career Support Team" a panel oriented toward freelancers and moderated by Pamela Kleibrink Thompson. Five different moderators and 19 different panelists addressed a wide range of employment-related issues and answered questions po sed by the audience.

Throughout the day, common themes emerged from the various panels. The topic of visual effects artists as "specialists" or "generalists" reoccurred often. The panelists agreed that the bigger visual effects studios, where tasks are specifically divided along the production pipeline, look for the "specialist," the person who can do one task (such as modeling, lighting, animating, rigging, etc.) exceedingly well. Smaller studios, such as Zoic, rely more on the "generalist" approach since for them it is not uncommon for one person to take the job all the way through each stage of production, including even the design stage. The panel concluded that artists must first decide whether they want to work for a large visual effects facility or a smaller visual effects shop and then hone their skills to that end. A specifically designed demo reel becomes a critical part of marketing the artist to that choice.

The importance of being able to work within a team was stressed by all panels. Fitting in, having the right attitude, being likeable--these are all traits that are desirable in a visual effects artist and as important as the need for that artist to possess the necessary artistic talents and technical skills. Panelists elaborated that other important qualities are enthusiasm, good communication and people skills, the ability to understand direction (and the ability to accept criticism), professionalism, being a "problem solver" self-motivation, flexibility, knowledge of the industry and passion for one's work. And, on the other hand, traits that will never get you hired (and/or could get you fired) are arrogance, talking badly of past employers or fellow workers and misrepresenting one's self or one's work.

Stan Szymanski, VP of digital productions at Sony Pictures Imageworks, summed up the three most important traits he looks for in employees: Can the person do the job? Does the person want to do the job? And does the person fit in (having the right attitude, as well as the ability and the desire to be a team player)?