It's on You

After having students reach out to me, talking at colleges, and hearing what my peers have to say, I've really begun noticing a trend in students now. That would be entitlement.

Here is the number one thing every student should know;

You don't deserve anything.

Just because you went to school, or because you are talented, doesn't mean the world will hand you the job you want once you have graduated. I know it may suck to hear it, but this industry is hard work.

Whether you attend CalArts or an Arts Institutes, YOU are responsible for the work you produce the entire time you are in school. A degree doesn't mean much, its what you actually take away from it. You need to be aware of what else is being produced out there and hold your art to your own standards (which may be higher than what your school expects of you). Honestly, most of the professionals I know will tell you this as well, but you only learn about 50% of what you need to know while you are in school. College only really provides you with the tools of the trade. Then it is all in your hands to create with it.

Yes, some colleges are "better" than others. Some have more industry connections, more aggressive courses, but even those schools just facilitate your learning.

As an artist, its your responsibility to stay driven and inspired. Don't just look at your fellow students, but compare your work with students internationally. Push yourself at all times, because the learning doesn't end once you graduate.

Some colleges have better "placement" than others, but that doesn't mean you shouldn't look for yourself. All the responsibility for your future falls on your own shoulders; how well you network, the quality of your art, and some luck.

With that comes how you present yourself to others. When you reach out to professionals or recruiters, be respectful. You are asking for their time, and its a privilege, not a right. Be grateful with whatever they can give you; animation has some long hours and if someone has 5 minutes to give you, its a lot to them. Be aware of how you are representing yourself. This industry may seem large, but its a small knit community.

I completely understand that it may not seem fair. Sure you have worked hard and may have been the best in your class, but sadly, that means nothing. You need to keep at it until you fight your way in with perseverance. You will get there eventually, but there is no golden path. You will see friends straight out of college land their dream jobs, just remember to smile and congratulate them (even if you are jealous). You will get there sooner or later.

Keep learning after graduation. Keep working to be better. The Animation Industry is worth it.

CTNx Breakdown

*This was written in 2015. I know some details have changed, like types of passes and prices, maybe what is included in those passes, but the basics and the concepts behind my breakdown are the same*

I have been involved with CTN for the last 4 years as a staff member. In that time, I've definitely found there are good and bad things to be aware of.

Changes for this year:
- Workshops are included! Yes the prices overall for tickets went up, but something I've been waiting for has happened. Workshops are now included in the price of your 3 day ticket. They work the same as any panel, those with fastpasses can get in first, but you no longer have to spend an additional sum to attend them. (after checking the small print, the only EXCLUDED talks that still have a cost are the Conversations with Creators)

- You MUST have atleast a 3Day lite to attend panels
- VIP does NOT get free parking

Before the Convention:
1. Tickets:
 - There are several ways to do CTN. As either a volunteer, 1 day, 3 day lite, 3 day Plus, and VIP 3 day.
 - You are broke but still want to attend: Volunteer. But know, if you are a volunteer, we expect you to be volunteering during your shift. This is a pet peeve of mine. How it works is you have a shift during the day for 4-6 hours, then you get the rest of the day to do stuff.
 - If you are at CTN just for fun to talk to artists and buy stuff: Do a 1 day pass. The Exhibit halls are large enough to keep you busy for an hour or so, lots of people hang out in the hallways, plenty to see. But if you don't want to go to the talks, you only need 1 day.
- Getting your feet wet but cant commit financially: 3 Day Lite is a decent. It includes all panels, 6 fast passes.
- If you want to do and see everything: The VIP pass. This pass has unlimited Fast passes, which though it seems simple, is its biggest perk. Also, you have access to the VIP lounge. They advertise it as a place for snacks and coffee, but most the time they are out. The real perk here is that all presenters and panelists MUST be in the VIP room before their talk, so its a good way to find and have exclusive access to the talent at the convention.
2. What you should know:
- Fast passes are important. There have been talks in the past, I remember a Glen Keane one several years ago, where there were SO many people with fast passes inline, that only 20 or so regular attendees made it into the room (they had their own line that ran around the building in the rain... to say folks were unhappy is an understatement). These fast passes are the only way to guarantee you get into what you want to see. So if the panels are a huge draw for you, note it. And for the first time, fastpasses can be used to jump you to the front of the line for a workshop you may want to attend.
3. Extras: Alot of the actual learning kinda courses, where someone teaches you their way to draw or gives you advice, are done through workshops now, instead of the panels. These will be key to anyone who is here to directly take a mini class from well known artists. To guarantee that you get in a workshop, you have to have a fastpass for it. To be able to even attend one, you need a 3 day pass. The only exception to these are the Conversations with the Creators talks, which still have to be purchased (but they are usually maxed out at 12 people, so its fairly intimate). There is also the Breakfast with the Pros, which is alot of fun if you go do it.
4. Be Prepared: 
- Print out maps/schedule: There are small last minute changes, but you will be very happy if you have your own version of this printed out for your convenience. There is an app, but the Marriot doesnt always have the best reception. Best to be safe.
- Business Cards. You will meet a ton of new exciting people you will want to hang out with. Have something with your contact info on it.
- Portfolio/Demo Reels: Another huge reason alot of people come to CTN is to network and try and find a job. Bring your demo reel, and portfolio. Print it out. Have a copy on your drive. The internet is spotty, so if you are waiting to load a website, you may lose your opportunities.
- Have a notebook/sketchbook: You will want to take all the notes you can. CTN is boiling over with talent and advice. Have folks critique your work. Write down notes for panels. Take names of the recruiters you talk to. Draw observational stuff.

At the Convention:
1. Try to stay at the Marriot if you can. It really is the best way. You are right there in the convention center. You can take a nap in your room. Drop off that heavy stack of books or art prints. Highly advise this choice. If you DONT stay at the Marriot, parking is around 10-15 a day in the lot that is always full. You can find some street parking if you are there very early. Or you can park somewhere along the shuttle line and take the CTN shuttle in. There are options, but definitely less convenient.
2. Get there early. Each year CTN grows. The lines are getting more ridiculous. Plan out what you want to see. Look at what programs are competing at the same time with eachother. If you want to see John Musker talk about Moana in the large hall, expect to get in line.... HOURS early if possible. Trust me, it sucks, but its better than missing out.
3. Have fun. With all the potential for serious life altering opportunities at CTN, its important to take the time and have fun. Enjoy yourself. Meet some people. Take chances to talk to artists you look up to.
4. Don't go to bed early. TRUST ME. Some of the best times to be had at the convention is the late night scene. I've seen Disney legends at the Daily Grill bar at 2 am, because the crowds had died and they wanted to talk to their old colleagues. THESE are the truly magical moments, and if you are asleep, you will miss them. The networking parties and mixers are worth every moment you are there. The artists in the hall always attend, as well as the studios and recruiters. So much of this industry is being at the right place at the right time. You need to make sure to give yourself every chance to do that.

So there! I feel like my 4 years of experience can advise you a little bit. But you also know your goals better than anyone else. See you at CTN!

Any questions? Feel free to ask!

WIA First Student Event! Disney Talk

As a member of the WIA Student Committee, we had the pleasure of doing our first real event this past week.

It went great!! The turnout was around 40 students or so. We did a fun mixer where we encouraged each person to meet 5 people and find a similar interest with each of them.

After the mixer we did a presentation on WIA and what the organization is about. THEN, the wonderful Disney recruiters did a talk and stayed really late to answer all questions.

It was a fabulous evening. Here are my notes from the Disney talk!!

Speakers:

Matt Roberts, recruiter in charge of vizdev, story, animation

Camilla Eden, recruiter for production, FX, character td

Doeri Welch, recruiter for layout, lighting, lookdev, tech/engineering

What's most important, top 3

- Compelling Stories

- Believable Worlds

- Appealing characters

Applying at Disney:

Be sure your reel is specifically for what you are applying for

Tailor it to Disney

Take apart the job listing and and find ways to directly incorporate that into your reel/portfolio/resume/coverletter

Be really good at 1 thing. Be versatile in it and master all aspects of it.

They have internships and the talent development program

Internships:
For those returning to school
Summer and schoolyear versions

Talent Development:
Apprenticeship for graduates 0-5 years out of school
paid mentorship
3-12 months

Reel/Portfolio Advice:

animation:

ACTING

dont worry about textures or lighting, just playblasts are fine

variety of styles and genres, subtle and action

2d is great to show as well

story:

One panel per pdf page if digital

show the action, tell a full story

work fast, you redraw things alot at disney, focus on the moment more than draftsmanship

life drawing, observation, gesture should be included at end

vizdev:

Variety of either characters, or sets, depending on what you are working on

Not just variety of styles, but kinds of characters, personalities

modeling:
APPEAL
Look at how to put a 2d illustration into 3d space
Keep everything as interesting as possible
Zbrush

rigging:
have an animator friend take your rig through its paces
show extremes
talk about problem solving or tools you may have made
Any sort of popping will kill it for you

production:
Any experience you have is good, no matter the field
find a way to relate

Zbrush Summit Videos

I sadly did not manage to make it to the Zbrush Summit this year at Gnomon, but came across their livestream and a great video disney did last year. When you get a few, check them out!

2014 Disney video above

http://livestream.com/pixologic/zbrush/videos/100247091
Here is the mainstage of the Day 1 live stream from this year!