The textbook reel<\/h4>\n
Eddie Leon is the President and CEO of US architecture visualisation studio Spine3D. His idea of the perfect reel is one that is diverse and eye-catching. \u201cIt should show a range of talent regardless of the position you are applying for,\u201d says Leon. \u201cEverything from the choice of fonts and colours in the titling to the pace of the music and editing must be chosen carefully. This helps to determine whether or not the artist has a good eye. Technical skills can be taught on the job, but a good sense of colour and composition is hard to teach. It is something that is almost natural to some artists.\u201d<\/p>\n
\u201cFor a VFX reel the general rule of thumb is that you should have 5-6 things, 5-6 seconds long,\u201d says Lee Danskin, VFX course tutor at Escape Studios.\u00a0\u201cWithin those you should aim to show you have the following skills: that you\u2019re able to camera track, model something real, and light, integrate, and composite to match the backplate\/grade.\u201d<\/p>\n
Eddie Leon says that another point to consider is that most 3D companies are small. \u201cSo an artist might seem to have a higher value if they can show skills beyond their core expertise,\u201d he advises. \u201cAs the economy worsens many companies are forced to diversify and look for new projects in different industries. Their ability to adapt will help them survive. Artists that are willing and able to learn new skills can also help guarantee that they will not become redundant.\u201d<\/p>\n
![\"Reelhorrora\"](\"https:\/\/i0.wp.com\/firedbydesign.com\/wp-content\/uploads\/2009\/11\/Reelhorrora.gif?resize=260%2C653&ssl=1\" "\\"Reelhorrora\\"")
<\/p>\n
However this doesn\u2019t mean that you shouldn\u2019t research the company and job thoroughly. Certainly this is the case in the games world. For example, Stuart Adcock, Technical Art Director at Ninja Theory, feels you should tailor the reel to\u00a0the position you’re applying for. \u201cCompetition is high,\u201d he says. \u201cThe more suited you are to a position, the more likely you are to succeed.\u201d\u00a0 Such a reel could for example demonstrate some of the work that the company deals with.\u00a0\u201cBut don\u2019t just throw stuff in because it’s relevant,\u201d stresses Adcock. \u201cMake sure it’s great. The most relevant work will\u00a0be what\u00a0gets critiqued the most.\u201d<\/p>\n
Like many of the people we sought advice from, Adcock recommends that your reel shows progression of work (i.e.\u00a0reference, concept, base model, hi-res). \u201cPaint over the top of your own\u00a0screen shots and critique your own work,\u201d he suggests. \u201cShow us how you arrived at the final result, iteration is key and we want to see that you have the patience and talent for it. It can also show us what your intentions were\u00a0compared\u00a0with\u00a0the end\u00a0results.\u00a0You are only ever as strong as your weakest piece of work. Focus on your strengths;\u00a0show 10 shots of excellent, lovingly created work rather than 30 shots of mediocre rubbish. Ask yourself if your reel\u00a0demonstrates artistic skill, drive and commitment.\u201d<\/p>\n
This advice applies whether you\u2019re a student or a more experienced hand. Anjelica Casillas, Manager of Digital Production at Rhythm & Hues feels there is no difference between entry level and experienced artists in terms of the qualities her judging panel looks for.\u00a0 \u201cThe difference to me would be that I would expect the experienced reels to have more polished work and more variety of work,\u201d she adds.\u00a0\u201cI hire a lot of students because if they have the skills and we see the potential, we like to grow them as artists.\u00a0 That’s one of the things I enjoy about my job as a manager – growing the artists into leads and supervisors and in general into better artists.\u201d<\/p>\n
Andy McNamara, Senior Maya Animator at Prime Focus says that even with \u2018speculative queries\u2019, you should put only what you perceive is your best work. \u00a0\u201cAnything that\u2019s at a professional level, that demonstrates a high degree of polish and is well executed should move you \u2018up the pile\u2019,\u201d he says.<\/p>\n
Sometimes that little extra will make all the difference. \u201cOne fx artist took movies of our own game and added a fresh spin on\u00a0the colour grading and effects,\u201d recalls Stuart Adcock. \u201cThis can sometimes work well, but make sure it’s not on your reel, just a little something extra. In this case we hired her.\u201d<\/p>\n
But do make sure that \u2018something extra\u2019 is your own work. \u201cNever show content that does not belong to you,\u201d stresses Anjelica Casillas.\u00a0 \u201cIt’s a small industry and we will know if your work is not your own.\u00a0 I have seen the same shot on two different reels before.\u201d<\/p>\n
Distribution<\/strong><\/p>\n As for delivery itself, Lee Danskin suggests that for visual effects studios you should submit a DVD (though not a data DVD), which should contain a very simple menu system.<\/p>\n \u201cIf it\u2019s overly complicated, people will switch off or press eject even before they have got to see your work,\u201d he says. \u201cFor games jobs a file attached to email containing images or link to a simple, well designed website may be OK. Its important to understand who\u2019s going to be looking at it; what format best suits both them and the type of work you\u2019re showing.\u00a0 Contact them and find out!\u201d<\/p>\n If it\u2019s a hardcopy submission Andrew Lindsay prefers a CD. \u201cDVDs are still a tad less reliable,\u201d he explains. \u201cBut generally we expect to see reels online these days in. avi or QuickTime format. QuickTime is good as we can go through frame by frame. And they should be readily downloadable.\u201d<\/p>\n However Jolyon Webb,\u00a0\u2028Art Manager at\u2028TruSim (a division of Blitz Games), suggests you take care with Web-based reels. \u201cI\u2019m getting frustrated with the current fashion for on-line show reels with every movie clip embedded in a web page,\u201d he says. \u201cVery frequently these don\u2019t work, or only work if you happen to have the happy magic combination of codec and web browser and media player on your PC.\u201d<\/p>\n In terms of duration, you\u2019ll be hard pressed to get a reel longer than 3 minutes past these experts. \u201cFor animators 2 minutes is fine,\u201d says Lionhead\u2019s Andrew Lindsay. \u201c3 minutes is the absolute maximum. For riggers\/TDs, up to 5 minutes is okay, but again 3 minutes is enough.\u201d<\/p>\n Andy McNamara says a reel should be as short as feasibly possible, showing your best work without \u2018repeating\u2019 any material to make the reel longer than it needs to be. \u201cI’d say 2-3 minutes works well,\u201d he adds. \u201cMost decision makers have short attention spans and get lots of them every week.\u201d<\/p>\n \u201cNo longer than 3 minutes,\u201d agrees Gustavo Capote, Studio Manager & Art Director at Neoscape. \u201cA one-minute showreel with just the best works is more effective than a long show reel showing quantity.\u201d<\/p>\n It\u2019s a view shared by Andrew Gordon, Pixar animator and one of the experts you\u2019ll find offering a host of great information at splinedoctors.com. \u201cI\u2019d rather see 30 seconds of superbly executed character animation than 3 minutes of mediocrity,\u201d he says. \u201cKeep your reel short and sweet.\u201d<\/p>\n Presentation<\/strong><\/p>\n One of Andrew Gordon\u2019s other tips is to include a cover letter and reel breakdown. \u201cKeep the cover letter simple,\u201d he says. \u201cDon\u2019t try and write an essay about why you think you should be the one. It will always come down to the work. The cover letter and resume are glanced at.\u201d<\/p>\n Keep the reel clean and simple and above all make sure you name your reel with your name.\u00a0 \u201cDon\u2019t call it \u2018Reel\u2019. Call it \u2018yourname_Reel\u2019,\u201d advises Andrew Lindsay. \u201cPut contact details at the start and end.\u201d<\/p>\n \u201cName and contacts details are a must,\u201d agrees Gus Capote. \u201cIt\u2019s amazing how many show reels you have to check the resume to find out the artist\u2019s email, or even the name.\u201d<\/p>\n Music isn\u2019t to everyone\u2019s taste. \u201cI don\u2019t need to hear music on a reel – some people will be alienated by your choice,\u201d says Andrew Lindsay. \u201cNo music suits everyone. Keep it low if you do use it. Also make sure any lipsync has audible voices.\u201d<\/p>\n \u201cOverly fussy or badly designed intro graphics or distracting audio\/music have the potential to irritate rather than enhance your application,\u201d says Andy McNamara. \u201cMany heads of 3D\/recruiters will turn the audio down or off anyway. Put your best pieces first and last on the reel, as these tend to be the ones that a recruiter will remember the most.\u201d<\/p>\n \u201cBad naming conventions can be an instant turn off, so make any files clear and to the point,\u201d suggests Stuart Adcock. \u201cListing details of the file format can also be helpful.\u201d<\/p>\n Include a credit list to make it clear\u00a0which bits you actually worked on. \u201c You can say someone else did the modelling, I did the texturing,\u201d he says. \u201cTime estimates are also valuable information. Showing us stuff that wasn’t done on a computer, such as photos, sketches and flipbooks, can be refreshing.\u201d<\/p>\n \u201cA breakdown is not a common practice in architectural visualisation, but it\u2019s very helpful,\u201d says Gus Capote. \u201cShow the time frames, objectives and what you achieved with the work.<\/p>\n Capote also suggests you show your work in a simple and effective way. \u201cDon\u2019t bother with complicated editing unless you are applying for an editing position.\u201d<\/p>\n However don\u2019t forget that the best-prepared reel in the world is nothing without talent. \u201cIf you\u2019re a great animator, we\u2019re interested,\u201d says Andrew Gordon. \u201cIf you don\u2019t think your reel is up for the scrutiny, keep working on your animation chops.\u201d<\/p>\n by Michael Burns<\/strong><\/p>\n Many thanks to the following people for their help with this feature:<\/strong><\/p>\nGames<\/strong><\/address>\nStuart Adcock, Technical Art Director, Ninja Theory<\/a><\/address>\nPascal Blanch\u00e9, Art Director, Ubisoft Montreal<\/a><\/address>\nJolyon Webb, Art Manager, TruSim<\/a><\/address>\nAndrew Lindsay, Animation Director, Lionhead Studios<\/a><\/address>\n<\/address>\n<\/address>\nArchitectural visualisation<\/strong><\/address>\nGustavo Capote, Studio Manager | Art Director, Neoscape<\/a><\/address>\nEddie Leon, President and CEO of Spine3D<\/a><\/address>\n<\/address>\nVFX\/Animation<\/strong><\/address>\nAnjelica Cassilas, Manager, Digital Production, Rhythm & Hues<\/a><\/address>\nAndy McNamara, Maya Animator, Prime Focus<\/a><\/address>\nAndrew Gordon, Animator, Pixar<\/a> (& tutor at Splinedoctors.com<\/a>)<\/address>\nLee Danskin, VFX course tutor at Escape Studios<\/a><\/address>\nSofronis Efstathiou, Programme Leader, MA 3D Computer Animation, Bournemouth University<\/a><\/address>\n","protected":false},"excerpt":{"rendered":" The traditional way of whittling down applicants for 3D jobs is to view showreels. But how can you make sure your reel makes the interview shortlist?<\/p>\n","protected":false},"author":129,"featured_media":2311,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-2263","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspiration"],"yoast_head":"\n![\"Bloopers\"](\"https:\/\/i0.wp.com\/firedbydesign.com\/wp-content\/uploads\/2009\/11\/Bloopers.gif?resize=260%2C452&ssl=1\" "\\"Bloopers\\"")
<\/h4>\n