From http://www.pixar.com/FAQs.html



We do not judge potential candidates on the basis of the school they attended (or didn't) and therefore do not recommend any particular school(s). As much as we would like to keep on the forefront of universities offering animation and/or computer visualization programs, we do not know the details of all programs. We have listed schools that offer courses in animation but please know that this is simply a list. If your school is not on our list, this does not mean that you are unqualified to apply to Pixar.



We look at your work first, typically in the form of a videotaped reel. If the reel shows mastery or great potential in the area(s) of animation, lighting, modeling, or writing shaders, we then look at the resume to see your background and experience.



In choosing an animation related school, look for one that focuses on traditional skills, drawing, painting, sculpture, cinematography. Ask the school how they will help you build an effective portfolio of your work: not merely a collection of your assignments, but a well developed presentation of your unique point of view, and your technical skills. Also ask the school how well integrated their theatre and film departments are with their 2D and 3D art departments.



Learn enough about computer graphics to know how they work in general. Look for a school that has not substituted electronic arts for traditional (or vice versa). Ask them about how they balance the two. Avoid just learning packages of software. Today's packages will be replaced several times during your school career, and many studios use proprietary software that you cannot learn in school anyway. Learn enough to know you can learn it, but concentrate on the more expressive traditional skills.



HOW TO APPLY

When submitting your portfolio/reel, please do not include originals as we are unable to return the materials you submit.

You will receive an acknowledgement postcard or email within 2 weeks. If there is an interest in pursuing you further, we will contact you. Therefore, no calls please!



Submission of Materials

Resumes

Sending an easy-to-read resume with the following information is the first step in applying to Pixar:

name, address and phone number

position for which you are applying

history of work experience and education (including independent courses)

relevant internships

hardware/software experience

If applying electronically, resumes must be placed in ASCII format in the body of the email. Enclosures or attachments will not be opened.

Reels

Guidelines for submitting a reel:



Reels should be on VHS (NTSC or PAL) or 3/4" (NTSC only) - no Beta or CD's please.

Please include a credit list explaining what you did on your reel and what software (if applicable) was used to achieve the effects.

The length of your reel should be limited to 5 minutes and consist of work that you're most proud of, starting with your most recent work.

Music is not necessary.

Animators note: Please include all traditional work (life drawings, pencil tests, etc.) either on your reel or with your portfolio.

Once your work is received it will be reviewed by a panel of Pixar employees. This process usually takes 4-6 weeks so your patience is appreciated.



Please submit your materials to:



Pixar Animation Studios

Attn: Recruiting

1200 Park Avenue

Emeryville, CA 94608

Fax: (510) 752-3151

Email: hr@pixar.com

From http://www.pdi.com/recruit/faqs.htm



What kind of experience does PDI/DreamWorks look for?

This depends on the position we are trying to fill. We look for a broad range of backgrounds and degrees. One of the interesting facets of this field is the different types of skill sets and experience our animators have. No two people are alike, and everyone has come to us with very different backgrounds.



What do you look for in a portfolio, reel, and resume?

Students tend to put everything they have ever done on their reel; this can actually work against them. We like seeing good work whether it is motion, lighting, design, or effects. Realize that we receive about 60 reels a week, so a concise, well-designed presentation is the best. For detailed information on how to apply for a position at PDI/DreamWorks, and for guidelines on how to create an effective demo reel, please see our How to Apply web page.



How do I get experience with IRIX/LINUX?

Because Unix workstations are considered high-end systems, schools are the best bet. Find programs that have IRIX or LINUX workstations as part of their program.



How many SGI's do you have?

Every animator has an SGI, and we have a large rendering pool of machines as well. However, like many other production houses, we are exploring the use of other platforms.



How much UNIX do I need to know?

A semester, preferably two, that covers a UNIX overview, commands, and shell scripting is extremely useful.



How much money can I expect to make as an animator?

Salary range is dependent on several things: production experience, artistic training, and software or other technical experience. We also take into consideration how your skill set fits our environment and how it relates to our current group of animators.



What third-party software do you use? Do you use Macintoshes

and/or PC's?

We use a few third-party tools, but generally use our own proprietary systems for production. At this point, we use Macintoshes and PC systems for 2D graphic design and video applications.



How long are your projects?

That depends on whether it's a commercial or film project and exactly what we are doing on the project. Typically a commercial job averages about 8 to 12 weeks and a major film effects project lasts 6 to 8 months. Full-length animated features, like ANTZ and SHREK take 2 or more years to complete

Here's an interesting quandry mainly directed for freelancers or those with contracts in the industry:

What type of wording or phrasing is present in your contract or agreements to guarantee you rights to your work once it has been completed? How do you guarantee you will have partial ownership, or at the very least, rights to display the work you have created either before or after the broadcast date of the work? This is all related to making sure that you can legal put your work on a demo reel. There was a thread on the buzz and/or on General 3D that I created having to do with the ethics of putting unbroadcast material on a demo reel. Now I'm wondering what ways one can guarantee the right to even use the work at all either before or after it airs. Any advice would be interesting and appreciated.

Here's an interesting quandry mainly directed for freelancers or those with contracts in the industry:

What type of wording or phrasing is present in your contract or agreements to guarantee you rights to your work once it has been completed? How do you guarantee you will have partial ownership, or at the very least, rights to display the work you have created either before or after the broadcast date of the work? This is all related to making sure that you can legally put your work on a demo reel. There was a thread on the buzz and/or on General 3D that I created having to do with the ethics of putting unbroadcast material on a demo reel. Now I'm wondering what ways one can guarantee the right to even use the work at all either before or after it airs. Any advice would be interesting and appreciated.

In reply to:

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Here's an interesting quandry mainly directed for freelancers or those with contracts in the industry:

What type of wording or phrasing is present in your contract or agreements to guarantee you rights to your work once it has been completed? How do you guarantee you will have partial ownership, or at the very least, rights to display the work you have created either before or after the broadcast date of the work? This is all related to making sure that you can legally put your work on a demo reel.

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This will vary from client to client.. however in most cases you will never own in full or in part the work you do for hire.



If you do commercials you may not eveng et a final version fromt he agency when your doen. What you can put on your reel is what you have in your possession. However even then some clients like Proctor and Gamble have very strict stipulations about what work they will allow to be shown. If you do test spots for them you cannot show it at all ever.



Broadcast design work seems to be the most flexible from my experience although most clients have NDA's non-disclosures that usually expire after the broadcast date.



There are other circumstances where mmaybe you've created a storyline and characters to go with it and you are trying to license that story and those characters.. that would be an example of ownership but I can't think of any cases where you are hired to animate a companies mascot or logo where you would own it.. it simply doesn't work that way.



Another circumstance is where you are working with or creating proprietary graphics and software for a company and in that case you are under a NDA and a contract that would prevent you from showing that work. It is common that when you are in the employ of a company that they own anything you do on their premises unless stated otherwise.



In general I would say that if you do work for television that goes to air then you can show it. You cannot sell it but you can put it on your reel. It is generally a good idea to ask your client about this in any case.















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Concerning freelance - would you concider it normal for an employer to ask for a copy of all files after work complete (Mainly concerning a newly created character animated) when there was nothing leading to that upon recieving job? aka : if they just needed a 20 sec anim.

That is typical.. in some cases the contract may stipulate that they could ask those files at any time even way after the project is over.. it depends on the contract. If there is nothin int he contract speicfying that all materials must be provided upon completion then maybe you have reason to ask for more $$ to provide them the files... This is a legal issue that you may want to have a laywer look at the contract. If there is no contract then it is purely based on verbal agreements.









g

In reply to:

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That is typical.. in some cases the contract may stipulate that they could ask those files at any time even way after the project is over.. it depends on the contract. If there is nothin int he contract speicfying that all materials must be provided upon completion then maybe you have reason to ask for more $$ to provide them the files... This is a legal issue that you may want to have a laywer look at the contract. If there is no contract then it is purely based on verbal agreements.







g

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Boy, I avoid this like the plague! There are cases when I create a very basic model, design, or animation and, in that case, they can have my files (usually, they don't ask). By giving your project files, you are giving up potential future revenues. Let's say you created an effect for a TV show that they would like to use over and over again. If you have the files, they will call you to do it. If you give up the files, they will call one of these $20 per hour morons to do the work using your files. Your work and work product includes trade secrets, sometimes proprietary software, original artwork (for texture mapping), and various other techniques that you have learned through your experience. I definitely recommend guarding this information as best possible. Lets say you are a mechanic and you know a secret that can add 10 mpg to any car you work on, would you give away the secret, or hold on to it which would guarantee future clients? I am NOT saying that you should argue with your clients, if you do this, you lose the account anyway, just resist as much as possible.



There are examples where the above doesn't apply, if you work on site, if you are a part of a team, if there is a contract where it is stipulated, etc. Just be careful, for your own sake. You are in business for yourself and your success depends on well thought out strategy.



Best of luck to all!!!

I remember hearing some great advice on this topic, stipulate what is to be given when and under most circumstances state that the client is paying for and owns the renders/elements (final output), however you maintain control/ownership the means to create these. If the client wishes to have the creation files then they will have to pay appropriatly to get them... because as it was just said, giving up files is giving up potential further revenue. In our production environment companies working on the same shows/series are always with holding files and models from each other in the name of competition.

The difference here is whether you're working at home on a project (as your own business), or whether you've been called in to work at a company as a freelancer for hire. If you go to work for ILM, SPI, R&H, PDI, etc, you will not own anything you work on while you're there, HOWEVER, it is generally expected that you will be allowed to take home the final versions of the shots you worked on, on videotape. This generally holds true for commercials as well, but it's best to ask the producer before you sign on the dotted line.

If you're working as your own business, it is indeed a good idea to stipulate in the contract that the company gets only final renders, not the source material. Some companies in broadcast design, like Discovery and Nickelodeon, usually demand all source material as well, and if you refuse you won't get the job.

There's nothing new or different here versus any of the other creative arts: both you and the client need to execute a mutually agreeable contract before you commence work. When the client is purchasing your services to create something uniquely for them, it's a "work for hire" situation but you may wish to have the right to use some of it in some way for self-promotion. Sensible enuf... The trick is to "get it in writing, and get it in advance." It doesn't take a lawyer.



Everybody needs and wants a portfolio, e.g. a demo reel. But I think it's safe to say that what you really want to aquire is experience. "Screen" credits. People who have worked with you and who can attest what kind of a worker you actually are.



Are you an honest worker who delivers what s/he promised, when s/he promised it? Or are you an insufferable a**hole? Nobody can know for sure, but everyone's encountered people of both types.



"Yes, I hired so-and-so and I was very satisfied with his/her work, and yes, I would hire him/her again ..." That's worth pure gold. "Those who can be trusted with little can be trusted with much."



It bears remembering that you are expensive; that your employer or client has made promises based on your representations (and their decision to hire you) which must be met; that the money being used to pay your salary or fee is probably borrowed. The stakes are high. The need is great. Anyone who hires anybody is taking a risk in doing so. Everyone who has hired anyone has been burned at one time or another.

Hey more real advice...



Unfortunately you might not always get your final shots eventhough you are entitled to it. OR you will only get it after the movie has come out.



Most of the the time people will wait until the movie comes out and rip the part of the DVD with their work on it and that's it. The first problem with this is that you don't have the elements that you used, copyright stuff, etc..



The other way to get your clients file could be by the use of the ever popular "thumb drive". Most of these ways could be considered illegal and you could loose your job or even get deported! Getting material for your demo reel is getting harder these days, but first make sure it is in your contract to get a copy of the final work. In desparate circumstances a case of beer or a bottle of jack to the machine room/system people always helps.



Use your imagination, that's why working in this insane business!

Lots of good advice around here. Unfortunately, which has been the case way too many times for me, when ever I managed to get a gig it was because there was somebody there I knew to get the reel to so it would be seen. Don't be surprised if you never hear back from anybody, these "studios" get tons of reels and they just don't have the time to get back to you - if they even see it!



And here's another small gem, and I wish it wasn't true... most of the smaller and some of the larger studios NEVER even see your reel. It sits in a pile with tons of other reels. I've seen these packages with postmarks from months or even years back unopened. That's just rude, somebody thought enough to send it, the least you could do is open it. Hey, if you send your reel in a nice bright pink envelope, you'll recognize it on top of the pile when you finally get to work at the studio of your dreams years after you've applied for the job.



Next time you swing by the Human Resources Dept. keep an eye out for the pile/boxes of reels, you'll know it when you see it and all you seasoned "pros" out there know that it's true. Side with me on this Ed, you've been around a bit.



Talk about a bummer. It get expensive sending reels out and it's largely a numbers game if nobody knows you. You have to keep throwing stuff at the wall until something sticks - which it will, but how much patience do you have, how long will the unemployment hold out?



Here's a kicker, you could have the badass reel of the year and nobody knows who you are and it sits in one of those piles languishing away OR some mediocre dweeb walks in at the right moment and they need a living breathing body at that instant who has his Gn**on reel over and presto!



Don't ever take not getting a job personal. Very rarely is it personal. It's just that most HR's are understaffed and unless you're standing right in front of them when they need someone, you're not going to get the job.



Go to Siggraph (even if it is a buch of back slapping self gratifying self proffessed film proffesionals & CG know-it-alls) and grow some elbows. Thay also have great parties and you might even meet your future significant other, just make sure you both don't work in the exact same field or your bank account might be-a-hurtin'!

Yeah, about the demo reels... I really got a kick out of it... This past year at Siggraph I went to drop off my reel with Rhythm and Hues and they simply took it, and placed it in a large cardboard box lined with a trash bag. When those got full, they simply removed the trash bag and took it off the premises. So, I mean hey, at least I had a good idea of what was going to happen to it from the beginning.

wow! those are some REAL storys. Life is hard, no doubt about that. Thanks for the keep-your-chin-up attitude. it means something to specks on the wall.

...this may be a naive question, but is my best chance of breaking into the animation industry in California?



a "rookie",

am