A computer-generated frame created by a student at DHIMA. Image courtesy of DHIMA.

Joe Cloninger, Director, DH Institute of Media Arts, Santa Monica, U.S.A.
Before anyone starts here we make sure the expectations are sensible and they know the great rewards as well as the harsh realities of being in this industry. We point out weaknesses and strengths that an individual may have so they are on solid ground to build a true career path. Once they get into the program we expose them to people in the industry through a lecture series and encourage them to get out and explore the industry themselves through SIGGRAPH meetings, events, conferences, user groups, etc. We also organize studio tours. Standard career development skills are also taught with an emphasis on the entertainment industry.

As always, the most important career tools will be the demo reel and a traditional portfolio. This is the constant career preparation throughout the 1 year of day and evening programs.

Our training program stresses the importance of art with technology to create animation. Not only do students learn the software, but also traditional art, the production process, and storytelling. We don't want students to make just great eye candy. We want them to be life-long students of animation and film history with a trained eye. Team and solo projects are created to challenge and gauge student progress.

Very quickly a student learns that their love and enjoyment of animation must be tempered with hard work (and/or obsessiveness), a little insanity, and patience. To keep perspective it's good to be a student of life and explore other interests. We encourage this and feel this sort of balance helps the work in the end.

Don Perro, Department Head, Commercial Animation Program, Capilano College, North Vancouver, Canada
The two-year, non-profit, Commercial Animation Program began in 1995. Its sole objective is to build the local animation industry by providing highly skilled and specialized, commercial animators and animation designers (as opposed to independent filmmakers). Faculty continue to work in the industry and the local studios serve as an advisory committee. Tuition is kept low ($1,400 per year for Canadian residents) in order to attract the strongest applicants.

In first year, we emphasize key animation, timing and principles, animation design and life drawing. Animation history, layout design, story and film principles are also taught but the real focus of first year is character animation. The workload is intense and structured, since two years is not a lot of time to get to the level where a job is guaranteed (at least in the Canadian industry).

In second year, students continue to improve their skills, producing a demo tape of key animation (a "rough" sequence, designed to demonstrate ability rather than serve a story or put over a gag) and a portfolio of layouts, life drawing, design packages, and storyboards. Computer animation (3D Studio MAX and Character Studio) is introduced in second year but plays a minor role. In the final four months, students choose one "career" to specialize in: Character Animation, Special Effects Animation, Layout Design/Posing, Character Design/Storyboards. This allows students to concentrate their efforts in areas they are most proficient at in order to improve their chances for success. Before graduation, students are placed in local studios for a two week practicum. With only two graduating classes to date, we have been very successful. Graduates currently work at Disney Canada, Studio B, Natterjack, Bardel, Cinar, Funbag and a.k.a. Studios and have assisted on features including Space Jam, Anastasia and Prince of Egypt.