ANIMATION WORLD MAGAZINE - ISSUE 5.05 - AUGUST 2000

Recruiting at SIGGRAPH 2000

by Juniko Moody

From the West Coast to the East Coast, the trend this year is "back to basics," with most studios looking for well-rounded, experienced generalists who have strengths in both technology and art. Most facilities agree that while SIGGRAPH is a great information-exchange forum and meeting place, few candidates are actually hired immediately after SIGGRAPH. With the industry's everyday recruiting strategy utilizing referrals and Web sites, there is little dependence upon a concerted once-a-year recruiting effort. However, recruiting continues because SIGGRAPH is so conducive to building relationships and allowing both prospective employers and employees to learn more about one another.

© SIGGRAPH

Among the following medium-to-large companies, the forecast includes more CGI animation, more feature films and more digital effects, but this growth doesn't necessarily translate into volume hiring. Most agree that it is quality, not quantity, that is desired. Since most studios have already staffed their main team of employees, they now can concentrate on amassing a supply of possible per-project candidates for upcoming projects.

There are more schools dedicated to developing entertainment artists and technologists then ever before, and thus more candidates, but the common lament remains that quality people are hard to find. Most studios enlist their recruiters to advise universities and other training institutions on the education and set of skills necessary for potential employees, in the hopes of affecting curricula and creating an ideal employee pool. Educational institutions change slowly, so the immediate solution still is to rely on screening numerous candidates worldwide. All studios have Web sites and internship programs, which makes recruiting easier.

© Pacific Data Images

Now that digital effects have been widely used for so many years, there is a larger number of experienced practitioners available. Evidence of digital effects longevity is Pacific Data Images, now celebrating its 20th anniversary. This year's SIGGRAPH was recruiting director Marilyn Friedman's seventh with PDI. "We have a short-term and long-term approach," she said. "The short-term objective is to fill immediate positions, while the long-term goal is to build relationships which may be fruitful in the future."

With Shrek in full production, only a couple of lighting and effects positions remain unfilled at PDI. The company recently wrapped Robert Redford's feature The Legend of Bagger Vance, to be released in November. Looking forward to its third animated feature, Tusker, with the Imax version of Shrek in the works, the longest-lived digital effects studio is enjoying an infusion of new business from current major stockholder DreamWorks. Friedman said, "Our planning has been enhanced by knowing that there are several feature films in the future, due to DreamWorks."

There are a variety of openings to be filled over an extended period of time. PDI generally looks for people with two to five years of production experience and focuses on skills and education. Its digital artists must know UNIX and shell scripting. Friedman refrains from using opposing titles such as "artists" and "technicians"; she prefers to describe PDI employees as "people who create imagery and people who enable the creation of imagery." Artists and technical directors are both essential to the process.

PDI seldom hires recent graduates, but currently it has several entry-level positions open. PDI does not offer internships or scholarships. Its Web site posts announcements and job opportunities regularly.

 

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