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ANIMATION WORLD MAGAZINE - ISSUE 5.05 - AUGUST 2000
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Recruiting at SIGGRAPH 2000 Digital Domain also is enjoying a successful period while completing How the Grinch Stole Christmas. "Our goal has been to become our own production company, and we are moving toward our goal in significant ways," said Laurence Plotkin, director of human resources and recruitment at DD. Employees from each department staffed the DD booth: 2D, 3D, character animation, TD and software. They handed out postcards with software, job and contact information, while showcasing past work. They did not collect reels or resumes but instead presented an opportunity to meet and talk. Reels and resumes can be sent directly to Digital Domain. The company recruits for two purposes: to add to its core team of artists and to identify people with specific sets of skills who can be called upon quickly when a new project begins. "The number of people we are looking for is actually a result of who we meet," Plotkin said. Asked to describe the Digital Domain culture, Plotkin responded, "We have a unique environment compared to other studios. Because many of our staff have been at Digital Domain since the beginning, we have a casual, young, energetic yet relaxed atmosphere that is fraternal and low-key. Our location also contributes to our culture. Many of our most successful artists were groomed internally and gained experience in a peer system that takes time to teach and learn. Our artists are intense, self-managed adults capable of working both independently and as a team." Finding someone who's a good fit means meeting well-rounded people, Plotkin said. "We can add to the core team that will complement our ability to handle complex projects." Plotkin credited two main factors for the broad-based search strategies used by Digital Domain and other studios: difficulty in predicting candidate success on the job and competition among facilities. These factors cause each studio to seek out the top two or three candidates and to be ever on the lookout for fresh new talent and potential. "There are a huge number of schools and graduates," Plotkin said. "Experienced production people and the cumulative years of experience are growing significantly, but the reason we recruit internationally is because talent exists everywhere, and it is my job to look everywhere. We hire internationally because certain schools may consistently produce excellent graduates due to their training, curriculum and access to technology or admission process that attracts ambitious and talented people. Also, many areas of the world focus on artistic development and place a value on artistic growth not always found in the U.S." Judging candidates by their potential means evaluating their base skill display, because they do not yet have production experience. The criteria for evaluating experienced artists are different from those for newcomers. "There is a direct correlation between the longevity of certain software or techniques and the experience level of collective seasoned candidates," Plotkin said. "Some technology is 8 years old, so we have a broader base of experienced people to choose from, and these people will bring their experience to us." Plotkin defined DD's core team as consisting primarily of "brilliant-thinking problem solvers with traditional talents in painting, drawing or photography." He also said DD hoped to meet people who want to work with them and to help students and professionals make good career decisions. Brad Reinke, senior recruiter for Cinesite, concurred with Plotkin. Cinesite also is involved in "specialized recruiting," selecting only the best TD candidates, those with three to five years of production experience. He too keeps a lookout for "rising stars" or fresh new talent through exhibitions like Electronic Theatre.
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