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What Can I Do Now?
Animation
Yolo County Library

226 Buckeye Street
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Ferguson Publishing
An imprint of Infobase Publishing
What Can I Do Now? Animation
Copyright © 2010 by Infobase Publishing
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means,
electronic or mechanical, including photocopying, recording, or by any information storage or
retrieval systems, without permission in writing from the publisher. For information contact:
Ferguson
An imprint of Infobase Publishing
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New York NY 10001
Library of Congress Cataloging-in-Publication Data
What can I do now? Animation. — 1st ed.

p. cm. — (What can I do now?)
Includes bibliographical references and index.
ISBN-13: 978-0-8160-8077-9 (hardcover : alk. paper)
ISBN-10: 0-8160-8077-1 (hardcover : alk. paper) 1. Animated films—Vocational guidance—
Juvenile literature. 2. Animators—Juvenile literature. I. J.G. Ferguson Publishing Company. II.
Title: Animation.
NC1765.W46 2010
791.43’34023—dc22
2009044595
Ferguson books are available at special discounts when purchased in bulk quantities for busi¬
nesses, associations, institutions, or sales promotions. Please call our Special Sales Department
in New York at (212) 967-8800 or (800) 322-8755.
You can find Ferguson on the World Wide Web at http://www.fergpubco.com
Text design by Kerry Casey

Composition by Mary Susan Ryan-Flynn
Cover printed by Sheridan Books, Ann Arbor, MI
Book printed and bound by Sheridan Books, Ann Arbor, MI
Date printed: April 2010
Printed in the United States of America
10 987654321
This book is printed on acid-free paper.
All links and Web addresses were checked and verified to be correct at the time of publication.
Because of the dynamic nature of the Web, some addresses and links may have changed since
publication and may no longer be valid.
Contents
Introduction 1
Section 1: What Do I Need to Know
About Animation? 5
Section 2: Careers 21
Animators 22
College Professors, Animation 34
Computer and Video Game Artists
and Animators 42
Computer and Video Game Designers 52
Directors 62
Editors 73
Producers 86
Sound Workers 96
Supporting Artists 105
Writers 115
Section 3: Do It Yourself 131
Section 4: What Can I Do Right Now? 139
Get Involved 140
Read a Book 170
Surf the Web 183
Ask for Money 189
Look to the Pros 198
Index 209
V
Digitized by the Internet Archive
in 2018 with funding from
Kahle/Austin Foundation
https://archive.org/details/animationOOOOunse
Introduction
There are many people just like you who paths if you’re one of those overachieving
want to pursue a career in animation— types. Wouldn’t you really rather find out
whether in an animation recording stu¬ sooner than later that you’re not cut out
dio, college classroom, editing room, or to be a producer after all, and that you’d
other setting. You may see an animation- actually prefer to be a director, or an ani¬
related career in your future and won¬ mation professor?
der how you can get started while still in There are many ways to explore ani¬
high school. There are countless areas mation careers. What we’ve tried to do
of the animation industry in which you in this book is give you an idea of some of
can work. All you need to begin is a gen¬ your options. Section 1, What Do I Need
eral interest in the field. Although many to Know about Animation?, will give you
animation careers require a combination an overview of the field, including a little
of formal training, creative ability, and history, where it’s at today, and promises
experience, there is absolutely no reason of the future, as well as a breakdown of
to wait until you get out of high school to its structure and a glimpse of some of its
“get serious’' about a career. That doesn’t many career options.
mean you have to make a firm, undying The Careers section includes 10 chap¬
commitment right now. Gasp! Indeed, ters, each describing in detail one or
one of the biggest fears most people more career options: animator, college
face at some point (sometimes more professor, computer and video game art¬
than once) is choosing the right career. ist and animator, computer and video
Frankly, many people don’t choose at all. game designer, director, editor, pro¬
They take a job because they need one, ducer, sound worker, supporting artist,
and all of a sudden 10 years have gone and writer. These chapters rely heavily
by and they wonder why they’re stuck on firsthand accounts from real people
doing something they hate, like being on the job. They’ll tell you what skills you
a scriptwriter rather than being an ani¬ need, what personal qualities you need to
mation producer. Don’t be one of those have, and what the ups and downs of the
people! You have the opportunity right jobs are. You’ll also find out about edu¬
now, while you’re still in high school and cational requirements (including specific
still relatively unencumbered with major high school and college classes), advance¬
adult responsibilities, to explore, to expe¬ ment possibilities, related jobs, salary
rience, to try out a work path. Or several ranges, and the employment outlook.
1
2 What Can I Do Now? Animation
In keeping with the secondary theme pursuing animation careers. You need
of this book (the primary theme, for those to be familiar with these because you’re
of you who still don’t get it, is “You can do going to need money for school. You have
something now”), Section 3, Do It Your¬ to actively pursue scholarships; no one
self, urges you to take charge and learn is going to come up to you one day and
about animation-related careers on your present you with a check because you’re
own and start your own programs and such a wonderful student. Applying for
activities where none exist—school, com¬ scholarships is work. It takes effort. And
munity, or the nation. Why not? it must be done right and often as much
The real meat of the book is in Sec¬ as a year in advance of when you need the
tion 4, What Can I Do Right Now? This money.
is where you get busy and do something. “Look to the Pros,” the final chap¬
The chapter “Get Involved” will clue you ter, lists professional organizations you
in on the obvious volunteer and intern can turn to for more information about
positions, the not-so-obvious summer accredited schools, education require¬
camps and summer college study, and ments, career descriptions, salary infor¬
other opportunities. mation, union membership, job listings,
“Read a Book” is an annotated bibli¬ scholarships, and more. Once you become
ography of books (some new, some old) a college student in an animation-related
and periodicals. If you’re even remotely field, you’ll be able to join many of these;
interested in an animation career, read¬ others, such as the International Game
ing a few books and checking out a few Developers Association, can be joined by
magazines or professional journals is the people of any age. Time after time, pro¬
easiest thing you can do. Don’t stop with fessionals say that membership and active
our list. Ask your librarian to direct you participation in a professional organiza¬
to more materials. Keep reading! tion is one of the best ways to network
While we think the best way to explore (make valuable contacts) and gain recog¬
animation-related careers is to jump right nition in your field.
in and start doing it, there are plenty of High school can be a lot of fun. There
other ways to get into the animation mind¬ are dances and football games; maybe
set. “Surf the Web” offers you a short you’re in band or play a sport. Great!
annotated list of Web sites where you can Maybe you hate school and are just biding
explore everything from job listings (start your time until you graduate. That’s too
getting an idea of what employers are bad. Whoever you are, take a minute and
looking for now), to animation festivals, try to imagine your life five years from
to educational requirements, to on-the- now. Ten years from now. Where will
job accounts, to sites that celebrate well- you be? What will you be doing? Whether
known cartoons and animators. you realize it or not, how you choose to
“Ask for Money” is a sampling of schol¬ spend your time now—studying, playing,
arships for people who are interested in watching TV, working at a fast-food res-
Introduction 3
taurant, hanging out, whatever—will have probably “nowhere." The choice is yours.
an impact on your future. Take a look at No one is going to take you by the hand
how you're spending your time now and and lead you in the “right" direction. It’s
ask yourself, “Where is this getting me?" up to you. It’s your life. You can do some¬
If you can't come up with an answer, it's thing about it right now!
-
SECTION 1
What Do I Need to Know About Animation?
Animation is everywhere these days— Leon Gaumont held a French patent

from television shows (e.g., The Simp¬ on stop-motion animation, a method of
sons, Ben 10: Alien Force, Johnny Test) interrupting filming to make changes to
and commercials, to music videos and the scene, then restarting filming; this
animated films (including three-minute technique would be used in the decades
Internet shorts and feature-length films to come. J. Stuart Blackton, a British-
such as A Bug's Life and Up), to com¬ born cartoonist who immigrated to the
puter and video games (e.g., Super Mario United States at an early age, became
Bros., Zelda, Mortal Kombat). Anima¬ a rapid-drawing cartoonist, working
tion is also used on Web sites and in with Thomas Edison. One of Blackton’s
architectural, educational, medical, and works, the 1906 film Humourous Phases
military training simulations. In short, of Funny Faces, is considered by many to
animation has come a long way from the be the first animated cartoon on standard
first animated cartoon, which was cre¬ picture film. The film uses a technique
ated in 1892. called frame-by-frame-drawn animation,
There are career opportunities avail¬ with characters drawn on a chalkboard.
able in countless fields for creative work¬ Fantasmagorie, considered the first fully
ers (animators, designers, scriptwriters), animated film, was made by French direc¬
technical professionals (software devel¬ tor Emile Courtet (also known as Emile
opers, technical support specialists, tes¬ Cohl) in 1908. American Winsor McCay
ters), audio professionals (composers, was a pioneer during this early era of ani¬
musicians, sound engineers), and behind- mation, responsible for such creations as
the-scenes players (directors, producers, Little Nemo in Slumberland in 1911 and
editors). And this list hasn’t even begun Gertie the Dinosaur in 1914.
to scratch the surface of the opportuni¬ As Hollywood grew in the early 1900s,
ties that are available for people who are so too did companies that created car¬
interested in animation. toons, although these animated films were
silent (just like all movies of the time).
Bray Studios in New York City, headed in
GENERAL INFORMATION part by cartoonist John R. Bray, was one
Although animation had its start in vari¬ of the best-known cartoon studios of the
ous endeavors and innovations, the field time. Bray and colleague Earl Hurd pat¬
really began to develop in the late-19th ented new methods of animation using
century. Frenchman Emile Reynaud cre¬ celluloid sheet overlays (referred to as cel
ated what is considered the first animated animation), which was an improvement
cartoon in 1892. He created the cartoon over older techniques. The studio oper¬
by drawing and hand-painting images on ated from about 1915 to the late 1920s.
film paper and using a praxinoscope, an Some of its cartoons include Out of the
optical instrument he invented to cre¬ Inkwell (1918), Electric Bell (1918), and If
ate the illusion of movement. In 1900 You Could Shrink (1920).
What Do I Need to Know About Animation? 7
Walt Disney also got his start in the try during these decades, created the
business around this time. In 1923 he first animated feature film, Snow White
sold his first cartoon, Alice's Wonder¬ and the Seven Dwarfs, which debuted in
land, which featured a real child actress 1937. This animated film was so ground¬
in the cartoon, to a distributor. Soon breaking that the Academy of Motion
after that he founded Disney Brothers Pictures and Sciences gave it a special
Cartoon Studio (later renamed Walt Dis¬ award in 1938, stating: “to Walt Disney
ney Studio) with his brother, Roy. By the for Snow White and the Seven Dwarfs,
late 1920s “talkies” had replaced silent recognized as a significant screen inno¬
films and Walt Disney had created the vation which has charmed millions and
cartoon character Mickey Mouse, which pioneered a great new entertainment
still entertains young and old to this day. field for the motion picture cartoon.”
The third Mickey Mouse feature, Steam¬ Feature-length animations became
boat Willie, released in 1928, was the more common, and Walt Disney Stu¬
first Mickey Mouse film to use sound. dio went on to create many other ani¬
While not the first animated talkie, it mated feature-length classics, including
was among the early contenders and Pinocchio (1940), Fantasia (1940), and
was incredibly popular. The Fleischer Dumbo (1941). During World War II,
Brothers were also influential in the Disney and other Hollywood studios
1920s. They invented a process known used their talent to produce hundreds
as rotoscoping that is still in use today. It of war-related animated short features,
involves taking a filmstrip of live action, from pieces made to inspire patriotic
tracing it, and redrawing it as a cartoon. spirit in the American public to films
They used this technique in a series of used by the military to help train the
films released between 1919 and 1929 troops. The animated movies utilized
titled Out of the Inkwell. They tended popular cartoon characters of the time
to focus on more adult characters and and introduced new favorites. After the
plots, and were responsible for creating war, animation skills were refined and
the character of Betty Boop. creativity flourished, and other studios
The 1930s and 1940s are considered began to rival Disney.
the golden age of animation, and the These postwar trends continued into
United States dominated the innovations the 1950s. During this period, United
of this time, although animators were Productions of America studio embraced
certainly innovative in Europe and Asia new ideas and reimagined ways of using
as well. The advent of Technicolor—a animation, creating new characters like
special process of producing color cine¬ Mr. Magoo, and other studios soon fol¬
matography refined in the early 1930s— lowed suit. Disney returned to creating
allowed animation to advance to a new animated feature-length classics such as
level of color and imagination. The Walt Cinderella (1950), Alice in Wonderland
Disney Studio, which ruled the indus¬ (1951), and Peter Pan (1953). All studios
mators who found success on television

for decades. It produced many popular
Did You Know? cartoon series; some of its earliest suc¬
cesses included The Flintstones (debuted
Nearly 70 percent of U.S. households
1960), Yogi Bear (debuted 1961), and
play computer or video games,
according to the Entertainment Soft¬ The Jetsons (debuted 1962). The 1960s
ware Association. also benefited from design innovations
in film equipment and cameras, all of
which were becoming easier to use and
less expensive to buy. These innovations
were challenged by the popularity of helped the art of animation move beyond
television in the 1950s, which caused a the almost-exclusive grasp of studio pro¬
decline in interest in theatrical cartoons fessionals and into the hands of indepen¬
and feature films. As a result, some stu¬ dent animators.
dios became more creative, and Cinema¬ Animation geared toward children
scope, a previously infrequently used still had a following, and Saturday-
filmmaking technique from the 1920s that morning cartoon series became a staple
allowed a film to fill a wide screen, was of the television networks during this
suddenly embraced, as it offered a pan¬ decade. Many cartoon series gained
oramic experience that television, with its popularity in the 1970s—some were
small screen, could not provide. Another acclaimed, many were panned. Among
response to the threat of television was the best received were The Archies
the rise of 3D animation. Like the Cin¬ (debuted 1968) of comic book fame, the
emascope process, 3D techniques existed mystery-solving teenagers and Great
before the 1950s but were not frequently Dane in Scooby Doo (debuted 1969), and
used. By the middle of the decade, 3D Fat Albert and the Cosby Kids (debuted
movies were all the rage, and animators 1972), the series created by Bill Cosby
jumped on the 3D bandwagon, produc¬ that always included an educational
ing such titles as Hypnotic Hick (1953), message for its viewers.
which featured Woody Woodpecker, and A confluence of factors combined
Popeye, The Ace of Space (1953). in the 1980s that allowed animation to
Television's growing popularity gave move in bold new directions. In keep¬
way to still another (and perhaps obvi¬ ing pace with technological advance¬
ous) innovation in the 1950s and 1960s: ments, many new styles and techniques
cartoons developed for television, the emerged. In addition, fresh new anima¬
most notable early example being NBC tors came onto the scene with new ideas
Comics, which aired on the NBC net¬ that stretched the limits of what many
work in 1950. In this genre, the Hanna- perceived animation to be and moved
Barbera studio was one of the most into genres beyond television and film.
prominent and prolific examples of ani¬ An important figure in the revival of
feature animation in the 1980s was such as The Simpsons (debuted in 1989)
Don Bluth, who started at Walt Disney and South Park (debuted in 1997), and
Studios but eventually left to form his the global emergence of anime—Japa¬
own company. Bluth is known for many nese-based, high-quality animation in a
features, including The Secret of NIMH variety of genres that is geared toward
(1982), as well as for groundbreaking both children and adults (although the
animation for video games, an emerg¬ phenomena was already widespread
ing genre for animators. Music videos throughout Asia). Cable networks have
became another genre in which anima¬ been created, such as Nickelodeon and
tion was used. Notable examples include the Cartoon Network, that offer anima¬
the Rolling Stones’s video Harlem Shuf¬ tion as much or all of their programming.
fle (1986), and Peter Gabriel’s videos The Internet even became involved, as
for Sledgehammer (1986) and Big Time technological advances such as Macro¬
(1987). The decade’s first mainstream media Flash technology provided lesser-
use of computer-generated imagery established independent filmmakers the
(CGI) was in Walt Disney Studio’s Tron, means by which they could create cut-
released in 1982. However, it was Pixar ting-edge animation and find audiences
studio’s Tin Toy, released in 1988, that by distributing their works on the Web.
marked a true advance in digital charac¬ Perhaps the most prominent trend was
ter animation: the animated short won the ongoing advances in CGI, which
an Oscar in 1988, the first computer- allowed filmmakers greater ease in creat¬
animated film to do so. However, for all ing films that were a hybrid of live action
of their CGI ingenuity, neither Tron nor and spectacular animation, such as in
Tin Toy were huge successes at the box movies of the Lord of the Rings trilogy
office, and this likely slowed the expan¬ (2001, 2002, and 2003) and The Matrix
sion of CGI use in animation. trilogy (1999, 2003, and 2003). Advances
Many consider the release of Walt in CGI also went hand-in-hand with
Disney Studio’s Who Framed Roger Rab¬ its increased use in animation, allow¬
bit? (1988), which combined live-action ing animators infinite creative options,
and animation, as the beginning of a the ability to work in three dimensions,
renaissance in animation that continues and the ability to complete animated
to this day with highly popular animated features in far less time than by using
features such as Toy Story (1995), Find¬ traditional methods, such as cel anima¬
ing Nemo (2003), WALL-E (2008), and tion or stop-motion animation. In fact,
Up (2009). in the early-21st century, the traditional
There have been several major anima¬ methods had largely been abandoned by
tion trends over the last two decades in the major studios in favor of CGI.
the areas of audience, use, and technol¬ The computer and video game indus¬
ogy. They include the rise in popularity of try is another major area where anima¬
adult-oriented animation on television, tion is used. The industry didn’t begin to
develop until the 1960s and 1970s, when designers made games with text-based
computer programmers at some large descriptions (that is, no graphics) of
universities, big companies, and gov¬ scenes and actions with interactivity
ernment labs began designing games on done through a computer keyboard.
mainframe computers. Steve Russell was Games called Adventure, Star Trek, and
perhaps the first video game designer. Flight Simulator were among the first
While in college in 1962, he made up a that designers created. They used simple
simple game called Spacewar. Graphics commands like “look at building” and
of spaceships flew through a starry sky “move west.” Most games were designed
on the video screen, the object of the for video machines; not until the late
game being to shoot down enemy ships. 1970s did specially equipped TVs and
Nolan Bushnell, another early designer, early personal computers (PCs) begin
played Spacewar in college. In 1972 he appearing.
put the first video game in an arcade; it In the late 1970s and early 1980s,
was a game very much like Spacewar, designers working for Atari and Intel-
and he called it Computer Space. How¬ livision made games for home video sys¬
ever, many users found the game diffi¬ tems, PCs, and video arcades. Many of
cult to play, so it wasn’t a success. these new games had graphics, sound,
Bruce Artwick published the first of text, and animation. Designers of games
many versions of Flight Simulator, and like Pac-Man, Donkey Kong, and Space
Bushnell later created Pong, a game that Invaders were successful and popular.
required players to paddle electronic They also started to make role-playing
ping-pong balls back and forth across games like the famous Dungeons and
the video screen. Pong was a big hit, and Dragons. Richard Garriott created
players spent thousands of quarters in Ultima, another major role-playing
arcade machines all over the country game. Games began to feature the names
playing it. Bushnell’s company, Atari, and photos of their programmers on the
had to hire more and more designers packaging, giving credit to individual
every week, including Steve Jobs, Alan designers.
Kay, and Chris Crawford. These early Workers at Electronic Arts began to
focus on making games for PCs to take
advantage of technology that included
the computer keyboard, more memory,
Did You Know? and floppy disks. They created games
like Carmen Sandiego and M.U.L.E. In
Women make up 40 percent of
game players in the United States,
the mid- to late 1980s new technology
according to the Entertainment included more compact floppies, sound
Software Association. cards, and larger memory. Designers also
had to create games that would work
on more than just one platform—PCs,
Lingo to Learn
2D animation The creation of moving pictures in two dimensions, which can be accom¬
plished using computers or through the traditional method of hand-drawing hundreds or
even thousands of individual images, or frames. These frames are then transferred onto clear
plastic sheets called cels, colored by hand, and filmed in sequence over a painted background
image. Showing these frames at a rate of 24 or more per second results in the viewer seeing
what appears to be continuous motion.
3D animation The creation of moving pictures in three dimensions, with the additional
dimension of depth that is lacking in 2D productions. Early 3D animation essentially consisted
of stop-motion animation of 3D models, but the advent of computers has made it easier and
faster to achieve even more realistic 3D effects.
background A drawing, usually in watercolor, acrylic, or oil, which is the part of a given seg¬
ment in an animated film that is the farthest to the rear. A series of celluloid sheets, or cels, is
photographed over the background to create a scene or scenes in the film.
casual game A simple video game that is designed for a mass audience of people of all
ages.
cel A piece of clear plastic, also known as celluloid, containing the images that are placed
over a background to be photographed in succession to form the action of a completed
animated film. The outline of the image is applied to the front of the cel, while the colors are
painted on the back (although certain colors, such as black, are sometimes painted onto the
front for glare reduction).
CGI Acronym for "computer-generated imagery," which refers to any artwork or animation
created with computers. The term CGI can apply to both 2D and 3D animation, although it is
most commonly used to refer to 3D.
character animation A specialized area of the animation process involving the depiction of
thought and emotion by characters in addition to mere movement, a process made famous
by the Walt Disney Studio in its productions such as Three Little Pigs, Snow White and the Seven
Dwarfs, Pinocchio, and Dumbo.
daymation One of the most common forms of stop-motion animation in which the objects
being photographed are made of clay; popularized by the Gumby animated series.
compositing The process of incorporating all of the elements of a scene in an animated
film together (the animation sequences, the background, and the overlays and underlays in
the scene are brought together and positioned correctly, the camera frame is set, and any
necessary computer-generated effects are added) before sending them to the next step of
rendering, or creating an image.
computer animation The creation of moving images through the use of computers. These
images can be created in either two or three dimensions and can be applied to Web design,
video games, movies, special effects, or cartoons.
(continued on next page)
(continued from previous page)
demo reel A collection of prior work by an artist or animator, compiled on VHS, CD, DVD,
or another medium; often provided by job seekers to potential employers in the animation
industry.
developer An individual who creates computer and video games.
Flash A multimedia platform (incorporating text, audio, video, animation, and interactivity)
distributed by Adobe Systems that has become a popular method of adding animation and
interactive features to Web pages; it is also widely used for broadcast animation work.
frame A single drawing or image that is placed in sequence with other drawings to create
the illusion of movement in an animated production.
gamer A person who plays computer and video games.
multiplayer game A game that can be played by more than one player at once.
platform A type of delivery method in which a game is played, for example, video game
system (e.g., Nintendo), computer (e.g., Macintosh), or online (Internet via subscription).
stop-motion animation Animation produced by arranging actual objects, taking a picture
of them, repositioning the objects with slight differences, then taking another picture of
them, and so on, with the end result being a series of consecutive images that create the illu¬
sion of motion when viewed in sequence.
storyboard A visual plan of all the scenes and shots in an animated production, it lays out
the story as well as dialogue and instructions regarding framing, action, camera angles, transi¬
tions between shots, music, and sound effects.
timeline A horizontal representation of the elements of a scene in an animated film; a frame-
by-frame layout of all animation occurring over a specific period of time in the production.
Timelines can be numbered by frame, by second (or other time interval), or both.
universal elements In a video game, rules for scoring, names of characters, sound effects,
etc., that occur every time something specific happens.
Apple computers, and 64-bit video-game ists, musicians, writers, and animators.
machines. Designers made such breakthroughs as
In the 1990s Electronic Arts started to using more entertaining graphics, creat¬
hire teams of designers instead of “lone ing more depth in role-playing games,
wolf individuals (those who indepen¬ using virtual reality in sports games,
dently design games from start to fin¬ and using more visual realism in rac¬
ish). Larger teams were needed because ing games and flight simulators. This
games became more complex; design new breed of designers created games
teams would include programmers, art¬ using techniques like Assembly, C, and
HyperCard. By 1994 designers began to

use CD-ROM technology to its fullest.
In only a few months, Doom was a hit. Quote
Designers of this game gave players the
"Animation isn't the illusion of life; it
chance to alter it themselves at various is life."
levels, including choices of weapons and
enemies. Doom still has fans worldwide. —Chuck Jones, animation pioneer
Today, advances in technology have
helped the computer and video and game
industry to blossom. In fact, in recent
years sales revenues in the gaming indus¬
try have exceeded those of the motion CAREERS
picture industry. What's on the horizon There are many career opportunities
for the computer and video game indus¬ in animation-related industries, from
try? More multiplayer games; virtual real¬ becoming an animator or director to
ity; improved technology in coprocessors, working as an editor, producer, or com¬
chips, hardware, and sound fonts; and poser. A short sampling of the many
“persistent worlds," where online games career options in animation follows in the
are influenced by and evolve from play¬ paragraphs below.
ers' actions. Animation professors instruct stu¬
dents in animation-related subjects at
colleges and universities. They teach
students about animation history, game
STRUCTURE OF THE programming, computer graphics,
INDUSTRY game physics, 3D modeling and anima¬
There is no single umbrella industry tion, scriptwriting, sound production,
that employs animation professionals. In game design and level design, and other
fact, opportunities are available in mul¬ related subjects. They also conduct
tiple industries, including film, television, research, write for publication, and aid
music video, advertising, computer and in administration.
video games, educational publishing, and Animators are artists who design and
Web design, among others. create the cartoons that appear in mov¬
In these industries there are small to ies, television shows, commercials, music
large companies and production studios videos, training applications for scien¬
that play a role in creating animated tific fields and the military, and in other
films, computer and video games, and settings.
other products. A large number of ani¬ Business managers plan, organize,
mation professionals work as freelancers, direct, and coordinate the operations
signing short-term contracts to work on of companies. Business managers may
a video game, music video, or film. oversee the operations of an entire
company, a geographical territory of stands and that tells computers what to

a company's operations, or a specific do. Computer programmers who work in
department, such as sales and market¬ animation-related industries write code
ing or manufacturing. for computer and video games played on
Computer and video game artists and various platforms or for animated fea¬
animators use their computer skills as tures or other products.
well as their artistic abilities to produce Directors are the overall managers of
games that may entertain, test, and even any animation project—whether it's a
teach players. Artists and animators work video game, a commercial, music video,
as part of a team that develops a concept or a film. They supervise the creative
for a game, the game rules, the various work or performance of artists, anima¬
levels of play, and the game story from tors, designers, writers, voice actors, and
beginning to end. Depending on the size members of the production or technical
of the company they work for and the staff. Directors approve work done at all
project they are working on, artists and stages of production, or may give addi¬
animators may be responsible for work¬ tional guidance if the work falls short of
ing on one specific game aspect, such their vision for the project. They work
as texture (that is, creating the textured closely with producers to meet project
look for each object in the game), or be goals. Depending on the size and scope
responsible for working on several game of a project, there may be more than one
aspects, such as character building, envi¬ director assigned to manage a particular
ronment, and motion. department or task.
Computer and video game designers There are two main types of editors
create the ideas and interactivity for working in animation-related indus¬
games. These games are played on vari¬ tries: those who edit computer and video
ous platforms, or media, such as video games and animated films, television
consoles and computers, on portable shows, commercials, and music videos
telecommunication devices (such as cell (referred to as animation editors in this
phones), and through online Internet book) and those who edit animation-
subscriptions. They generate ideas for related articles, reviews, books, game
new game concepts, including sound manuals, technical documentation, and
effects, characters, story lines, and graph¬ Web documents (referred to as text edi¬
ics. Designers either work for companies tors in this book).
that make the games or create the games Graphics programmers design soft¬
on their own and sell their ideas and pro¬ ware that allows computers to generate
grams to companies that produce them. graphic designs, animations, charts, and
Computer programmers work in the illustrations for manufacturing, com¬
field of electronic data processing. They munications, entertainment, and engi¬
write instructions in a computer lan¬ neering. They also develop computer
guage, or code, that the computer under¬ applications that graphic designers use to
create multimedia presentations, posters, Duty, Guitar Hero, and Madden NFL),
logos, layouts for publication, and many animated films (such as WALL-E, Happy
other objects. Feet, and Bolt), television shows (such as
Intellectual property lawyers in ani¬ Johnny Test and Family Guy), commer¬
mation-related industries focus on the cials, and animated training simulations
protection of creative thought. They may or other products that are used in the
work with copyrights to protect works military and a wide variety of industries
their clients have authored; trademarks (including health care and education).
to protect brand names and symbols asso¬ Software engineers create or customize
ciated with their clients’ businesses; and existing software programs to meet the
patents to protect their clients’ inventions needs of a particular business or indus¬
and discoveries. try, such as film and television studios
Marketing research analysts collect, that produce animated features or the
analyze, and interpret data to determine computer and video game industry. First,
potential demand for computer games, they spend considerable time research¬
video games, or platforms or audience ing, defining, and analyzing the prob¬
interest in animated films. By exam¬ lem at hand, then they develop software
ining the buying habits, wants, needs, programs to resolve the problem on the
and preferences of consumers, research computer.
analysts are able to recommend ways to Sound workers create the audio aspects
improve products, increase sales, and of computer and video games, animated
expand or market to customer bases. features and shorts, animations in com¬
Producers are responsible for the com¬ mercials, and other animated products.
pletion of a project, from the initial fund¬ Sound designers are responsible for all of
ing to its final delivery. They may oversee the sound used in a computer or video
the creation of a video game, a commer¬ game, animated film, or commercial.
cial, an animated training simulation for They create the squealing noise of a race
the health care industry or military, a car’s tires, the crack of a bat hitting a
music video, or an animated film or tele¬ baseball, the whizzing of a bullet, or the
vision show. Their administrative duties crunching thud of one football player
include coordinating all talent, managing tackling another. They are also respon¬
demands for equipment or supplies, and sible for any talking, singing, yelling, or
overseeing any staffing problems in order other sound that comes from charac¬
to keep the project on schedule. They ters in the game, film, or commercial.
work closely with other producers and Finally, they find recordings of all of the
the director to be sure that the project music to be used in the film or game,
runs smoothly; they report to studio or but they do not write or create music
game executives. themselves. All the sounds must fit with
Scriptwriters write scripts for com¬ the game’s action and setting in order
puter and video games (such as Call of to catch the interest of the intended
particularly helpful. Musicians perform,

compose, conduct, and arrange music.
And the Annie They may work alone or as part of a
Goes to ... group to create music. Sound directors
are responsible for managing sound
The Annie Awards are the anima¬ workers such as musicians, singers,
tion industry's highest honor. They
audio recording engineers (who oversee
are presented by the International
Animated Film Society, ASIFA- the technical end of sound recordings),
Hollywood. The following animated sound designers, and recording mixers
feature films have won Annies in (who combine music and sound effects
recent years: with an animated film or video game’s
2008: King Fu Panda action).
2007: Ratatouille Supporting artists are responsible
for creating all characters and back¬
2006: Cars
grounds of an animation project. They
2005: Wallace&Gromitin The Curse of create visual drawings and two- and
the Were-Rabbit
three-dimensional forms using different
2004: The Incredibles media, including paints, pencil, clay, or
2003: Finding Nemo various computer software programs.
2002: Spirited Away Depending on their assignment, artists
work with other animation professionals,
2001:Shrek
including writers, directors, animators,
2000: Toy Story 2
and producers, to get the proper style of
For more information on animated a character or background setting, or to
featured films that have been nomi¬
capture the vision of the project.
nated for or won Annie Awards, visit
http://annieawards.org. Testers examine new or modified
computer and video game applications
to evaluate whether they perform at the
desired level. Testers also verify that dif¬
audience and increase their emotional ferent tasks and levels within a game func¬
experience. Composers create the music tion properly and progress in a consistent
for a game, animated feature, or com¬ manner. Their work entails trying to find
mercial. They must be able to write glitches in games and sometimes crash¬
music in many different styles—techno, ing the game completely. Testers keep
rock, and even classical—for different very close track of the combinations they
products and to create many different enter so that they can replicate the situ¬
moods. Frequently composers know ation in order to remedy it. Testers also
how to play an instrument on their own, offer opinions on the user-friendliness of
and many find that knowing how to play video and computer games. Any prob¬
the piano, synthesizers, or samplers is lems they find or suggestions they have
are reported to supervisors in detail both tion writers work for game companies
verbally and in writing. Similar workers and animation studios and write content
test animated films and other products to for user manuals, marketing campaigns,
ensure that they function properly. and Web sites.
Animation writers who work for maga-
zines, newspapers, book publishers, game
and animation Web sites, and related EMPLOYMENT
employers write articles, reviews, and OPPORTUNITIES
books about computer and video games, According to AnimationMentor.com, the
animated films and television shows, top employment sectors for animation
game platforms, companies, industry professionals are: (1) computer and video
trends, and other topics. Other anima¬ games; (2) feature films; (3) advertising/
Flash Animation
Flash is a multimedia platform (incorpo¬ devoted to superhero episodes done in

rating text, audio, video, animation, and flash animation.
interactivity) that has become a popular Since Flash is cost effective and fairly
method of adding animation and inter¬ easy to use with proper training, many ani¬
active features to Web pages. Flash- mated television series are presented in
animated films or cartoons are created by this format. Shows such as Foster's Home
using the Adobe Flash animation software for Imaginary Friends, Hi Hi Puffy AmiYumi,
or other software capable of creating an and Wow! Wow! Wubbzy! are done in this
.swf file format. The term flash animation format not only for budgetary reasons
can also refer to the quick movement and but also for the unique style achieved
visual style of the cartoons created in this with Flash software. There has also been
format. Many flash animation cartoons an increased popularity of adult-themed
are distributed on the Web and are nick¬ shows that use Flash animation.
named webtoons. Due to the popularity and number of
Flash animation was developed by shows created in Flash, many animation
Macromedia in the 1990s and has become film festivals have added a separate cat¬
increasingly popular in recent years. One egory judging webtoons. Some festivals
of the first popular webtoons was Whirl- are held exclusively for Web-based Flash
Girl, which later became a regular series on shows.
the Web site of the cable network channel
Sources: Adobe.com; Animation Art: From
Showtime. The 1990s saw an abundance
of Internet portal sites featuring Flash ani¬ Pencil to Pixel, The History of Cartoon, Anime
mation series, with shows such as Icebox & CGI; The Animation Bible: A Practical Guide
and Camp Chaos getting the most hits. to the Art of Animating, from Flipbooks to
Marvel Comics even started a Web site Flash
commercials; and (4) television shows. next decade. The U.S. Department of
Employment opportunities for anima¬ Labor predicts that employment for
tion professionals are available at anima¬ multimedia artists and animators will
tion studios, game companies, software grow by 26 percent through 2016—a rate
developers, colleges and universities, that is much faster than the average for
advertising agencies, law firms, market¬ all careers.
ing research firms, publishing companies, The U.S. computer and video game
and many other employers. In addition, industry had software sales of $11.7 bil¬
many animation professionals are self- lion in 2008, according to the Entertain¬
employed, working on a freelance basis. ment Software Association. This was
Major entertainment software pub¬ an increase of more than 400 percent
lishers include Activision Blizzard, Atari, since 1996. Employment in this indus¬
Electronic Arts, Konami Digital Enter- try is expected to continue to be strong
tainment-America, Microsoft, Nintendo over the next decade as technology con¬
of America, Sony, Take-Two Interactive tinues to increase the number of plat¬
Software Inc., and THQ. Large anima¬ forms in which games can be played and
tion companies include Blue Sky Studios, improve the quality of the game-playing
DreamWorks Animation SKG, Lucas- experience.
film Animation, Pixar, Rhythm & Hues The number and types of animated
Studios, Sony Pictures Animation, Walt films and televisions shows have
Disney Animation Studios, and Warner increased as a result of technological
Bros. Animation Studios. In addition to innovations that have made these prod¬
these large companies, there are hundreds ucts easier and less expensive to make
of smaller companies with staffs ranging and allowed more people to view these
from one or two people to hundreds of creations. In addition to viewing in the¬
workers. aters and on television, animated fea¬
Many positions in animation-related tures and shorts are now available for
industries are located on the East and delivery by mail; for download onto
West Coasts (namely California, Wash¬ computers, MP3 players, and mobile
ington state, and New York City) and devices; and for streaming on the Inter¬
aspiring animation professionals may net. Two major trends in the industry
have to relocate to these regions to find are the increasing development of ani¬
top positions. Opportunities are also mated shorts and feature films for adult
available outside of these areas, but they audiences and the growing use of 3D
are not as plentiful. technology in animated films.
Animation will increasingly be used
in commercials and training simulations
INDUSTRY OUTLOOK used by a variety of industries, which
Opportunities should be strong in ani¬ should create new employment opportu¬
mation-related industries during the nities for animation professionals.
While the future looks bright for work¬ pay workers lower wages has also reduced
ers in animation-related industries, a few demand for certain types of animation
factors may limit growth. Weak economic professionals, such as supporting artists.
conditions in the United States in recent Despite these developments, opportuni¬
years have caused some layoffs and con¬ ties are still good for highly motivated,
solidation in animation-related indus¬ creative workers with knowledge of the
tries. Outsourcing of low-skill positions latest technology and creative techniques
to companies in foreign countries that in their particular specialty.
SECTION 2
Animators
SUMMARY
Definition Educational Requirements High School Subjects

Animators are artists who High school diploma; some Art
design the moving charac¬ postsecondary training Computer science
ters that appear in movies, highly recommended
television shows, and Personal Interests
commercials. Certification or Licensing Computers
None available Drawing
Alternative Job Titles Entertaining/performing
Motion cartoonists Employment Outlook Film and television
Much faster than the
Salary Range average
$31,570 to $71,910 to
$100,390+
“One of my most rewarding experiences WHAT DOES AN

as an animation professional," says Jamie
Galatas, “was seeing my work in a movie
ANIMATOR DO?
theater, surrounded by complete strang¬ Animators create animated features,
ers who were really enjoying the show. shorts, commercials, and music videos for
One of the first projects I worked on at the television and film industries and the
my job was the Aqua Teen Hunger Force Internet. They also create training simula¬
movie. After seeing the movie with all the tions and animation for a variety of other
inside folks at the official premiere, I took employers. Making a big-budget ani¬
my parents to see it at a local theater. mated film, such as WALL-E, Ratatouille,
As a movie junkie who loves the expe¬ A Bug's Life, or Shrek, requires a team of
rience of seeing a movie in a theater, it many creative people. Each animator on
was quite a thrill seeing my work on the the team works on one small part of the
silver screen." film. On a small production, animators
22
Animators 23
may be involved in many different aspects

of the project's development.
An animated film begins with a script. To Be a Successful
Screenwriters plan the story line, or plot, Animator, You Should...
and write it with dialogue and narration.
Designers read the script and decide how • be extremely creative
the film should look—should it be real¬ • be skilled at using animation
istic, futuristic, or humorous? They then software
draw some of the characters and back¬ • have a good sense of humor
grounds. These designs are then passed • be observant
on to a storyboard artist who illustrates
• be able to work well with others
the whole film in a series of frames simi¬
lar to a very long comic strip. Based on • have excellent communication
this storyboard, an artist can then create skills
a detailed layout. • have flexibility to accommodate
In the past, the most common form of your employers' vision
animation was cel animation, in which • have a thick skin to accept occa¬
animators drew the artwork on cels and sional criticism
then prepared the finished film frame by • be willing to continue to learn
frame, or cel by cel. Today, most anima¬ throughout your career
tors forego creating on cels (except in • be able to market your skills to
planning stages) and instead use computer potential employers
software to draw directly into a computer
system. Computer programs can create
effects like shadows, reflections, distor¬
tions, and dissolves. Animators are rely¬ as a doll, is photographed, moved slightly,
ing increasingly on computers in various and photographed again. The process is
areas of production. Computers are used repeated hundreds of thousands of times
to color animation art, whereas every to make a film. Movies such as Chicken
frame used to be painted by hand. Com¬ Run were animated this way. Claymation
puters also help animators create special is one of the most common forms of stop-
effects and even entire films. (One ani¬ motion animation and was popularized
mation software program, Macromedia's by the Gumby animated series. Using
Flash, has given rise to an entire Internet this approach, the objects being photo¬
cartoon subculture.) graphed are made of clay.
Stop-motion animation is a traditional Most animators work in large cities
animation form that is still popular today. where movie and television studios are
In stop-motion animation, an object, such located. They generally work in well-lit,
comfortable environments. Staff anima¬ an intense interest in cinema. Always hav¬

tors work a standard 40-hour workweek ing been dazzled by the limitless imagina¬
but may occasionally be expected to work tion of the animation medium, I pointed
evenings and weekends to meet dead¬ myself in that direction."
lines. Freelance animators have erratic Because he is a team lead, Jamie usu¬
schedules, and the number of hours they ally works on multiple episodes at any
work may depend on how much money given time. “I would say that most of my
they want to earn or how much work they time is spent working on and overseeing
can find. They often work evenings and revisions on a current episode," he says.
weekends but are not required to be at “This includes making changes in scenes
work during regular office hours. as noted by the show producers, review¬
Animators can be frustrated by employ¬ ing and approving scenes, and discussing
ers who curtail their creativity, asking solutions and ideas with the composi¬
them to follow instructions that are con¬ tors for more challenging notes. Other
trary to what they would most like to do. days I'll be in reviews with the produc¬
Many freelance animators spend a lot of ers, doing quality control on HD renders,
time working alone at home, but anima¬ tweaking background files that are done
tors have more opportunities to interact offsite, or coordinating revisions with the
with other people than do most working animation leads. It's difficult to describe a
artists. typical day because, as with many creative
jobs, typical is completely relative."
Bob Freeman is the owner of Bad Alien
WHAT IS IT LIKE TO BE AN Productions LLC, a video and anima¬
ANIMATOR? tion house in Seattle, Washington. (Visit
Jamie Galatas is an animator/compositor http://badalienproductions.com to learn
who has worked in the field for four years. more about his business and work.) “I can
(Compositing is the process of incorporat¬ remember making flipbooks as a kid," he
ing all of the elements of a scene in an ani¬ recalls. “At the time, I thought it was so
mated film together before sending them cool that you could take a series of pic¬
to the next step of creating an image.) Jamie tures and make them move. Now, even
works for Radical Axis Inc. in Atlanta, though I've been doing it for a while and
Georgia, and is the lead compositor for know how it all works, I am still entranced
the television show Squidbillies. “I grew with the concept of still images flowing
up glued to cartoons/' he says. “My par¬ into movement. It's still magic when the
ents always told me that my best babysit¬ timing and poses of an animation ‘geF
ter was a pencil and paper. After studying come to life. Another thing that I love is
business administration during my first the audience reaction. I love to entertain
years of college, I realized that I was not people with cool images or funny stories
going to be satisfied in my life unless I was and characters. The first time I was with
dedicating myself to something creative. an audience watching one of my pieces
At about the same time, I began to develop and hearing them laugh was so exciting
Animators 25
for me. Another aspect of animation I “Bad Alien Productions (or BAP as we
enjoy is the craft of it. I love playing with call it),” Bob continues, “is a small, or bou¬
the tools and tweaking things until it feels tique, animation and effects house. It grew
just right. Let’s see, how would I summa¬ out of a users group that I started in Seattle
rize all that—I love using good tools to for the 3D animation package we use. At
make cool things that entertain people.” these meetings, I met another guy, David
Bob says that the visual and graphical Roomes, and we became good friends. We
arts are a second/side career for him. “I’ve thought about doing some animation proj¬
been a software developer for many years ects together and that grew into the idea of
(ahem...decades). It’s been a hobby all my starting a little company to do animation
life and in 19991 picked up a copy of a 3D and movie effects. We formed the com¬
animation package and things got seri¬ pany with my wife, Shawna. She handles
ous. I loved this stuff. the business side of things. We mostly do
The Future of Animation

The editors of What Can l Do Now? Anima¬ work on, I think that having a work¬
tion asked Jamie Galatas a few questions ing knowledge of as many computer
about the future employment outlook for applications related to the field as
animation and trends in the field. possible makes you the most mar¬
ketable in terms of work. More spe¬
Q. What is the future employment out¬ cifically, I think the fastest growing
look for your field? area of animation that I have seen
A. This is also a really tough question. has to be work done with Adobe
I know that the industry, like every¬ Flash. Flash animation is super
thing in the world, experiences peri¬ fast, and can look really wonderful.
ods of decline and prosperity. It's all Many companies and artists have
an ebb and flow. I think with the digi¬ wisely chosen to embrace this tool
tal medium allowing companies and to great effect, creatively as well as
artists to do great work cheaper and financially.
faster than ever, the field is in good
shape. Knowing how to apply it and sell Q. What areas are declining?
it is where it gets tricky. As with every A. Sad as it is, I think the days of shoot¬
industry, innovation breeds success, ing animation with a camera (pencil
and being that creativity is the number tests aside) are either ending or over.
one requirement for this line of work, Of course, smaller, more art-minded
this field will continue to move forward projects might choose to make films
as long as someone has a new idea. this way, but digital technology has
become so efficient, affordable, and
Q. What animation areas are growing? easy to use that shooting with cels
A. Speaking for the low-budget, quick on a big camera really isn't necessary
turnaround type of animation that I anymore.
our own animation projects and occasion¬ artistic talent, you must be able to generate
ally we do a client job for a Web site or ideas, although it is not unusual for anima¬
independent film. We collaborate with tors to collaborate with writers for ideas.
other artists on our own projects/’ You must have a good sense of humor (or
Since BAP is a side job for both Bob a good dramatic sense), an observant eye
and his partner, he says that a “typical to detect people’s distinguishing charac¬
day” often stretches into a “typical week” teristics and society’s interesting attributes
or even a “typical fortnight” if things get or incongruities, and excellent communi¬
busy in other areas of their lives. “We cation skills. “I think the most important
meet every Saturday morning over break¬ personal skill for animators is good com¬
fast for our production meeting,” he says. munication,” says Jamie Galatas. “You need
“We discuss the current projects and have to be personable, able to express yourself
wonderful brainstorming sessions over intelligently, and be able to give and take
story ideas, character design, animation criticism well. These skills are vital. Arro¬
design, and other creative elements of gance and an inability to adapt and flex as
the piece we’re working on. These meet¬ the job requires are the fastest ways to get
ing are usually very lively and ‘animated.’ bumped right out of a job—I don’t care
We have cultivated an open and honest how good you are. Personality matters.
culture around the art we create. We (try Professionally, I think the obvious answer,
to) detach emotionally from the art and broad though it may be, is that you should
provide respectful, but direct, critiques for be good at what you do. Understanding
everything we do. If a client job comes in, the medium is vital. Know the principles
all work on our own projects pause and we that make animation successful. Under¬
focus directly on that until it is complete. stand motion. Understand composition.
The working pace of a client job is typically Know your strengths and weaknesses,
much faster than on our personal projects. and be open to constantly improving your
Since there is primarily just the two of us, skills. Understanding deadlines is also
we both wear lots of hats. David is more vital. Many times you are going to be left
experienced with visual effects, composit¬ to your own devices to get a project done
ing, video, story writing, and mechanical by a certain time. You have to be able to
modeling. I specialize in character mod¬ budget your time well.”
eling, sound effects, and project manage¬ You also need to be flexible. Because
ment. We are both animators. It’s been a your art is commercial, you must be will¬
good complementary mix for us.” ing to accommodate your employers’
desires if you are to build a broad clien¬
tele and earn a decent living. You must
DO I HAVE WHAT IT TAKES be able to take suggestions and rejections
TO BE AN ANIMATOR? gracefully.
You must be very creative to be success¬ You should also have extensive knowl¬
ful as an animator. In addition to having edge of animation software and be will-
Animators 27
ing to continue to learn throughout your bled into a specific order to create ‘the
career since animation and computer product/ Through the process, the scope
technology changes almost constantly. of changes you can make gets smaller and
“Animation is best for people who are smaller until you are done. It's amazing
patient and detail oriented/ says Bob how parallel the disciplines are.”
Freeman. “Being able to observe how
things move and what things look like is High School
also critical. If you are looking for quick In high school, take art, of course, as well
results, you could easily get frustrated. as computer classes. Math classes, such as
Good animation takes careful planning algebra and geometry, will also be help¬
and precise attention to detail. If you love ful. If your school offers animation and
to tweak things until they look good, then graphic design classes, be sure to take
animation would be a good fit.” those.
Postsecondary Training
You do not need a college degree to
HOW DO I BECOME AN
become an animator, but there are a
ANIMATOR? number of animation programs offered
Education at universities and art institutes across
“The school of hard knocks is how I the country. You may choose to pursue
learned,” Bob Freeman responds when an associate's degree, a bachelor of arts, a
asked how he trained for the field. “In my master of fine arts, or a Ph.D. in computer
case, I did a lot of varied things. I hung animation, digital art, graphic design, or
out on forums where animators were and art. Some of today's top computer anima¬
stuck my work out there so they could see tors are self-taught or have learned their
and comment on it. I read books about skills on the job.
animation. I started a users group here in “There are a couple of ways that I
Seattle for the 3D software I used. I prac- trained for my career,” says Jamie Gala-
ticed. I worked on projects with friends. tas. “Of course, the first major step was
Lately, Fve been taking some drawing school. I had a wonderful foundation in
classes and have been practicing draw¬ school. I learned the principles of ani¬
ing so I can more easily communicate my mation. I got to share ideas with other
visual ideas and create better storyboards like-minded people. I attained experi¬
for my animations.” Bob says that his ence with equipment that I likely would
career as a software developer has taught never have encountered otherwise. Most
him many lessons that translate nicely to importantly, I met a lot of people and
animation. “Both fields involve the man¬ made many connections. This is the most
agement of projects with a huge amount important thing of all.”
of pieces and details,” he explains. “Those In addition to formal training, you
elements must be organized and assem¬ should learn as many software programs
Animation Steps
Bob Freeman details the steps it takes to to shot. Some people will write the story
create an animated feature: directly in the storyboards. For a complex
story, we'll often put the drawings into an
Even a short animation requires many steps editing program to test timing of the shots.
to put together. Of course, the exact details
can vary from production to production, but D. Animated Storyboards
all these things could be done either explicitly Animated storyboards or animatics are
or implicitly. The bigger the project or team, simple animations using simple drawings
the more important these steps become. It's or models. This takes us one step closer
important to be organized or you spend way to seeing how the story and timing work
too much time redoing work. before getting into the final animation
process. Changes are much faster to make
A. Concept or Story than in the final process.
Story is an extremely important element of
E. Model Creation and Rigging
a good animation. The first step is to write
With many types of animation (for exam¬
the story. This is the time of the project
ple, 3D or stop-motion) you have to make
when changes are the easiest to make.
all the characters and props in advance
B. Character Development of animation. 3D characters have control
Good characters are equally important as systems called rigs that have to be put in
the story, maybe even more important. If the model. The rigs set the character up so
you don't have well-defined characters, the that it is easy for the animator to control
story can be lost or uninteresting. It's rare the model. With stop-motion animation,
to have a good story without good charac¬ characters are made with internal skel¬
ters. It's possible to have strong characters etons that allow the character to move in
with a weak story and still have a successful a reasonably natural way.
animation.This is the step where we decide
F. Set Creation
what the characters look like and who they
Sets, like in a movie or play, are where the
are. We often develop a backstory for each
story takes place. A background can be as
character that will help drive the acting.
simple as a photo like in Skeeters [his award¬
C. Storyboarding winning 3D animated short film] or as com¬
Storyboards are a series of still images that plex as a full movie set. Everything you see
show what the story looks like from shot has to be created or photographed.
as possible, including Maya, Photoshop, Internships and Volunteerships

Final Cut, Premiere, and After Effects. Larger employers, such as Pixar, offer
apprenticeships or internships. To enter
Certification or Licensing these programs, applicants must be
No certification or licensing is available attending a college animation program.
for this profession. Interns at Pixar must have completed
Animators 29
G. Lighting K. Sound Effects/Foley

If you are doing a 3D or stop-motion ani¬ Sound effects are added to nearly every
mation, then lighting the set is important part of an animation. Everything you hear
In 2D animation, lighting would be inher¬ in a scene must be created in the sound
ent in the drawings. track. Sound can be purchased from
H. Voice Recording sound effects Web sites or recorded from
If your characters say anything, the voice scratch. The recording of sound effects
tracks are recorded before animation. That that work with an animation or movie
way the animator can use the voice track is called Foley. Often a Foley artist will
to sync up the timing of things like the watch the action and match the sounds
movement of the lips and body. directly with the action. This ensures that
all the repeated sounds like footsteps are
I. Animation unique.
Here is where the motion is created. It is
important for the animator to have a good L. Music
grasp of how things move. Timing is criti¬ Music can be in many parts of the anima¬
cal. Acting is also important. Animators will tion, from the titles and credits to a simple
often act out scenes for a video camera or background score throughout the movie.
mirror to work out timing and movement. This music, like the Foley elements, is often
Like a good actor, an animator will try to recorded while watching the animation.
get into the character's head and under¬ M. Titles
stand why a character does what it does. Titles are typically at the front of the movie.
It's important to have good motion, but if They can be simple text or are sometimes
you understand the emotional aspects of very elaborate animations in their own
the character and let that drive the action, right.
your character will come to life.
N. Credits
J. Visual Effects
Credits can go anywhere, but they are typ¬
This includes explosions, fire, wind, rain,
ically at the end. Simple text and complex
snow, motion blur, special image effects,
animation are commonly used.
and filters. These are often done in a com¬
positing program (for example, Adobe O. Editing
After Effects). Sometimes a video is shot Here is where it all comes together. The
and the relevant parts are extracted and editor will drop in all the elements and do
merged with the animation. the final timing and sound levels.
their junior year of college, be a current through the application of traditional

graduate student, or have graduated dur¬ filmmaking principles in a 3D computer
ing the year the internship begins. Pro¬ graphics environment.” Other internship
gram participants might work as camera options at Pixar are available in technical
and staging artist interns, who “create direction, production management, story,
sequences of shots that convey the story marketing, engineering, and editorial.
“While I found school to be an incred¬ One new way up-and-coming anima¬

ibly valuable experience, the most impor¬ tors have made themselves known to the
tant training I had was an internship that I animating community is by attracting
did with a small animation company here an audience on the World Wide Web.
in Atlanta,” says Jamie Galatas. “It wasn’t A portfolio of well-executed webtoons
through school. I had already graduated can help an animator build his reputa¬
when I did it, but either way, this on- tion and get jobs. Some animators, such
the-job training was the most important as the Brothers Chaps (creators of http://
preparation for my career that I have homestarrunner.com), have even been
experienced. I was fortunate enough to be able to turn their creations into a profit¬
able to work on creative stuff in my intern¬ able business.
ship. I was involved with a lot of cleanup
and lip-synch, and got to do hands-on
work for two different shows. Of course, WHERE CAN I GO FROM
there was also some floor sweeping and HERE?
errand running. Regardless, being there Animators’ success, like that of other art¬
and seeing how it works is invaluable. I ists, depends on how much the public
always tell students or people trying to likes their work. Very successful anima¬
break into the field who ask for advice to tors work for well-known film companies
get every internship that you can. It’s the and other employers at the best wages;
best preparation you’ll get.” some become well known to the public.
Volunteering with a local animation or
film production company is the next best
thing to landing an internship. This expe¬ WHAT ARE THE SALARY
rience will give you a great introduction RANGES?
to the field and help you to make valuable Multimedia artists and animators who
contacts in the field. were employed in the motion picture
and video industry earned annual mean
salaries of $71,910 in 2008, according to
WHO WILL HIRE ME? the U.S. Department of Labor. Those who
Approximately 87,000 animators and worked for software publishers earned
multimedia artists are employed in the $64,820. Salaries for all multimedia art¬
United States. Employers of animators ists and animators ranged from less than
include producers, movie studios, and $31,570 to more than $100,390.
television networks. In addition, a number Self-employed artists do not receive
of these artists are self-employed, work¬ fringe benefits such as paid vacations,
ing on a freelance basis. Some do anima¬ sick leave, health insurance, or pension
tion on the Web as a part-time business benefits. Those who are salaried employ¬
or a hobby. Others work for computer ees of companies and the like do typically
game companies. receive these fringe benefits.
Animators 31
Animator Profile: Kevin Coffey
Kevin Coffey has been a full-time free¬ 15, and did my first professional job at
lance artist and animator since 1983. Visit age 17—an animated insert for Bette
his Web site (http://cartoonlandanima- Midler's first very, very underground
tion.com) to learn more about his career feature.
and to view his work. Kevin discussed his
career with the editors of What Can I Do Q. Can you tell us about your anima¬
Now? Animation. tion work? What's a typical day like
for you?
Q. What made you want to become an A. I specialize in hand-drawn 2D ani¬
animator? mation. I have done a lot of work in
A. I was hooked on creating my own ani¬ Flash lately and just finished a four-
mation ever since I was a little kid. My minute Flash cartoon that explains
dad came home one day with an 8mm the process of solar energy. It can be
movie camera, and it had a true sin¬ viewed at http://www.youtube.com/
gle-frame exposure button that said watch?v=MvMZINGFOYc.
"animation" right on it. It was actually I will take almost any job I can—
printed right on the camera—"anima¬ book illustration, designing icons,
tion." That was the beginning. I was logo design—whatever pays the
10 years old. I was already a cartoon¬ bills. I check several job boards daily
ist, and my cartoons had appeared in and get a fair percentage of the work
school newspapers since early grade I apply for. I have been a full-time art¬
school. I was completely captivated by ist since 1983.1 usually work late into
early Mickey Mouse cartoons. When I the night, and sleep in in the morn¬
was a kid you could watch, over the ing. My alarm goes off at 9:15 a.m. I'm
weekends, local television stations generally dressed, showered, and
broadcasting endless black and white ready to go by noon and work until
cartoons from the 1930s and 1940s. 6:00, 7:00, or 8:00 p.m. with breaks as
I loved them, so I figured I would try I deem necessary. This can include
making my own cartoons. My dad said brisk walks around Golden Gate Park
it would never work, but it worked here in San Francisco and occasional
perfectly. I created my own animated visits to a local pub of my choice. If I
three-minute cartoons—the length goof off too much during the day, I
of an 8mm roll of film—all through work later at night. It helps that I'm
grade school and high school. Really, single.
I've never stopped. I created my own
sequences and stories, and also cop¬ Q. What has been one of your most
ied sequences out of the Walter Fos¬ rewarding experiences as an
ter Preston Blair book you could buy animator?
at any art supply store for $1—the A. I was fortunate enough to have worked
best animation value in history. I won on Henry Selick's classic feature The
an honorable mention in the Kodak
Teenage Movie Awards when I was (continued on next page)
(continued from previous page) Survival Kit and really study it. Stay up-
to-date on software like Photoshop
Nightmare Before Christmas. I created and After Effects. Keep your computer
one of the very few 2D animated shots updated with plenty of RAM and stor¬
in that feature. I animated a bunch of age space. Learn how to get along
"ghouls" that appear around Oogie with people and be a people person.
Boogie when he's tormenting Santa. I That's important. Take a shower every
remember sitting in the theatre when day and wear clean clothes. Brush
the scene came on—it lasted a good your teeth. Have a "letter of intent"
long time and I could actually see my prepared for your clients—give them
work and study it. I was very happy three days to decide if they like the art
with the results. I had known Henry you submit, and after three days it's
from the days of the old Colossal Pic¬ considered "approved." If they change
tures studio in the 1980s. I had done their minds later and want changes to
some hand-drawn special effects ani¬ the art, they have to pay for it. Get
mation for a Pillsbury Doughboy spot half [of your payment] up front, and
that Henry directed, and he remem¬ find out ahead of time how long it will
bered me. take to get your final payment upon
receipt of your last invoice.
Q. What are the most important per¬
sonal and professional skills for ani¬ Q. What is the future employment out¬
mators? look for animators?
A. Historically, taking life-drawing classes A. It's all about creating something that
and/or drawing the human figure from will have value online, and figuring
life has been the number one way to out how to charge for it. I think TV as
keep your drawing skills honed. Draw, we now know it is dying, and soon it
draw, draw. I would recommend ani¬ will all be online content. There will
mators everywhere get a copy of always be a market for good work,
Richard Williams' book The Animator's whether it's 2D or 3D.
WHAT IS THE JOB Lurthermore, growing processor and

OUTLOOK? Internet connection speeds are creating
Employment for animators and multime¬ a Web animation renaissance. Demand
dia artists is expected to grow much faster is also increasing as animation is increas¬
than the average for all careers through ingly used in mobile technologies and
2016, according to the U.S. Department of in nonentertainment-based fields such
Labor. The growing trend of sophisticated as scientific research or design services.
special effects in motion pictures should Because so many creative and talented
create opportunities at industry effects people are drawn to this field, however,
houses such as Sony Pictures Image- competition for jobs will be strong.
works, DreamQuest Software, Industrial "One trend in this field that I have
Light & Magic, and DreamWorks SKG. noticed,” says Bob Lreeman, “is that there
Animators 33
is a ‘democratization’ of hardware and “The game side of the industry has been
software tools occurring in the industry. In exploding over the last couple of decades,
other words, the hardware and software to and I expect that to continue,” predicts
do motion graphics, 3D animation, video Bob. “There is an unending appetite for
editing, etc., is becoming cheaper and good games and, due to advances in tech¬
more powerful every year. The good news nology, this is an area that has seen a lot
is that this allows more and more people of growth. Many areas of the industry
to do video and effects and audio. The bad are continuing to push for games to be
news is that the field is becoming cluttered a photorealistic, real-time rendering in a
with people of varying levels of quality and virtual environment. In addition, as the
it’s harder and harder to stand out. Profes¬ industry is maturing, we are seeing an
sionals need to work harder to stand out emergence of other artistic and anima¬
from all the static. Ultimately though, real tion styles that aren’t realistic. So there is
skill and talent rises to the top. Many tools still lots of room for growth on the game
that the pros use are still far beyond the industries side.”
budget of the average American hobbyist, More than 60 percent of all visual
but the trend of democratization of tools artists are self-employed, but freelance
is real and continues.” work can be hard to come by, and many
Animated features are not just for chil¬ freelancers earn little until they acquire
dren anymore. Much of the animation experience and establish a good reputa¬
today is geared toward an adult audience. tion. Competition for work will be keen;
Interactive computer games, animated those with an undergraduate or advanced
films, network and cable television, and degree in art or film will be in demand.
the Internet are among the many employ¬ Experience in action drawing and com¬
ment sources for talented animators. puters is a must.
College Professors, Animation
SUMMARY
Definition level design, and other Certification or Licensing

Animation professors related subjects. They may None available
instruct undergraduate also conduct research,
and graduate students write for publication, and Employment Outlook
in animation-related aid in administration. Much faster than the
subjects at colleges and average
Alternative Job Titles
universities. They are
Animation educators
responsible for teaching High School Subjects
Animation teachers
students about anima¬ Art
tion techniques, game Salary Range Computer science
programming, computer $35,320 to $66,640 to Speech
graphics, game phys¬ $124,430+
ics, 2D animation, 3D Personal Interests
modeling and animation, Educational Requirements Computers
scriptwriting, sound pro¬ Master's degree Film and television
duction, game design and Helping others: teaching
“I would recommend teaching as a career,” WHAT DOES AN

says Dr. Maureen Furniss, an anima¬
tion professor and historian at California
ANIMATION PROFESSOR
Institute of the Arts. “Some profession¬ DO?
als teach in the evenings, after working Animation faculty members teach in trade
in a studio. However, some artists do not schools, at junior colleges, or at four-year
want to work commercially, so teaching colleges and universities. At four-year
is a way to support themselves while they institutions, most faculty members are
work on their own projects. To be a good assistant professors, associate professors,
teacher, you have to really care about the or full professors. These three types of
growth of other people. However, it's also professorships differ in regards to status,
a good way to keep yourself feeling fresh job responsibilities, and salary. Assistant
because students always bring new ways professors are junior faculty members who
of seeing things.” are working to get tenure (status as a per-
34
manent professor); they seek to advance

to associate and then to full professor¬ A Glimpse Inside
ships. The term adjunctfaculty is used to the Work of an
describe temporary and part-time teach¬ Animation Historian
ers who work on contracts from year to
year. Trade schools and community col¬ Dr. Maureen Furniss provides an overview
leges typically hire faculty on one-year or of her work as an animation historian.
multiyear contracts. Some four-year col¬
leges or universities also operate only on As a historian, I keep up on develop¬
renewable contracts, though at times with ments in animation history by reading
recent books and attending conferences
some level of long-term commitment.
and festivals. It is important to have a net¬
Animation professors perform three work of colleagues in this field because
main functions: teaching, service, and information can be difficult to come by,
research. Their most important respon¬ and often can be found only by consult¬
sibility is to teach students. Their role ing specialists you have met. Plus, it's
nice to meet people who share my inter¬
within the department will determine
ests. Often festivals are held in interest¬
the level of courses they teach and the ing places, so it is fun to go to them. After
number of courses per semester. Most I was established in the field, I began to
professors work with students at all lev¬ get invitations to travel to some of these
els, from college freshmen to graduate events as the presenter of a film program
students. They may head several classes (several films on a given theme), or as a
member of the preselection committee
a semester or only a few each year.
(choosing films for competition) or jury
Though professors may spend only 12 (actually voting for awards).
to 16 hours a week in the actual class¬ Another area that some historians
room, they spend many hours planning are involved with is animation restoration
lessons, grading assignments and exams, and preservation, actually working in an
archive to protect films for future gen¬
and preparing grade reports. They also
erations. This is technical work that also
schedule office or computer laboratory requires a great knowledge of history.
hours during the week to be available
to students outside of regular classes,
and they meet with students individu¬
ally throughout the semester. In the administer exams; and assign textbook
classroom, professors lecture about reading and other research. While most
animation and game design theory and professors teach entry-level animation
other topics; demonstrate animation classes such as Introduction to Com¬
techniques and software (such as Flash, puter Gaming, Introduction to Film
Maya, C++, and Java); lead discussions Animation, or Game Development 101,
about screenwriting, animation history, some also teach higher-level classes that
music composition, character and envi¬ center on a particular specialty. For a
ronment modeling, and other topics; computer graphics class, for example,
professors may teach students how to are heavily involved in research programs
create computerized animations or digi¬ or creative work are sometimes assigned a
tal illustrations and encourage students smaller teaching load. College animation
to pursue their own aesthetic explora¬ professors publish their research find¬
tions in completing assignments. In ings in various scholarly journals such as
some courses, professors rely heavily on Animation Journal, Animation Studies,
computer laboratories and digital media or Animation: An Interdisciplinary Jour¬
to teach course material; other courses nal They also write books based on their
rely on more traditional art materials. research or on their own knowledge and
An important part of teaching is advis¬ experience in the field. Most textbooks are
ing students. Not all faculty members written by college and university teachers
serve as advisers, but those who do must or veterans of the computer or animation
set aside blocks of time to guide students industries. Publishing a significant amount
through the program. College professors of work—and creating animated films or
who serve as advisers may have any num¬ other types of creative work—has been the
ber of students assigned to them, from most important standard by which assis¬
fewer than 10 to more than 100, depend¬ tant animation professors prove them¬
ing on the administrative policies of the selves worthy of becoming permanent,
college. Their responsibilities may involve tenured faculty. Typically, pressure to
looking over a planned program of studies publish is greatest for assistant professors.
to make sure the students meet require¬ Pressure to publish increases again if an
ments for graduation, or they may involve associate professor wishes to be considered
working intensively with each student for a promotion to full professorship.
on many aspects of college life, includ¬ Some faculty members eventually rise
ing their growth as artists. They may also to the position of department chair, where
discuss the different fields of animation they govern the affairs of an entire com¬
(such as computer gaming or animated puter gaming, film, or animation depart¬
features) with students and help them ment. Department chairs, faculty, and
identify the best career choices. other professional staff members are
All college professors provide important aided in their myriad duties by graduate
services to their department, college, or assistants, who may help develop teaching
profession. Many college professors review materials, supervise computer laborato¬
research of their peers and participate in ries, conduct research, give examinations,
professional organizations related to their teach lower-level courses, and carry out
field of expertise. College professors also other activities.
serve on committees that determine the A college or university is usually a pleas¬
curriculum or make decisions about stu¬ ant place in which to work. Campuses bus¬
dent learning, among other things. tle with all types of activities and events,
Another responsibility of college and stimulating ideas, and a young, energetic
university faculty members is research population. Much prestige comes with
and publication. Faculty members who success as a professor and scholar; pro-
fessors have the respect of students, col¬

leagues, and others in their community. Key Skills for
They also usually have substantial vaca¬ Animation Students
tion time, allowing them to continue their
creative work and research. David B. Levy is an animation educator,
Depending on the size of the depart¬ author, and award-winning animation
ment, animation professors may have their director. He is also the president of the
own offices, or they may have to share International Animated Film Society—
ASIFA-East. He teaches a career class for
an office with one or more colleagues.
animation seniors at the School of Visual
Their department may provide them with Arts and an introduction to animation class
research assistants to aid them in their at Parsons The News School for Design.
work. College professors are also able to Below, David details the most common
do much of their office work at home. traits of successful animation students.
They can arrange their schedule around
The successful students are the ones who
class hours, academic meetings, and the
are self-motivated. They bring questions
established office hours when they meet they want to ask to each class. They keep
with students. Most teachers work more up with the assignments and are not afraid
than 40 hours each week. Although ani¬ to experiment or to do something over. I
mation professors may teach only two or have found that you can't teach someone
to want to be there. Students have to meet
three classes a semester, they spend many
their teachers halfway and not be passive
hours preparing for lectures and computer about their education. It sounds like com¬
labs, examining student work, and con¬ mon sense because these students are
ducting research. paying a lot for their education, but many
students major in animation for the wrong
reasons. Those students chose animation
WHAT IS IT LIKE TO BE AN because they enjoyed watching cartoons.
The problem is that watching and doing
ANIMATION PROFESSOR? are two very different things.
Dr. Maureen Furniss is an animation pro¬
fessor and historian at California Institute
of the Arts. She is also the founder and
editor of Animation Journal and the presi¬ Character Animation, and a general his¬
dent of the Society for Animation Studies. tory of animation. At most schools, there
“Teaching at California Institute of the Arts is only general animation history taught.
is my dream job,” she says. “It is the best I get to teach three, plus a fourth course
animation school in the United States, so that varies. In my courses, I show a lot of
why not?! Actually, I love being surrounded films, provide historical contexts so stu¬
by very talented young artists and helping dents can understand and discuss them,
them to shape their visions. My job con¬ and guide my students through writing
sists of teaching two courses each semes¬ projects. The purpose of these projects is
ter (four per year), including the History to develop their knowledge of animation
of Experimental Animation, the History of history and their general ability as writers.
I taught freshman writing at the University spend many years studying in school, but
of Southern California for two years and your whole career will also be based on
received training as a teacher there, and communicating your thoughts and ideas,
that has helped me with my instruction of as well as abstract concepts, to students.
writing. I also have to design exams and People skills are important because you'll be
grade papers, plus interact with students in dealing directly with students, administra¬
various ways. I have to research new films tors, and other faculty members on a daily
and design course teaching materials to basis. You should feel comfortable in a role
keep my courses fresh and interesting. of authority and possess self-confidence.
“The other part of my job as an educa¬ Dr. Furniss believes that the most impor¬
tor/' she continues, “is to help shape the tant personal and professional qualities for
institute as a whole through various ser¬ animation professors are “an interest in
vice duties, such as working on commit¬ history, research, and writing, and/or pro¬
tees. My biggest job is helping students duction activities; understanding of teach¬
when they are admitted to the school by ing methods, varied ways of learning, and
assisting with financial aid issues. I also course structures (teaching pedagogy); will¬
make a lot of recommendations to the ingness to travel (to conferences, festivals,
library for new materials to purchase.” etc.); interest in developing professional
Dr. Furniss says that interacting with contacts and working with colleagues; and
students is one of the best parts of her job. willingness to devote some time to the ser¬
“In general,” she says, “my most reward¬ vice of the institution and your field.”
ing experiences have been the times when
students have told me I've opened up new
avenues for them, or that my classes were HOW DO I BECOME AN
among their favorites. It has also been
rewarding to see some of my advanced stu¬
ANIMATION PROFESSOR?
dents take their research from term papers Education
to published articles, in part because it High School
makes them so proud, and I am happy to Your high school's college preparatory
have been a part of their success. Seeing your program likely includes courses in the
students go on to realize their dreams—this arts, computer science, English, science,
is what makes teaching great.” foreign language, history, and mathemat¬
ics. In addition, you should take courses
in speech to get a sense of what it will
DO I HAVE WHAT IT TAKES be like to lecture to a group of students.
TO BE AN ANIMATION Your school's debate team can also help
PROFESSOR? you develop public speaking and research
You should definitely like working with skills. Your high school may even offer
computers, animation, and computer introductory courses in drawing, painting,
games, but you should also enjoy reading, sculpture, computer gaming, or animation.
writing, and researching. Not only will you If so, take as many of these as possible.
WHO WILL HIRE ME?
At least one advanced degree in computer Animation professors teach in undergrad¬
and video game design, computer anima¬ uate and graduate programs. The teaching
tion, film animation, fine art (including jobs at doctoral institutions are usually bet¬
drawing and painting), computer sci¬ ter paying and more prestigious. The most
ence, computer engineering, information sought-after positions are those that offer
management, information technology, tenure. To get tenure, faculty generally
or another computer-related field is need to have a terminal degree, such as a
required to be an animation professor at a master of fine arts or a doctorate. A master
college or university. The master’s degree of science or a master of arts is not consid¬
is considered the minimum standard, and ered a terminal degree; generally they are
graduate work beyond the master’s is considered preparation for the Ph.D.
usually desirable. If you hope to advance Hundreds of colleges and universities
in academic rank above instructor, most across the United States offer courses
institutions require a master of fine arts and degree programs in animation, game
or doctorate. design, and related subjects. The Interna¬
In the last year of your undergraduate tional Game Developers Association offers
program, you’ll apply to graduate pro¬ a list of schools at its Web site (http://www.
grams in your area of study. Standards for igda.org/breakingin/resource_schools.
admission to a graduate program can be php). You can also locate film-related pro¬
high and the competition heavy, depend¬ grams by visiting the College Navigator
ing on the school. Once accepted into a Web site (http://nces.ed.gov/collegenavi
program, your responsibilities will be sim¬ gator), which is sponsored by the National
ilar to those of your professors—in addi¬ Center for Education Statistics.
tion to attending seminars, you’ll research, You should start the process of finding
prepare articles for publication, and possi¬ a teaching position while you are in gradu¬
bly teach some undergraduate courses. ate school. The process includes develop¬
ing a curriculum vitae (a detailed academic
Certification or Licensing resume), writing for publication, assisting
No certification or licensing is available with research, attending conferences, and
for this career. gaining teaching experience and recom¬
mendations. Many students begin applying
Internships and Volunteerships for teaching positions while finishing their
You can develop your own teaching graduate program. For some positions at
experience by working as a volunteer at four-year institutions, you must travel to
a community center, as a teacher’s aide large conferences where interviews can
in a public school, as a tutor in various be arranged with representatives from the
subjects, or as a counselor at a summer universities to which you have applied.
camp. During graduate school, it is possi¬ Because of the competition for tenure-
ble to get some teaching experience while track positions, you may have to work
working as a graduate assistant. for a few years in temporary positions,
or gaming industry, creating animated

Good Advice feature films or televisions shows, or
working in the advertising industry. Fac¬
Dr. Maureen Furniss offers the following ulty with substantial industry experience
advice for aspiring animation teachers: typically do not need an advanced degree
to be considered for a teaching position,
Finding a teaching position in animation
though they might not have the potential
can be difficult, so you have to strive to
be your best, whether as a researcher or for advancement.
an artist You can get experience by being
a teacher aide in a school, working at art
camps, or even tutoring students in art or WHERE CAN I GO FROM
other subjects, such as writing. That way
you can see if you like being a teacher and HERE?
learn techniques for helping others to The normal pattern of advancement
learn. Read a lot of books and, of course, is from assistant professor to associate
see a lot of movies. Consider joining pro¬ professor to full professor. All three aca¬
fessional organizations that can help you demic ranks are concerned primarily with
make connections in the world of art edu¬
teaching and research. College faculty
cation and animation studies.
members who have an interest in and a
talent for administration may advance to
department chair or dean of their college.
visiting various schools as a postdoctoral A few become college or university presi¬
researcher or an adjunct professor. Some dents or other types of administrators.
professional associations maintain lists of Some people begin teaching as an
teaching opportunities in their areas. instructor, which is usually an adjunct
Positions for animation educators can position. Generally the adjunct does not
be found at some Web sites, including progress to higher levels unless a formal
the Society for Animation Studies (http:// search is held, in which many applicants
animationstudies.org), Animation World apply for a tenure-track position at the
Network (http://www.awn.com), High- level of assistant professor or higher,
end Careers (http://www.highendcareers. depending on the type of position being
com), GameJobs.com (http://www.game offered. Most colleges look upon the rank
jobs.com), Gamasutra (http://www.gama of assistant professor as the period during
sutra.com), and Dice (http://www.dice. which the college is trying out the teacher.
com). The Chronicle ofHigher Education Assistant professors are given up to about
is a weekly resource that covers develop¬ six years to prove themselves worthy of
ments in the education industry. It offers tenure, and if they do so, they receive
a comprehensive list of job openings for tenure and become associate professors.
college teachers in its print and online Some professors remain at the associate
(http://chronicle.com/jobs) editions. level. Others strive to become full profes¬
Some professors begin teaching after sors and receive greater status, salary, and
having successful careers in the computer responsibilities.
Most colleges have clearly defined WHAT IS THE JOB

promotion policies from rank to rank for
faculty members, and many have written
OUTLOOK?
The U.S. Department of Labor predicts
statements about the number of years in
that employment for all college and uni¬
which instructors and assistant professors
versity professors is expected to grow
may remain in grade. Administrators in
much faster than the average for all
many colleges hope to encourage junior
careers through 2016. College enrollment
faculty members to increase their skills
is projected to grow due to an increased
and competencies and thus qualify for the
number of 18 to 24 year olds, an increased
more responsible positions of associate
number of adults returning to college,
professor and full professor.
and an increased number of foreign-born
students. Retirement of current faculty
members will also provide job openings.
WHAT ARE THE SALARY However, competition for full-time, ten¬
RANGES? ure-track positions at four-year schools
According to the U.S. Department of will be very strong.
Labor, in 2008 the median salary for Employment for computer science
computer science postsecondary instruc¬ professors (including those who teach
tors (a category that includes animation animation-related courses) should also be
professors) was $66,640, with 10 percent strong. A growing number of colleges and
earning $124,430 or more and 10 percent universities are creating game design pro¬
earning $35,320 or less. Other types of grams or adding game design classes in
animation faculty are in this general range response to student interest and industry
as well. Those with the highest earnings needs. New creative outlets for animated
tend to be senior tenured faculty; those features—such as the Internet, mobile
with the lowest, graduate assistants. Pro¬ phones, and MP3 players—have created
fessors working on the West Coast and strong demand for new animated films
the East Coast and those working at doc¬ and shorts. Animators will be needed to
torate-granting institutions also tend to create these works, and animation profes¬
earn the highest salaries. Many professors sors will be in demand to teach aspiring
try to increase their earnings by complet¬ animators skills that will help them stand
ing research, working as freelancers in out in this competitive market.
animation-related industries, publish¬ “There are a wide range of jobs available
ing in their field, or teaching additional for animation faculty who teach produc¬
courses. tion courses, or production and history/’
Benefits for full-time faculty typically says Dr. Furniss. “It is a bit harder when it
include health insurance and retire¬ comes to professors who dedicate them¬
ment funds and, in some cases, stipends selves solely to animation history. Usu¬
for travel related to research, hous¬ ally those individuals find themselves
ing allowances, and tuition waivers for split between other types of media history
dependents. courses and animation studies courses.”
Computer and Video Game
Artists and Animators
SUMMARY
Definition Alternative Job Titles Educational Requirements

Computer and video game 3D object specialists Bachelor's degree
artists and animators Background artists
use their computer skills Character artists Certification or Licensing
as well as their artistic Character builders None available
abilities to produce games Character concept artists
Employment Outlook
that may entertain, test, Conceptual artists
Much faster than the
and even teach players. Environmental modelers
average
Artists and animators Game designers
work as part of a team that Modelers High School Subjects
develops a concept for a Object builders Art
game, game rules, vari¬ Production artists Computer science
ous levels of play, and the Stylists Mathematics
game story from begin¬ Texture artists
ning to end. Personal Interests
Salary Range Computers
$31,570 to $57,000 to Entertaining/performing
$100,390+
“One project that I worked on that I really WHAT DOES A COMPUTER

enjoyed was for Disney,” says production
artist and animator Jo Claxton. “It was a AND VIDEO GAME ARTIST
game to promote the show Yin Yang Yo. OR ANIMATOR DO?
The show had a great style and design Game artists and animators create games,
sense that was very easy to translate into which can fall into several categories,
a user interface for a game. It was a really including sports, action/adventure, simu¬
fun game, and I worked with an awesome lation, and education. Today, games are
animator and a fantastic engineer on it. also played in a variety of environments,
It's a great experience to get to work on a such as on the Internet, on personal com¬
really creative and fun project with really puters, in arcades, on cell phones, and on
talented people.” consoles at home. Additionally, games
42
Computer and Video Game Artists and Animators 43
are typically created to appeal to a cer¬

tain audience; for example, boys, girls,
teens, men in their 30s, or everyone. As To Be a Successful
they do their work, artists and animators Computer and Video
must always keep these factors in mind Game Artist or
to ensure that the look they produce will
Animator, You Should...
meet the game’s requirements.
Artists and animators may work at • be highly creative
small, start-up companies that are try¬ • enjoy playing computer and video
ing to produce their first big-hit game, or games
they may work at established companies, • have a good sense of color
producing new games for an already suc¬
• be able to visualize objects in three
cessful series. Because of factors such as dimensions
company size, personal skills and expe¬
• have the ability to work well as a
rience, type of game worked on, and
member of a team
developing technologies, not all game
• be able to accept constructive
artists and animators have the same
criticism
responsibilities—or even the same job
titles—throughout the industry. Some • be curious
may specialize on a particular aspect of • be willing to continue to learn

the game, such as creating the game’s throughout your career
environments (for example, a desert, a
city, the surface of another planet), while
others may work on multiple aspects of a
game, such as building a character, ani¬ on which the game will be played, and
mating it, and creating other objects in number of players to be involved. They
the game. No matter what their job title collaborate to come up with a workable
or the type of game they work on, how¬ game idea, game rules, and levels of play.
ever, artists and animators must be able Conceptual artists sometimes create sto¬
to work as part of a team because several ryboards, which sketch out elements of
groups, or teams, of people usually work the game, such as characters and action,
together to produce a game. In addition and set a visual tone that the final prod¬
to the artists and animators, these include uct should have. This sketch work does
people who come up with the game idea not typically become part of the finished
and its rules, computer programmers who product’s “in-game” art. It does, though,
create the software for the game, and give the other artists a visual direction on
game testers who make sure the game which to base their work.
works properly. Video games are made to look 2D, 3D,
Game designers begin the process of or combine both 2D and 3D features.
developing a video game by considering Artists who create in-game art with a
the intended audience, type of equipment 2D look do this by drawing on paper and
then scanning the work into a computer. backgrounds. In some cases, the back¬
Artists who create in-game art that has ground artist will create objects that are
a 3D look use special computer software part of the scene, such as the furniture in
to make the artwork inside a computer. a room, or items a character might use,
Some artists may also build models or like a sword or magic bracelet. In other
sculptures of objects and use a 3D scanner cases, another artist—a 3D object spe¬
to scan the model into the computer. The cialist or object builder—will create such
artist may then use software to touch up items. Once again, this artist must make
the image until it has the desired look. sure his or her work is in proportion to
Character artists, also called character the other artwork and matches the game’s
builders, character concept artists, and visual style.
stylists, are responsible for creating the Texture artists add detail to all the
characters in a game. They may draw a game’s artwork so that the surface of each
variety of sketches to plan out the char¬ element appears as it should. Texture art¬
acter, whether it is 2D or 3D. To create a ists, for example, make a brick wall in a
3D character, character artists work on a background look rough and brick-like,
computer and begin building the charac¬ make a character in a sandstorm look
ter from the inside out. To do this, they dusty, or make a treasure of jewels sparkle
use software that generates basic shapes, and shine. They work fairly closely with
which they manipulate to create a “skel¬ the background artists to ensure that the
eton” for the character. The artists add textures they create match what those
skin, fur, scales, or other types of cover¬ artists had envisioned. To build textures,
ing to the skeleton as well as colors and these artists may draw, paint, or pho¬
details, such as the eyes. tograph surfaces then scan the images
Background artists, sometimes known into the computer. They use software to
as environmental modelers or modelers, manipulate the texture image and “wrap”
create the game’s settings. For example, it around the object on which they are
they may need to create realistic city working.
scenes with various buildings, parking Animators are responsible for giv¬
ramps, and streets for different levels of ing movement to the game’s characters.
play in the game. They may also build They must have an understanding of
backgrounds for imaginary places, such human anatomy and often model game
as a planet in another galaxy. Background characters’ movements on actual human
artists are responsible for providing the or animal movement. After all, even if the
right setting for the game, and they must character is an orange, six-eyed alien with
make sure their artwork is in correct pro¬ wings, it still needs to move smoothly and
portion to other game elements. To do believably through a scene. In one method
this for 3D environments, they sketch out of animation, the artist builds a model or
their designs on paper, consult with other sculpture of a character, scans it into the
artists, and use the computer to build the computer, and then uses software to ani-
mate the character in the computer. In ing deadlines, he or she will be delaying
another method, which is typically used the production of the game and perhaps
with sports games to create the realistic putting the project in jeopardy. Few team
movements of athletes, actual people are members will want to work with someone
used as models. In this method, called like that. Additionally, artists and anima¬
“motion capture,” a person wearing body tors need to know how to use available
sensors goes through whatever motions technologies and techniques. Because
the game character will be doing—jump¬ this work is part of the dynamic computer
ing, kicking a ball, throwing a football, industry, new equipment and processes
running, dribbling a basketball, and so on. are always being developed and refined.
The motion sensors send information to Artists and animators must want to keep
a computer and the computer creates a learning throughout their careers so that
“skeleton” of the person in motion. The their skills are up to date.
animator then builds on this skeleton, Game artists and animators work pri¬
adding skin, clothing, and other details. marily indoors and at one location. They
Animators are also responsible for work with pens, pencils, and paper as well
getting characters' personalities to show as with scanners, computers, software,
through. They must use their artistic skills and other high-tech equipment. The envi¬
to convey feelings, such as anger, fear, and ronment is usually casual—business suits
happiness, through a character's facial are not required—but busy and often fast
expressions and body language. Anima¬ paced. Although artists and animators
tors may work closely with the character typically are required to work a 40-hour
artists and the game designers to get an workweek, there are often times when
understanding of each character’s per¬ they will put in much longer hours as they
sonality and goals. In this way animators work to fix any problems with a game and
can determine, for example, if a charac¬ complete it on schedule. Because this is
ter’s smile should be wide and friendly, a creative environment, artistic disagree¬
small and meek, or more like a sneer than ments come up from time to time and
a real smile. egos can get bruised. These artists and
All artists and animators must keep animators, though, also get great satis¬
practical information in mind as they do faction from their work and appreciate
their work. The type of equipment a game the opportunity to be in an environment
is designed for, for example, will impose where their creativity is valued.
limitations on such elements as the speed Many of the jobs in this field are located
of play and the details that will be visi¬ on the East Coast and West Coast, and
ble. Artists and animators must also be those just starting out may need to relo¬
able to work on schedule, meeting the cate to get employment. In addition,
deadlines set for their stage in the game artists and animators frequently move
development process. If an artist comes from one employer to another within the
up with great work but is always miss¬ industry. This helps them gain experience
attending Penn State, there were really

Good Advice only two career paths available, graphic
design or architecture. I didn't have much
Tom Tobey offers the following advice to interest in either, so I went to a small art
high school students who want to enter school after college and wound up work¬
the field: ing with Milt Neil, who was one of the
original Disney animators. This led to a
I always tell people who are getting into
the animation field to not lose sight of career in 2D film animation, which even¬
the history of animation. Watch cartoons, tually led to the game industry.
study the older Disney films, and figure “A typical day at Sony Online,” Tom
out what they were doing. Have a good continues, “starts with a lot of coffee,
library of reference material; The Illusion maybe a brief meeting with my art direc¬
of Life: Disney Animation (by Ollie John¬
tor, and then I try to knock out two or
ston and Frank Thomas) and The Anima¬
tor's Survival Kit (by Richard Williams) are three animations that day. It takes four
must haves. Draw all the time, and carry a to six weeks for me to finish a complete
sketchbook. Go to the zoo and draw. And set for a given monster, so right now I’m
don't let anyone tell you that you can't working on a dragon. I usually just go
make a living as an artist!
down the list, (walk, run, attacks, death,
etc.) not really in any order, just what I
feel like working on that day. There are
a few animations that are a real drag to
as well as work on a variety of projects
get done, so I try to get them over with
and advance their careers.
first. I love my job, and it's always differ¬
ent. Sometimes I'm animating dragons,
and then the next week it might be three¬
WHAT IS IT LIKE TO BE A
headed dogs and chimeras.”
COMPUTER AND VIDEO Tom says that one of the main draw¬
GAME ARTIST OR backs to his career is that animation pro¬
ANIMATOR? fessionals have to move to where the jobs
Tom Tobey is a senior animator at Sony are. “There really aren't animation jobs
Online Entertainment. He has worked in in every city,” he says. “Los Angeles, San
the field for 18 years. Some of his game Diego, San Francisco, Austin, Boston,
credits include EverQuest I & II, Pirates and Seattle are the primary markets. My
of the Burning Sea, Depths of Darkhol- job has allowed me to travel all over. I've
low, Dragons of Norrath, The Omens of lived in Brisbane, Australia; Seattle; and
War, The Gates ofDiscord, The Lost Dun¬ all over California. The thing I like about
geons of Norrath, The Legacy of Ykesha, the game industry is there's a real imme¬
The Planes of Power, and Blasto. grew diate reaction from players sometimes.
up watching cartoons and reading comic It’s fun to get to see players interacting
books,” he recalls. “At the time while with your characters. I also got to spend
the day with actor Phil Hartman, who did sions after the screens are reviewed by
the voice of Captain Blasto. That was a my art director and producer. Then we
really incredible day.” send these static screens to the client for
Jo Claxton is a production artist and approval before getting into production
animator for Cricket Moon Media in of the application.
Seattle, Washington. Her company cre¬ “Once we have approval to go into pro¬
ates Web sites and computer and video duction,” she continues, “I start coordi¬
games for clients such as Disney, War¬ nating with an engineer who will program
ner Bros., Nick Jr., Hasbro, and Random the game or Web site. We figure out the
House. (Visit http://icecreambunny.com best way to incorporate my animations
to view some of her personal work.) Jo into the structure built by the engineer.
has worked at Cricket Moon for about Then we usually work simultaneously on
four years. "I attended art school origi¬ all the elements of the build. Our applica¬
nally to study painting and photography,” tions are all built in Flash and I mostly cre¬
she recalls. "I then became interested in ate art in Flash, but I often have to create
comics, and that interest evolved into art assets in Photoshop and sometimes
animation. I realized that animation was use Maya to animate 3D models given to
a combination of a lot of interests that I us by clients.”
had. To animate you need to be able to
act, be musical quite often, and of course
you need to be able to draw. I didn't actu¬
DO I HAVE WHAT IT TAKES
ally know if I would be able to make a TO BE A COMPUTER AND
career out of animating, but I enjoyed it VIDEO GAME ARTIST OR
so much that I began creating my own ANIMATOR?
short animated films and began learning Game artists and animators must be cre¬
as much as I could about animation.” ative and able to translate their imagina¬
Each project that Jo works on has sev¬ tive ideas into visual representations. They
eral stages. “First, I will do some research should have a keen sense of color, be able
on the project,” she says. “We mostly to visualize things in three dimensions,
make promotional sites for animated and work as part of a group. Tike all artists,
TV series for kids, so the client will send they are able to give and receive criticism
us images, a show bible explaining the in a fair and impersonal manner. Curiosity
premise of the show, and some video ref¬ and a willingness to learn are important
erences. I make sure to get familiar with traits that drive artists and animators to
the property before starting to sketch use new technologies or try different tech¬
out ideas for user interfaces, title pages niques to get just the right visual effect for
and icons, etc. When I have some rough something like a character’s shadow. Art¬
sketches of compositions and layouts, I ists and animators should also like to play
will build out static screens of the game games themselves. The enjoyment they
or site. It will often go through some revi¬ get from playing, and an understanding of
a game artist or animator. Math classes,

Pros and Cons such as algebra and geometry, will also
be helpful. If your school offers graphic
Jo Claxton describes what she likes most design classes, be sure to take those. Biol¬
and least about her career as an ani¬ ogy classes can offer the opportunity to
mation professional in the paragraphs
learn about anatomy and physics can
below.
teach you about motion. Most artists and
Animating is a lot of fun. It's very creative animators today have college degrees, so
and challenging. In the work that I do, take classes that will help you prepare for
I get to switch from various properties a college education, including history,
every month or so, which keeps it inter¬ government, and English.
esting. I've never worked in broadcast
animation but I imagine it gets tough Postsecondary Training
sometimes animating the same style for
Many people in this field have degrees in
six months or more. But the trade-off
would be improving your character ani¬ game design, animation, fine arts, graphic
mation by leaps and bounds. arts, or industrial design, but it is possible
Animating can be frustrating some¬ to enter the game industry with a degree
times because so many aspects are time¬ in another area, such as architecture or
intensive. Getting big revisions at the
computer science. It is important to get
last minute by a client can be stressful.
Sometimes taking criticism can be diffi¬
a broad-based background in the arts,
cult because when it's your creativity that and traditional arts should not be over¬
is being criticized, it can feel like a per¬ looked. Classes in drawing, sculpture,
sonal criticism. You just need to distance painting, and color theory will teach you
yourself and realize that it's not personal; many of the basics artists need to know.
it's just business.
Some schools offer classes in animation,
and even if you don't plan on becoming
an animator, these classes will be help¬
ful to you later in your career. Naturally,
why they like to play games, helps them to computer classes are important to take,
be better game makers. and you should try to learn about game
art software, such as 3ds Max, as well as
other software, like Photoshop. And even
HOW DO I BECOME A though artists and animators usually don't
COMPUTER AND VIDEO program games, you should take computer
GAME ARTIST OR programming classes to at least learn the
ANIMATOR? basics. The more you understand about all
aspects of game development, the better
Education
able you'll be to make your artistic contri¬
High School butions enhance a game.
Take art, computer, and drama classes Jo Claxton completed the two-year
in high school to prepare for a career as digital media program at Bellevue Com-
munity College. “While I was there I are involved in the development of many
created my own animations and made a games at once. Major entertainment
portfolio site/' she says. “I didn’t do an software publishers include Electronic
internship because I got an animation Arts, Nintendo of America, Atari, Sony,
job while I was still finishing my degree Activision Blizzard, THQ, Take-Two
and I used my job to fulfill the internship Interactive Software Inc., Microsoft, and
requirement. One of the requirements Konami Digital Entertainment-America.
earlier in the course was to either be a In addition, some artists freelance, work¬
teaching assistant or to work on a project ing with a company for a limited time or
with an instructor. I chose to work on an on a particular project, then moving on
animated kiosk with one of my instruc¬ to another freelance job with a different
tors for the American Museum of Radio company.
and Electricity in Bellingham, Washing¬ Artists and animators, whether they
ton, which I was able to add to my portfo¬ are just starting out in the field or expe¬
lio. I think that when given this choice at rienced professionals applying for a job
school, it is best to participate in a project
unless you’re interested in teaching.”
Certification or Licensing Creating a Portfolio

No certification or licensing is available
for this profession. Jo Claxton offers the following advice on
assembling a top-flight portfolio:
Internships and Volunteerships
The most important tool for embarking
Internships offer an excellent opportu¬
on a career in animation is the portfo¬
nity to gain hands-on experience, which lio. There are several elements that you
employers like any new hire to have. Your should have in your portfolio. You need
college or university will most likely have to have sketches to show that you can
formal internship agreements with game draw in a way that lends itself to animat¬
companies in your area. You might also ing. You should also have at least one
walk cycle, and try to dress it up a little
try to volunteer at a game company dur¬
so it's not just a character walking on a
ing summer vacations or after school, white page. Create a background and
although these opportunities are hard to an interesting character and even a lit¬
obtain since so many people are inter¬ tle story to accompany the walk cycle. I
ested in this field. would recommend that anyone working
on putting their portfolio together take
a look at professional animators' portfo¬
WHO WILL HIRE ME? lios and try and get as close in quality to
these examples as possible. A good refer¬
Game artists and animators work at small
ence for looking at professional portfo¬
companies or start-ups whose focus is the lios is a Web site called Cold Hard Flash
development of only one or two games. (http://www.coldhardflash.com).
They also work at large companies that
www.dice.com) offer information on jobs

and employers.
Did You Know?
• Sixty-five percent of American
households play video games. WHERE CAN I GO FROM
• Forty percent of computer and HERE?
video game players are female. Artists and animators can advance into
• The average game player is 35 positions such as lead artist and lead ani¬
years old. mator. Their responsibilities can include
overseeing the work of a team on a proj¬
Source: Essential Facts About the Computer ect, going over the artwork of individ¬
and Video Game Industry, 2008 ual members, and keeping the team on
their time line. Art directors and anima¬
tion directors have even more manage¬
ment responsibilities. They may oversee
with a new employer, need to have a the work of several teams, assign game
portfolio that highlights their best work. projects to teams, plan the timeline for a
Potential employers will look at a portfolio game’s development, keep an eye on the
to get an idea of the artist’s or animator’s budget, and do other administrative tasks.
abilities. One of the main components Not all artists and animators want to
of the portfolio is the demo reel. Those move into such a position because direc¬
who are seeking their first job can make a tors’ responsibilities remove them from
reel using artwork that they have done for the hands-on creative process. These art¬
school as well as anything they’ve made ists and animators may choose to advance
on their own. by continuously upgrading their skills and
To learn of job openings, college stu¬ working in areas of art that they haven’t
dents should network with the teach¬ previously tried. With their hard work
ers, many of whom have contacts in the and broad experience, they can gain a
industry. Conferences, such as SIG- reputation in the industry for the quality
GRAPH and the Game Developers and variety of their artwork and become
Conference, provide major networking sought-after artists.
opportunities where students can meet
those in the field as well as learn about
job openings. The Internet is also a good WHAT ARE THE SALARY
source to use, and Web sites such as Ani¬ RANGES?
mation World Network (http://www.awn. The U.S. Department of Labor does not
com), Highend Careers (http://www. have specific information on the earnings
highendcareers.com), GameJobs.com (http: of game artists and animators. It does,
//www.gamejobs.com), Gamasutra (http:// however, provide wage information for
www.gamasutra.com), and Dice (http:// multimedia artists and animators, a group
that includes those working on computer the average for all occupations through
and video games. The median annual sal¬ 2016. “The state of the industry is stron¬
ary reported for all multimedia artists and ger than ever,” says Tom Tobey. “More
animators was $56,330 in 2008, according and more schools have animation pro¬
to the U.S. Department of Labor. Salaries grams and good animators are always in
ranged from less than $31,570 to $100,390 demand.”
or more. The International Game Devel¬ Those within the industry see a bright
opers Association reports that artists future as the demand for games continues
with one to two years of experience earn to grow steadily and technologies make
approximately $57,000. new kinds of games possible. Competi¬
Artists and animators working for small tion for jobs should be strong since many
companies and start-ups may have few creative and technically savvy people
if any benefits, such as health insurance want to be part of this business.
and retirement plans. Freelance workers One trend that may effect employment
must buy their own health insurance and for artists and animators is outsourcing,
provide for their retirement themselves. in which U.S.-based animation companies
Also, they are not paid during any time move their operations overseas in order
off they take for vacations or illnesses. to reduce labor costs. “A lot of the big ani¬
Artists and animators who work for large mation studios that produce films have
companies, however, typically receive closed their U.S. facilities and opened stu¬
benefits that include retirement plans, dios overseas that are cheaper to operate,”
health insurance, and paid vacation and says Jo Claxton. “But there are still a lot
sick days. of smaller studios that work on smaller
projects, television shows, commercials,
and games that find it much more cost
WHAT IS THE JOB effective to have an in-house studio in the
OUTLOOK? States. And the Web and other new tech¬
The U.S. Department of Labor estimates nologies just keep offering more oppor¬
that employment for multimedia artists tunities for producing applications that
and animators will grow much faster than require animation.”
Designers
SUMMARY
Definition sound effects, characters, Educational Requirements

Computer and video game story lines, and graphics. Bachelor's degree
designers create the Designers either work
for companies that make Certification or Licensing
ideas and interactivity for
the games or create the None available
games. These games are
games on their own and
played on various plat¬ Employment Outlook
sell their ideas and pro¬
forms, or media, such as Faster than the average
grams to companies that
video consoles and com¬
produce them. High School Subjects
puters, on portable tele¬
communication devices Art
Alternative Job Titles Computer science
(such as cell phones),
Game creators
and through Internet
Personal Interests
subscriptions. They Salary Range Computers
generate ideas for new $46,208 to $67,379 to Entertaining/performing
game concepts, including $98,370+
‘Til never forget the first review I read WHAT DOES A

of my game/’ says game designer Justin
Leeper. “After years of writing reviews,
COMPUTER AND VIDEO
I put myself in a vulnerable position as GAME DESIGNER DO?
a creator of something that was being Designing games involves programming
reviewed. Fortunately, the review was code as well as creating stories, graphics,
a very positive one—not just about our and sound effects. It is a very creative pro¬
game as a whole, but the things in which cess, requiring imagination and computer
I was directly involved. It was a bit of val¬ and communication skills to develop
idation, and I allowed myself a sense of games that are interactive and entertain¬
pride, if only for a moment. Other posi¬ ing. Some game designers work on their
tive and negative reviews would follow, own and try to sell their designs to com¬
but it's just nice to know people get and panies that produce and distribute games;
appreciate what you tried to do.” others are employees of companies such
52
as Electronic Arts, Nintendo of America, will the screen look like? What kinds of
and many others. Whether designers sound effects should the player hear?);
work alone or for a company, their aim is and what productivity tools (such as word
to create games that get players involved. processors, database programs, spread¬
Game players want to have fun, be chal¬ sheet programs, flowcharting programs,
lenged, and sometimes learn something and prototyping programs) the designer
along the way. intends to use to create these elements.
Each game must have a story line as Independent designers submit a product
well as graphics and sound that will idea and design proposal to a publisher
entertain and engage the players. Story along with a cover letter and resume.
lines are situations that the players will Employees work as part of a team to cre¬
find themselves in and make decisions ate the proposal and design. Teamwork
about. Designers develop a plan for com¬ might include brainstorming sessions to
bining the story or concept, music or come up with ideas, as well as involvement
other sound effects, and graphics. They in market research (surveying the players
design rules to make it fun, challenging, who will be interested in the game).
or educational, and they create characters The final game design details the basic
for the stories or circumstances, worlds in idea, the plot, and every section of the
which these characters live, and problems game, including the startup process, all
or situations these characters will face. the scenes (e.g., innings for baseball games
One of the first steps is to identify the and maps for edutainment games), and
audience that will be playing the game. all the universal elements (e.g., rules for
How old are the players? What kinds of scoring, names of characters, and a sound
things are they interested in? What kind effect that occurs every time something
of game will it be: action, adventure, specific happens). The story, characters,
“edutainment/' role-playing, or sports? worlds, and maps are documented. The
And which platform will the game use: game design also includes details of the
video game system (e.g., Nintendo), logic of the game, its algorithms (step-
wireless device (cell phone, PDA, etc.), by-step procedures for solving problems
computer (e.g., Macintosh), or online the players will encounter), and its rules;
(Internet via subscription)? methods the player will use to load the
The next steps are to create a design game, start it up, score, win, lose, save,
proposal, a preliminary design, and a stop, and play again; the graphic design,
final game design. The proposal is a brief including storyboards and sample art; and
summary of what the game involves. The the audio design. The designer might also
preliminary design goes much further, include marketing ideas and proposed
outlining in more detail what the concept follow-up games.
is (the story of the game); how the players Designers interact with other workers
get involved; what sound effects, graphics, and technologists involved in the game
and other elements will be included (What design project, including programmers,
plan and guidelines (How will designers

manage the process? How much will it
To Be a Successful cost to design the game? How long will the
Computer and Video guidelines be—five pages? 300?). Finally,
Game Designer, they amend designs at every stage, solving
problems and answering questions.
You Should...
Computer and video game designers
• love playing video games often keep scrapbooks, notes, and jour¬
• have a good memory nals of interesting ideas and other bits of
• stay abreast of the latest develop¬ information. They collect potential game
ments in technology material and even catalog ideas, vid¬
eos, movies, pictures, stories, character
• have good writing and design
skills descriptions, music clips, sound effects,
animation sequences, and interface
• be good at solving problems
techniques. The average time it takes to
• have excellent communication
design a game, including all the elements
skills
and stages just described, can range from
• be a good listener about six to 18 months.
• be flexible about design and Computer and video game designers
schedule changes work in office settings, whether at a large
• be willing to work overtime to company or a home studio. At some com¬
meet project deadlines panies, artists and designers sometimes
find themselves working 24 or 48 hours at
a time, so the office areas are set up with
sleeping couches and other areas where
employees can relax. Because the game
audio engineers, artists, and even asset
development industry is competitive,
managers, who coordinate the collecting,
many designers find themselves under
engineering, and distribution of physical
a lot of pressure from deadlines, design
assets to the production team (the people
problems, and budget concerns.
who will actually produce the physical CD-
ROM or DVD).
Designers need to understand games
and their various forms, think up new WHAT IS IT LIKE TO BE A
ideas, and experiment with and evaluate COMPUTER AND VIDEO
new designs. They assemble the separate GAME DESIGNER?
elements (text, art, sound, video) of a Justin Leeper has worked in the computer
game into a complete, interactive form, and video game industry since 1999. He
following through with careful plan¬ currently works for THQ, a large game
ning and preparation (e.g., sketching out developer. “My title is game designer, but
scripts, storyboards, and design docu¬ unofficially I am the season mode designer
ments). They write an implementation for the WWE SmackDown vs. Raw series.
Profile: Martin Theyer
Martin Theyer is the studio outsource This includes, but isn't limited to, high-
manager working on the Ultimate Fight¬ res models, renders, textures for other
ing Championship projects at THQ Inc., models in the games, etc. Secondary
a large game developer. He has worked duties at this time involve doing pro¬
in the video game industry for about 15 duction work for the team, leaning
years. Martin discussed his career with the mostly on the side of the art depart¬
editors of What Can I Do Now? Animation. ment. This means grabbing reference
images, organizing photo shoots,
Q. What made you want to enter this communicating with our developers
field? and vendors, testing the game, giving
A. Prior to getting into the video game feedback, etc. While it might sound a
business back in the day, I was work¬ cheap way to cover it all, I wear many
ing at some health provider company, hats with an emphasis and focus on
doing administrative work in the the creation of our in-game models
worker's compensation department. externally. Being in a production role,
After two years of that, I knew I had not strictly an art role, means that
to get out of there. So, when I had a you need to be flexible, capable of
chance to jump on board with Activi¬ adapting to any change that pops up
sion during their return from Chapter (and they do pop up), while keeping
13 days, shipping Return toZork, I did focused on the biggest picture: ship¬
it! Then with the right connections and ping your product.
opportunities, I kept moving ahead.
I entered the video game industry Q. What do you like most and least
because I frankly have grown up playing about your work?
video games since the days of Apple lie A. The most? I love making games and
and IBM 8088s, when you had mono¬ the creative process which results in
chrome green or amber and eventually real-world creations. I'm a builder at
three colors in color/graphics adapter heart and have always enjoyed see¬
mode while there were barely any ing creativity turn into entertainment.
joysticks in the world. Flight Simulator The least? When there are pockets of
from Microsoft was fun, as were various time having to wait for the next sub¬
other Apple lie games, like Ultima I, II, missions and needing to find busy
and III. Heck, even some BASIC games work to keep the day from dragging
were fun. I recall when Wizardry I was on; note these days are very rare, but
entertaining for hours on end. I hate them nonetheless. I also hate
when we are limited by budget, not
Q. Can you describe a typical day on being able to create or do something
thejob? due to financial or schedule reasons.
A. Atypical day on the job consists of get¬
ting in at 9 a.m. and working through Q. What are the most important per¬
the various tasks until 6 p.m. or later. sonal and professional skills for
Those duties basically involve manag¬ game industry professionals?
ing the creation of assets for the Ulti¬
mate Fighting Championship projects. (continued on next page)
(continued from previous page) 2 on the GameBoy Advance; help¬

ing with the design of and scripting
A. Communication, integrity, and being in Revenge of Shinobi on the Game¬
able to track many things at once. I'd Boy Advance; and working with the
say having an excellent memory or programmers back on the original
ability to list things is a huge benefit. Knockout Kings for the PS2, where we
Become familiar and aware of all the would go some 12 to 16 hours a day
different parts of a game. Being eager during the crunch, have them crash
and energetic without coming off as on my couch, only to wake up in four
some crazed animal that's sticking to six hours and repeat the same
their nose into everything—no one thing for roughly three months in a
likes an unruly dog, right? Listening row.
skills are huge too, plus diplomacy, I think the best experience has
great memory, and patience. always been when something actually
is "finished," even after you are con¬
Q. What have been some of your most stantly going, "Oh heck, we can fix this
rewarding experiences during one last thing, come on!"
your career? This industry—due to the creativity
A. Well, some of my most rewarding and quality of people I have had the
experiences include making the levels good fortune to work with—has been
for various handheld games: Tarzan the best experience in my life, and
on the GameBoy Color, Altered Beast frankly, I hope I die working in it.
IVe always loved video games, always had to do. Then I enter the writing process
great memories of playing them over the while sculpting high-level designs. Next
years. It never really struck me as some¬ is motion-capture (which I cast, choreo¬
thing I could do to pay the bills, though. graph, and direct), and meetings with our
I wasn’t one of those kids with some big developers to ensure our game-play ideals
goal I was dead-set on pursuing. In 1999 are understood. After that is the review
I stumbled into a job at Game Informer process: first for audio and visual for the
magazine, which turned into an eight- cut-scenes (cinematic scenes that play
year career as a video game journalist. out like WWE segments), and later, when
During that time, I also trained and per¬ things are closer to completion, review¬
formed as a professional wrestler. When ing the game as a whole. Then comes the
I got the opportunity to meld three of bug-test, where I act as go-between with
my biggest passions into a career—video the quality assurance department and our
games, writing, and wrestling—there was developers to decide what things are really
no way I could pass it up.” bugs and what will be left as-is. And soon
Justin says that there is no typical day enough, preproduction edges its way back
in game design. “Duties cycle like the sea¬ into my life.”
sons for me,” he says. “First comes pre- Justin cites meetings and ancillary pro¬
production, figuring out what you want duction activities that are unrelated to
his work as the least favorite parts of his your feet and come up with multiple solu¬
job. Tm not a huge fan of the meetings, tions for potentially troubling issues.”
or the things that don’t involve me actu¬ Justin is also a big proponent of balance
ally writing or designing,” he says. “There in one’s work life. “That means being able
are so many things going on not related to to log out and take your mind off work to
the actual making of a game, and I don’t refresh yourself,” he explains. “I see a lot of
have a ton of patience for them. I think it’s people who intentionally overwork them¬
because my main concern is the quality of selves. Your stress level can be high, and
our game, but schedule and budget have to you need to allow it to get lower again so
play a large role, and we have more people you can be your best. Balance also means
employed to ensure they get their due dili¬ being confident in your ideas, but flexible
gence. What I enjoy most is the end prod¬ enough to change things when the need
uct. I love seeing this tangible thing, which arises. Changes happen too often to get
is the result of my hard work and that of married to your ideas.”
my coworkers. It will always exist as a tes¬ Designers must also have the endur¬
tament to that year or so of work.” ance to see a project through from begin¬
ning to end and also be able to recognize
when a design should be scrapped.
DO I HAVE WHAT IT TAKES
TO BE A COMPUTER AND
VIDEO GAME DESIGNER? HOW DO I BECOME A
One major requirement for game design COMPUTER AND VIDEO
is that you must love to play video and GAME DESIGNER?
computer games. You need to continually
Education
keep up with technology, which changes
fast. Although you might not always use High School
them, you need to have a variety of skill If you like to play video or computer
sets, such as writing, programming, and games, you are already familiar with
designing sound effects. them. You will also need to learn a pro¬
You must also have vision and the abil¬ gramming language like C++ or Java, and
ity to identify your players and anticipate you’ll need a good working knowledge
their every move in your game. You’ll also of the hardware platform for which you
have to be able to communicate well with plan to develop your games (video, com¬
programmers, writers, artists, musicians, puter, online, etc.). In high school, learn
electronics engineers, production work¬ as much as you can about computers:
ers, and others. Good problem-solving how they work, what kinds there are, how
skills are key to career success. “In my to program them, and any languages you
job,” says Justin Leeper, “the only thing to can learn. You should also take physics,
expect is unexpected problems: things go chemistry, and computer science. Since
missing, licensors require rewrites, and designers are creative, take courses such
budgets get slashed. You need to think on as art, literature, and music as well.
Postsecondary Training Recommended college courses include

Although strictly speaking you don't have programming (including assembly level),
to have a college degree to be a game computer architecture, software engineer¬
designer, most companies are looking for ing, computer graphics, data structures,
creative people who also have a degree. algorithms, game design, communication
Having one represents that you've been networks, artificial intelligence (AI) and
actively involved in intense, creative work; expert systems, interface systems, math¬
that you can work with others and follow ematics, and physics.
through on assignments; and, of course,
that you've learned what there is to know Certification or Licensing
about programming, computer architec¬ No certification or licensing is available
ture (including input devices, processing for this profession.
devices, memory and storage devices, and
output devices), and software engineer¬ Internships and Volunteerships
ing. Employers want to know that you've Many game companies offer internships
had some practical experience in design. to aspiring game designers; visit their Web
A growing number of schools offer sites for details. College-level students
courses or degrees in game design. Ani¬ can also check with their professors or
mation World Network offers a data¬ with their college's career services office
base of animation schools at its Web site for available opportunities. Many game
(http://schools.awn.com). Another good designers credit their participation in an
source of schools can be found at the internship as one of the keys to break¬
International Game Developers Associ¬ ing into the field. An internship will pro¬
ation's Web site (http://www.igda.org/ vide you with hands-on experience and
breakingin/resource_schools.php). allow you to make valuable contacts that
you can take advantage of when you're
ready to look for a job. Volunteering at a
game company is also a good option, but
it will be difficult—especially if you are
Game Players a high school student—to find this type
by Age, 2008 of opportunity. You can also gain experi¬
ence by reading about game design, vis¬
Under age 18: 25 percent iting gaming Web sites, and creating a
Ages 18-49: 49 percent
basic video game with your friends.
50+ years: 26 percent
Source: Essential Facts About the Computer

and Video Game Industry, Entertain¬ WHO WILL HIRE ME?
ment Software Association Software publishers (such as Electronic
Arts and Activision Blizzard) are found
throughout the country, though most are
located in California, New York, Wash¬ the Game Developers Conference,

ington, and Illinois. Big media compa¬ http://www.gdconf.com), where you find
nies such as Disney have also opened recruiters looking for creative people to
interactive entertainment departments. work at their companies, and checking in
Jobs should be available at these compa¬ with online user groups, which often post
nies as well as with online services and jobs on the Internet.
interactive networks, which are growing Also consider looking for an intern¬
rapidly. Visit http://aidb.com for a data¬ ship to prepare for this career. Many soft¬
base of thousands of animation-related ware and entertainment companies hire
companies. interns for short-term assignments.
Some companies are involved in pro¬
ducing games only for wireless devices
or online play; others produce only for WHERE CAN I GO FROM
computers; others make games for vari¬ HERE?
ous platforms. Just as with many jobs, to have better
There are a couple of ways to begin opportunities to advance their position
earning money as a game designer: inde¬ and possibly earn more money, computer
pendently or as an employee of a company. and video game designers have to keep
It is more realistic to get any creative job up with technological developments.
you can in the industry (for example, as They must be willing to constantly learn
an artist, a play tester, a programmer, or more about design, the industry, and even
a writer) and learn as you go, developing financial and legal matters involved in
your design skills as you work your way game development.
up to the level of designer. Becoming and remaining great at their
Contact company Web sites and sites job may be a career-long endeavor for
that advertise job openings, such as Ani¬ computer and video game designers, or
mation World Network (http://www. just a stepping-stone to another area of
awn.com), Highend Careers (http://www. interactive entertainment. Some design¬
highendcareers.com), GameJobs.com ers start out as artists, writers, or pro¬
(http://www.gamejobs.com), Gamasutra grammers, learning enough in these jobs
(http://www.gamasutra.com), and Dice to eventually design. For example, a per¬
(http://www.dice.com). son entering this career may begin as a 3D
In addition to a professional resume, animation modeler and work on enough
it is a good idea to have your own Web game life cycles to understand what it
site where you can showcase your demos. takes to be a game designer. He or she
Make sure you have designed at least one may decide to specialize in another area,
demo or have an impressive portfolio of such as sound effects or even budgeting.
design ideas and documents. Some designers rise to management
Other ways to find a job in the indus¬ positions, such as president or vice presi¬
try include going to job fairs (such as dent of a software publisher. Others write
age salaries of approximately $67,379 in

2008. Game designers with less than three
Most Popular Online years of experience earned approximately
Games, 2008 $46,208. Those with three to six years'
experience averaged $54,716 annually, and
Puzzle/board/game
those with more than six years' experience
show/trivia/card: 47 percent
Action/sports/strategy/ averaged $74,688 per year. Lead design¬
role-play: 16 percent ers/creative directors earned higher sala¬
Downloadable games ries, ranging from $60,833 for those with
(such as Bejeweled): 14 percent three to six years' experience to $98,370
Other: 12 percent
for workers with six or more years of expe¬
Persistent multiplayer
11 percent
rience in the field. It is important to note
universe:
that these salaries are averages, and some
Source: Essential Facts About the Computer designers (especially those at the beginning
and Video Game Industry, Entertain¬ stages of their careers) earn less than these
ment Software Association amounts. These figures, however, provide
a useful guide for the range of earnings
available. Game designers on the West
Coast earn salaries that are approximately
for magazines and books, teach, or estab¬ 12 percent higher than those employed in
lish their own game companies. other parts of the country, according to
Game Developer.
Any major software publisher will
WHAT ARE THE SALARY likely provide benefits such as medical
RANGES? insurance, paid vacations, and retirement
Most development companies spend up plans. Designers who are self-employed
to two years designing a game before any must provide their own benefits.
of the mechanics (such as writing final
code and drawing final graphics) begin;
more complex games take even lon¬ WHAT IS THE JOB
ger. Companies budget $1-3 million for OUTLOOK?
developing just one game. If the game is Computer and video games are a fast¬
a success, designers are often rewarded growing segment of the U.S. entertain¬
with bonuses. In addition to bonuses or ment industry. In fact, the Entertainment
royalties (the percentage of profits design¬ Software Association reports that sales
ers receive from each game that is sold), of computer and video game software
designers' salaries are affected by their reached $9.5 billion in 2007. As the
amount of professional experience, their demand for new games, more sophis¬
location in the country, and the size of ticated games, and games to be played
their employer. Game Developer maga¬ on new systems grows, more and more
zine reports that game designers had aver¬ companies will hire skilled people to ere-
ate and perfect these products. Oppor¬ more and more integration of interactive
tunities for game designers, therefore, entertainment into mainstream society.
should be good. Online development tools such as search
Game development is popular. The engines, graphic and sound libraries, and
Entertainment Software Association esti¬ programming languages such as Java will
mates that about 36 percent of American probably create opportunities for new
heads of households play computer and types of products that can feature game
video games. People in the industry expect components.
Directors
SUMMARY
Definition may give additional guid¬ Certification or Licensing

Directors are the overall ance if the work falls short None available
managers of any anima¬ of their vision for the
tion project—whether project. Employment Outlook
it's a video game, com¬ Faster than the average
Alternative Job Titles
mercial, music video, or
Animation supervisors High School Subjects
film. They supervise the
creative work or perfor¬ Art
Salary Range English (writing/literature)
mance of artists, anima¬ $30,250 to $85,000 to
tors, designers, writers, $200,000+ Personal Interests
voice actors, and mem¬
Educational Requirements Entertaining/performing
bers of the production or
Bachelor's degree Film and television
technical staff. Directors
approve work done at all
stages of production, or
Scott Fabianek, an art director at Epi¬ WHAT DOES A

center Studios, says that he feels great
satisfaction every time he and his staff
DIRECTOR DO?
complete a game and it makes its way Many types of directors are employed
to store shelves. “The entire team has in animation-related industries. The
worked together to create a project following paragraphs detail special¬
that is now out there to be enjoyed and ties in the computer and video game,
hopefully welcomed with open arms/' advertising, and film and television
he says. “We can breathe a sigh of relief industries, among others. Some jobs
that we completed what we had set out are industry specific, while others may
to accomplish. There is a feeling of be found in more than one animation-
pride in yourself and in your team.” related industry.
62
Directors 63

Industry
Art directors ensure that all visual aspects To Be a Successful
of a computer or video game meet the Director, You Should...
expectations of the producers, and ulti¬ • be creative
mately, the client The art director works
• have flexibility
directly and indirectly with all artists on a
project, such as 2D and 3D artists, model • have strong communication skills
makers, texture artists, and character ani¬ • be able to work well with many
mators. They supervise both in-house and types of people
off-site staff, handle management issues, • be knowledgeable about com¬
and oversee the entire artistic produc¬ puter hardware and software in
tion process. Depending on the size of the your specialty
company, the director may work as a staff • be able to work under deadline
artist in addition to handling managerial pressure
tasks. But generally, the director’s main • be willing to continue to learn
responsibilities focus on board meetings throughout your career
rather than on the drawing board.
Art directors must be skilled in and
knowledgeable about design, illustration,
computers, research, and writing in order staff that can accomplish these tasks.
to supervise the work of their depart¬ Because the visual aspects of a game are
ment. They need to be skilled in classic so important, the art department can be
art forms, such as illustration and sculp¬ quite large, even just for the creation of a
ture, and computer art tools. single game.
To coordinate all artistic contributions The process of creating a computer or
of a computer or video game, art direc¬ video game begins in much the same way
tors may begin with the client’s concept that a television show or film is created.
or develop one in collaboration with the The art director may start with the cli¬
executive producer. Once the concept is ent’s concept or develop one in-house in
established, the next step is to decide on collaboration with staff members. Once
the most effective way to create it. If the a concept has been created, the art direc¬
project is to create a sequel to a preexist¬ tor sketches a rough storyboard based
ing game, past animations and illustra¬ on the producer’s ideas, and the plan is
tions must be taken into consideration presented for review to the creative direc¬
and reevaluated for use in the new game. tor. The next step is to develop a finished
After deciding what needs to be cre¬ storyboard, with larger and more detailed
ated, art directors must hire talented frames (the individual scenes) in color.
This storyboard is presented to the cli¬ Production designers are responsible

ent for review and used as a guide for the for all visual aspects of on-screen produc¬
executive producer. tions. Working with directors, produc¬
Managing a team of animators and ers, and other professionals, production
other artists, creative directors offer great designers interpret scripts and create or
input into the style, design, and gam¬ select settings to visually convey the story
ing experience of computer and video or the message. Art directors are the top
games. Creative directors make certain assistants of production designers; they
that games follow an approved style or ensure that the production designer’s
specification, such as a re-occurring char¬ vision is implemented.
acter, theme, or function. They work with Cel animation is the traditional form
the art director to define the desired ani¬ of animation that dominated the ani¬
mation style of the project and with the mation industry until the 1990s, when
producers to set goals within the given it was replaced by computer-generated
budget and schedule. animation technology. About 95 per¬
cent of today’s major animated features
Animated Films, Television Shows, are created using computer-generated
Commercials, and Music Videos animation technology, but this does not
Casting directors audition actors and mean that cel animation is extinct. Cel-
actresses for animated productions. They animated features such as Lilo & Stitch
recommend actors to producers and (2002) have proven that there is still a
directors. But unlike traditional film and niche market for this animation tech¬
television casting directors, these profes¬ nique. Directors of cel animation have
sionals typically focus on an actor’s voice great control of cel animation projects,
and audio expressiveness, not their looks specifically during the production of sto¬
or physical acting abilities. Casting direc¬ ryboards and animation sequences. They
tors find just the right actor to voice a work with writers from the story depart¬
character in an animated film or video ment on ideas and the development of
game. For example, they might seek an a story line. They also supervise artistic
actor with an offbeat, even squeaky, voice elements of a project, such as approving
for the role of a wacky alien or one with a all character sketches and background
deep, commanding voice for the role of a painting. Directors of cel animation may
military leader or teacher. They also seek delegate work assignments to members of
actors who can express emotion—happi¬ the animation and layout staff and make
ness, anger, excitement, sadness, etc.—via sure all work is completed on schedule.
their voices. Some films now combine live They also work closely with the project’s
action with animation; in these instances, producers on staffing and other issues.
a casting director will search for an actor Directors of computer-generated ani¬
with a combination of the right look, mation manage animators and art¬
voice, and acting ability. ists on a daily basis, checking that their
Directors 65
work meets design and thematic stan¬

dards. They also work with produc¬ Key Skills for
tion designers, art directors, and other Animation Professionals
production staff to make sure that the
project is manageable and meeting sched¬ Below, Webster Colcord details the most
uling demands. Directors of computer¬ important personal and professional
generated animation are knowledgeable skills for animation professionals.
about different software programs such
I think that it's important to have a solid
as 3D Package and Maya. Animation
art foundation. Even with purely com¬
supervisors work directly under directors, puter-based animation, an artistic back¬
often handling many director-level tasks ground helps to train an animator's eye
on large productions. Job titles and duties from an aesthetic standpoint. Experience
often overlap in the animation industry. in all aspects of photography, particularly
composition, is great. Acting experience
On some productions, for example, ani¬
is necessary. An animator should be
mation supervisors may be referred to as highly tuned in to analyzing motion of
animation directors. common, everyday things and should be
Even after an animated work is com¬ able to break down the timing of their
pleted, there is still much to be done movement into frame numbers and
before feature films, commercials, videos, motion formulas.
Of course it's a plus if the animator is
or television shows are considered “done/'
technically skilled, knows several software
The director ofpostproduction supervises packages, and knows what's going on
the processing and delivery of dailies to "under the hood" when it comes to com¬
the proper departments, coordinates and puter graphics. This is particularly true if
implements editing schedules, and moni¬ an animator is working in video games,
where the technical considerations are
tors the cost of all postproduction work
sometimes more at the forefront of the
to stay within budget. problem solving the animator/animation
Directors usually work in studios or supervisor needs to do on a project. In a
offices. Their work areas are typically computer game the software is a clock¬
comfortable, well lit, and ventilated. work machine, the workings of which
The work of the director is considered need to be understood to be able to
manipulate it.
glamorous and prestigious, and direc¬
tors—especially in the film and television
industries—have been known to become
quite famous. But directors work under are ultimately responsible for so much,
great stress, meeting deadlines, staying schedules often dictate that they become
within budgets, and resolving problems immersed in their work around the clock,
among staff. “Nine-to-five" definitely from preproduction to final cut. Nonethe¬
does not describe a day in the life of less, those able to make it in the industry
a director; 16-hour days (and longer) find their work to be extremely enjoyable
are not uncommon. Because directors and satisfying.
WHAT IS IT LIKE TO BE A to help fill in the cracks that may occur

because we don't have the manpower of a
DIRECTOR? larger company. This involves everything
Scott Fabianek is an art director at Epicen¬
from animation, environments, and char¬
ter Studios (http://www.epicenter-studios.
acters to even the patching of collision
com), an independent game development
holes or texture processing—whatever
studio in Sherman Oaks, California. He has
I can do to help out and make sure my
been creating computer and video games
team can stay focused.”
since 2001. "I have always loved playing
Scott says that the best part of his job
video games,” he says, “and as an artist I
is working as a member of a team to cre¬
was drawn to the interactivity of games
ate games. “What I like most is that feel¬
and the feeling of the player controlling the
ing of working together as a team when
artwork as the characters run, jump, and
we are in the middle of a project and art,
move around the screen—unlike movies design, and programming are all working
where what the artist creates is only shown together toward a common goal. There
for the amount of screen time and from is a feeling of teamwork when ideas are
the angle storyboarded out. Games allow bouncing back and forth and progress
the player to explore the environments is being made—feeding off each others'
and essentially make the artwork we are excitement and the energy that fuels the
creating interactive.” creative fire.” Scott is least fond of the
Scott typically tries to start his day at long hours that are often involved as a
the office before any other workers arrive. result of project deadlines. “I try my best
“As art director I like to have that time to schedule and anticipate,” he says, “but
in the morning to collect my thoughts one thing you can count on is that nothing
and plan out the day for myself as well goes according to plan. There will be late
as for those on my team,” he says. “The nights, weekends, and time taken away
day consists of meeting with the depart¬ from your family because of development
ments and talking out any issues we have hiccups. You will sometimes be in the
or that might arise. Based on those meet¬ office for very long hours due to techni¬
ings, I then schedule my team to prepare cal issues or something malfunctioning.
for what is immediately needed down the Sometimes you don't even see a light at
pipeline for the other departments. It is the end of the tunnel. The unknown is
important to try and foresee bottlenecks that you don’t know if you will be able to
in development and address them imme¬ find the answer in an hour, or in 10 hours.
diately. Once everything is organized and Once the problem has been identified,
everyone is set in their role for the day, I then you still have to rectify it. For me,
can then turn to planning and concepting, those moments are the worst because as
or helping to fill in the gaps where needed. art director I do my best to make sure that
Since we are a small company it is impor¬ things are scheduled. I want my team to
tant to be able to wear many hats. I like stay focused and organized so they don't
Directors 67
have to put in the long hours due to mis¬ have more involvement in the whole digi¬
takes that are made.” tal pipeline—making sure that our 3D
Webster Colcord is an animation super¬ animation gets through properly to the
visor, animator, and character designer lighting department. The core of my work,
who works in the feature film and game however, is overseeing the animation team
industries. Some of his feature credits and making sure that the performances of
include Legion, A Christmas Carol, Red the characters align with the director’s
Cliffy The Spirit, You Don’t Mess with the intentions. Artistically I contribute with
Zohan} Live Free or Die Hardy Grindhouse, initial testing of a character—doing cycles
The Hosty Night at the Museum, Pulse} and tests to work out the movement and
Superman Returnsy Matrix 3, Minority performance style—and working with the
Reporty AntZy James and the Giant Peachy character setup team to give us the tools
and Michael Jacksons Moonwalker. His and controls that we need. Later in the
video game credits include Tiger Woods process I make comments on the perfor¬
GolfNextGen, Tiger Woods Golf Lord of mance aspects of the animators’ iterations
the Rings: The Third Age, and Return ofthe of their shots. I also troubleshoot technical
King. (Visit http://webstercolcord.com to issues that might be blocking an anima¬
view his work.) “My father was something tor from achieving the director’s vision of
of a cinephile,” Webster recalls, “and my the performance. There are also manage¬
mother worked at the local public library. rial concerns that cannot be overlooked—
My father would check out films—this making sure that the team is working
was before home video—and show them smoothly and staying within budget and
at home and at birthday parties. So I grew time constraints, surfacing any grievances
up loving movies and I voraciously read that the team may have, giving perfor¬
the filmmaking books in the library’s cat¬ mance reviews, and keeping track as best
alog. I was also drawing and sculpting as a as possible of the animators’ career goals
child and making home movies through¬ and trying to help them out if I can.”
out my teenage years. Finally, I was given
the chance to join the Will Vinton Studio
a year out of high school and I worked DO I HAVE WHAT IT TAKES
on my first television production, A Clay- TO BE A DIRECTOR?
mation Christmas Celebrationy in 1987.1 To be a successful director, you need to be
have worked at many studios since and creative, imaginative, curious, and have a
made the transition from traditional ani¬ sense of adventure. You must be able to
mation to computer animation when I work with all sorts of specialized equip¬
took a job with DreamWorks in 1997.” ment and computer software. “As artists
Webster says that his duties as an ani¬ in the gaming field,” says Scott Fabianek,
mation supervisor vary based on the type “we have to not only keep ourselves on
of studio that employs him for a project. top of our game artistically, but techni¬
“At a smaller facility,” he explains, “I may cally as well. There is always new software
being developed that gives us new tools to try ladder leading to the director’s job.
work with and allows for easier produc¬ At the very least, a high school diploma,
tion or new ways of doing things. Also, while not technically required if you wish
on the tech side of things, artists have to to become a director, will still probably
be aware of the technical restrictions of be indispensable to you in terms of the
the platform for which they are develop¬ background and education it signifies.
ing. The artists have to be flexible and As is true of all artists, especially those
creative to create the best environment, in mediums as popular as the computer
object, or character they can with limited and video game industry or the television
texture sizes or polygon counts. A video and film industries, you will need to have
game artist in many ways is much more a rich and varied array of experiences to
than just an artist and has to complement create works that are intelligently crafted,
that with an understanding of engine and entertaining, and accessible to people of
platform limitations.” many different backgrounds and ages.
The ability to work well with different In high school, courses in English, art,
types of people and situations is a must theater, and history will give you a good
for directors. Because deadlines are a foundation. Furthermore, a high school
constant part of the work, an ability to diploma will be necessary if you decide to
handle stress and pressure well is key. go on to film school or pursue a degree in
The visual aspects of a computer or video game design.
video game or animated film can be the
very things that make it sell. For this Postsecondary Training
reason, accuracy and attention to detail You do not need a college degree to work
are important parts of the director’s job. as a director in the computer and video
When the visuals are innovative and game industry, but with competition
clean, the public either clamors for it or increasing for employment in this popular
pays no notice. But when a project’s visu¬ field, it is a good idea to earn a degree—
als are done poorly or sloppily, people will or at least take a few classes—in game
notice, even if they have had no artistic design, programming, or related subjects.
training, and the game will not sell or the In addition to course work at the college
film will not be watched. level, many universities and professional
art schools offer graduates or students
in their final year a variety of workshop
HOW DO I BECOME A projects or internships. These opportuni¬
DIRECTOR? ties provide students with the chance to
work on real games, develop their per¬
Education
sonal styles, and add to their work experi¬
High School ence. Animation World Network offers a
Directors’ careers are rather nontradi- database of animation schools at its Web
tional. There is no standard training path site (http://schools.awn.com). Another
and no normal progression up an indus¬ good source of schools can be found at
Directors 69
the International Game Developers Asso¬ competitive. If you can’t get an intern¬
ciation’s Web site (http://www.igda.org/ ship or land a volunteer position, you
breakingin/resource_schools.php). should try to obtain as much experience
Film, television, music video, and creating video games or animated shorts
commercial directors do not need a col¬ or films as you can. Get a group of your
lege degree to enter the field. Some of friends together and create a basic game
today’s top directors are self-taught or or a two- or three-minute animated film.
have learned their skills on the job. But
since this field is very competitive, it is a
good idea to earn a degree or at least take WHO WILL HIRE ME?
some college classes that will teach you Directors working in the computer and
about directing. Film studies and anima¬ video game industry work all over the
tion programs are offered at universities country and the world for companies
and art institutes across the country. Tra¬ large and small. Major entertainment
ditional film schools may also offer spe¬ software publishers include Sony, Activi¬
cialized programs for aspiring animation sion Blizzard, Electronic Arts, Nintendo
directors. of America, Atari, THQ, Take-Two Inter¬
active Software Inc., Microsoft, and Kon-
Certification or Licensing ami Digital Entertainment-America. Jobs
No certification or licensing is available are available at these companies as well as
for this profession. with online services and interactive net¬
works, which are growing rapidly.
Internships and Volunteerships Employment as a director in the film
If you attend a college program, you will and television industries is usually on a
most likely participate in an internship freelance or contractual basis. Directors
at a game company or animation studio. find work, for example, with animation
An aspiring game director, for example, studios (both major and independent),
may land an internship at Nintendo and at television stations and cable networks
perform basic administrative tasks or (such as Nickelodeon and the Cartoon
product testing. While interns won’t get Network), through advertising agencies,
to direct games or animated features, with record companies (music videos),
they do receive extensive experience in and through the creation of their own
a professional environment and get the independent animation projects.
chance to make valuable contacts in the Since a director’s job requires a great
field. If they do a good job, their intern¬ deal of experience, it is usually not con¬
ship may turn into a regular position after sidered an entry-level position. Typically,
they graduate from college. a person on a career track toward direc¬
Volunteering at a game or animation tor is hired as an assistant to an estab¬
company is another way to gain experi¬ lished director. Recent graduates wishing
ence, but it will be difficult to obtain such to enter the game or film or television
a position since these industries are so industry should develop what is called a
Profile: Chuck Jones (1912-2002)
Chuck Jones, an animator, cartoon artist, By the 1960s Jones established his
screenwriter, producer, and director, was own animation studio, Sib Tower 12 Pro¬
an instrumental force in the animation ductions. One of the studio's first projects
industry. He is best remembered for work was a collaboration with Metro-Goldwyn-
on Warner Bros. Studio cartoons such as Mayer on the cartoon series Tom and Jerry.
Looney Tunes and Merrie Melodies. Jones also produced animated shorts
His first job in the industry was as a for television. He partnered with Theodor
cel washer and painter for the Ub Iwerks Geisel, otherwise known as Dr. Seuss, on
Studio, and later at the Walter Lantz a television adaptation of How the Grinch
Studio. He eventually found work at an Stole Christmas. His other important ani¬
independent studio that produced car¬ mated-short adaptations for television
toons for Warner Bros. It was there that include The Cricket in Times Square, The
Jones directed his first cartoon, The Night Jungle Book, and Rikki-Tikki-Tavi, as well as
Watchman. the Saturday morning children series The
Jones preferred stylized animation, Curiosity Shop.
or limited animation—using abstract art, Jones won three Academy Awards for
symbolism, and limited movement to cre¬ his animated films and received an honor¬
ate an image—a style vastly different from ary Oscar for Lifetime Achievement. The
Walt Disney's more realistic approach Directors Guild of America also presented
to animation. Using this style, Jones cre¬ him with an honorary life membership in
ated some of his most popular and best- recognition of his groundbreaking work.
regarded characters—Pepe Le Pew, the
Road Runner, and Wile E. Coyote. Source: Chuckjones.com
demo reel. This is a type of portfolio, only acquire credentials by working on vari¬
the work is interactive and shows moving ous projects. Starting out as an intern or
animations and backgrounds as opposed assistant is a good way to get experience
to pictures of static images. Demo reels and develop skills.
can show your skill in composition, color,
light, motion, presentation, and crafts¬
manship. It should reflect a wide breadth WHERE CAN I GO FROM
of styles and show work in more than just HERE?
one genre of game or animation style. Again, directors are not entry-level work¬
This will show that you are versatile as ers. They usually have years of experience
well as creative. working at lower-level jobs in the field
Remember that directors have done before gaining the knowledge needed to
their time in lower positions before supervise projects. This experience will
advancing to the level of director, so help them manage their artistic staff and
you must be willing to do your time and solve problems quickly when necessary.
Directors 71
While some may be content upon $68,000 or more, according to the Inter¬
reaching the position of director, many national Game Developers Association.
directors take on even more responsibil¬ Creative directors with six or more years'
ity within their organizations, become experience can earn up to $80,000. Skilled
producers or studio executives, develop directors with many years of experience
original multimedia programs, or create working with some of the larger game
their own games or animated features. developers can earn salaries of $200,000
Many people who get to the position of or more.
director do not advance beyond the title Earnings for film, television, music
but move on to work at larger game devel¬ video, and advertising/commercial
opers or on more prestigious projects. directors vary greatly. Most Hollywood
Competition for positions at companies film directors are members of the Direc¬
that have good reputations continues to tors Guild of America (DGA), and sala¬
be strong because of the sheer number of ries (as well as hours of work and other
talented people interested in the field. At employment conditions) are usually
smaller game developers or animation stu¬ negotiated by this union. Generally,
dios, the competition may be less intense, contracts provide for minimum weekly
since candidates are competing primarily salaries. The minimum weekly salary for
against others in the local market. feature-length animated film directors
In the motion picture industry, was $4,726 in 2009. This figure increases
advancement often comes with recogni¬ based on the cost of the picture being
tion. Directors who work on well-received made. Keep in mind that because direc¬
movies are given awards as well as fur¬ tors are freelancers, they may have no
ther job offers. The most well-known income for many weeks out of the year.
trophy is the Academy Award: the Oscar. Although contracts usually provide only
Oscars are awarded in a variety of cat¬ for the minimum rate of pay, most direc¬
egories, including one for best animated tors earn more, and they often negoti¬
film, and are given annually at a presti¬ ate extra conditions. Directors working
gious gala to recognize the outstanding under DGA contracts also receive paid
accomplishments of those in the field.
vacation days, lodging and meals while
The International Animated Film Soci¬
filming, and access to pension and health
ety, ASIFA-Hollywood also offers awards
insurance plans.
(called Annies) for the best animated film
The median annual salary of film direc¬
of the year.
tors and producers was $64,430 in 2008,
according to the U.S. Department of Labor
(DoL). Among this group, the lowest paid
WHAT ARE THE SALARY 10 percent earned less than $30,250, and
RANGES? the highest paid 25 percent earned more
Game industry art directors with six than $105,070. The DoL reports the fol¬
or more years of experience can earn lowing mean annual salaries for directors
by industry: advertising, $107,520; motion WHAT IS THE JOB

picture and video industries, $98,930;
OUTLOOK?
cable and other subscription program¬
Computer and video game companies
ming, $84,420; and television broadcast¬
will always need talented directors to
ing, $71,860. help create games. Directors with both
The DoL reports that art directors in creative and technical skills will have the
the motion picture and video industries best employment prospects.
earned mean annual salaries of $101,780 Employment for directors in the adver¬
in 2008, and those employed in the adver¬ tising industry is expected to grow about as
tising industry earned $92,500. fast as the average through 2016, accord¬
Benefits for salaried directors include ing to the U.S. Department of Labor.
vacation and sick time, health, and some¬ Employment for directors in the motion
times dental, insurance, and pension or picture and video industries is expected
401(k) plans. Self-employed directors to increase faster than the average for all
must provide their own benefits. Free¬ careers through 2016. More directors will
lance directors who are union members be needed because the number of ani¬
often receive benefits such as health insur¬ mated films, television shows, and com¬
ance as part of their union agreements. mercials being produced is increasing.
Editors
SUMMARY
Definition Salary Range Employment Outlook

Editors edit computer and $24,640 to $50,560 to Faster than the average
video games and ani¬ $112,410+ (animation (animation editors)
mated films, television editors) About as fast as the average
shows, commercials, and $28,090 to $49,990 to (text editors)
music videos, as well $95,490+ (text editors)
as animation-related High School Subjects
Educational Requirements Computer science
articles, reviews, books,
Bachelor's degree
game manuals, technical English (writing/literature)
documentation, and Web
Certification or Licensing Personal Interests
documents.
None available Entertaining/performing
Alternative Job Titles Film and television
Editorial workers
“Working at Game Informer has afforded try functions, but I was also able to cram
me the chance to do some amazing things some touristy stuff in on my days off. The
and meet some fantastic individuals,” says trip was the best of both worlds.”
associate editor Meagan VanBurkleo.
“Not only have I had the opportunity to
meet industry innovators such as Shigeru WHAT DOES AN EDITOR
Miyamoto or Ralph Baer, but I have also DO?
been able to rub elbows with talent from There are two main types of editors work¬
other industries, including comic-book ing in animation-related industries: those
legends and music superstars. But travel who edit computer and video games and
is the biggest reward for me. My trip to animated films, television shows, com¬
Tokyo in October 2008 was particularly mercials, and music videos (referred to
memorable as it has always been a place I as animation editors in this article) and
wished to visit. Not only was I able to get those who edit animation-related articles,
a feel for how the Japanese game indus¬ reviews, books, game manuals, technical
73
documentation, and Web documents to the design and technical layout of a

(referred to as text editors in this article). game, editing may be handled by a game’s
Animation editors who are employed designer, with assistance from program¬
in the film, television, advertising, music, mers and other workers. Game animation
or related industries work closely with editors may also help create commercials
producers and directors throughout an or trailers that advertise games on tele¬
entire project. These editors assist in the vision or the Internet. These are typi¬
earliest phase, called preproduction; dur¬ cally 30 or 60 seconds in length, which
ing the production phase, when actual requires the editor to communicate the
filming/animation occurs; and in post¬ content and feel of a game in a succinct,
production, after the completion of pri¬ yet entertaining, manner.
mary filming/animation. Feature-length Animation editors do most of their
animated films, of course, take much work in studios at film, game, or post-
more time to edit than television shows production companies using editing
and commercials or music videos. There¬ equipment. Studios are often small and
fore, some animation editors may spend cramped. Working hours vary widely
months on one project, while others may depending on the project. When work¬
work on several shorter projects simul¬ ing on an animated television series, for
taneously. See the sidebar on page 84 for instance, editors may be required to work
more information on job responsibilities overtime, at night, or on weekends to fin¬
for animation editors. ish the project by an assigned date. Many
Game animation editors are respon¬ animated features are kept on tight pro¬
sible for editing computer and video duction schedules that allow for steady
games using AVID software or other work unless production falls behind.
editing software. Once animated charac¬ Text editors who work in animation-
ters and backgrounds are designed, the related industries can be divided into two
action sequences animated according to major areas: those who are employed by
the storyboard and script, and all voice¬ the media to edit articles, feature stories,
over work completed, the project is put reviews, or books about products, trends,
in the capable hands of editors. During and other topics; and those who are
the postproduction phase, editors are employed by animation companies, game
responsible for taking animated clips companies and developers, and related
and putting them into proper sequence. employers to edit user manuals, market¬
Often operating under tight deadlines, ing materials, and other documents.
editors have the delicate task of working Text editors who work for print and
with a designer’s vision of the project. It’s online publications ensure that text pro¬
an important balancing act, since often¬ vided by writers is suitable in content,
times the success of a video game is due format, and style for the intended audi¬
to skillful editing. Because editing work ences—whether they are employed by a
in the game industry is so closely linked magazine geared toward teen gamers or
Editors 75
publications for animation insiders. They

might have specialized titles—such as All About Game Informer
game review editor, hardware editor, plat¬
form/console editor, or news editor—based Meagan VanBurkleo provides the follow¬
on the types of writing they edit. Some ing overview of Game Informer:
editors are full-time, salaried employees
Game Informer was founded in 1991 as
of publishers, while many others work on an enthusiast publication to offer readers
a freelance basis. As freelancers, editors news, interviews, previews, and reviews
run their own businesses and need busi¬ of the hottest video games on the market.
ness skills to keep track of their financial Currently, Game Informer is the 13th larg¬
accounts and market their work. est publication in the United States (and
the largest video-game periodical in the
Text editors who work for animation
world) and has secured 3.5 million sub¬
companies, film and television studios, scribers. The Game Informer brand is com¬
advertising agencies, game companies prised of two outlets that work in tandem,
and developers, and educational soft¬ the magazine and Gameinformer.com.
ware publishers edit a variety of mate¬ One delivers worldwide exclusives and
rials. An editor for a company such as game debuts to readers and the other
gives hungry gamers news in a more
Warner Bros. Animation Studios might
immediate fashion.
edit in-house technical documents, user
manuals, Web site content, marketing
materials, game or DVD packaging, and
other documents. Technical editors are others must use older equipment that
text editors who take raw data about a may cause frustration at times.
subject and edit it to create software man¬
uals, procedure manuals, help systems
and online tutorials, and trade books and WHAT IS IT LIKE TO BE AN
documents. Technical editors do most of EDITOR?
the writing, though they may consult with Brad Lee Zimmerman has been an anima¬
training developers, graphics personnel, tion editor working in television and film
or programmers for some of the content. for nearly 10 years. In addition to numer¬
Others may edit consumer publications ous national commercial spots, Brad has
published by game companies such as edited several animated series for Car¬
Nintendo or THQ. toon Network's Adult Swim, including
Working conditions vary for text edi¬ Aqua Teen Hunger Force, Squidbillies,
tors. They usually work a standard 40- 12 Oz. Mouse, and Perfect Hair Forever
hour week, but they may have to log as well as Comedy Central's Freak Show.
extensive overtime to meet production “I became an animation editor by acci¬
deadlines. Most editors work in well-lit, dent," he recalls. “My high school was the
comfortable offices. Some have access first in the state to offer a video produc¬
to the latest computer technology, while tion class for 'advanced' students. They
gave us cameras and lights and gear that work will almost always require more
nobody really knew how to operate and than a clocked 40-hour work week,” he
with no real understanding of how to says. “Most of the time, you’re working
produce content. Eventually the teachers in project-based situations and you will
gave up trying and said, ‘Everybody just be expected to deliver on deadline with
go make something.’ So we did—over and little to no exception, or the process fal¬
over again until we shaped what became ters and trouble dominoes to everyone
the first video yearbook most had ever down the pipeline (making you rather
seen. That intense amount of creative unpopular among your colleagues). I
freedom allowed us opportunity to expe¬ think most on the outside might con¬
rience many facets of live-action produc¬ sider this field full of nothing but laughs,
tion hands-on, and eventually gravitate to magic, and eye candy, but the reality is
what we enjoyed doing most. Personally, I that it’s a business, and you must consider
was in love with the endless creative pos¬ that at all times. It is true that it’s a cre¬
sibilities and story shaping that occurred ative field, but the goal is to sustain, and
in the edit suite during postproduction, that means becoming known and desired
and I was certain I wanted to spend my in the industry for your skill and talent.
life learning the craft.” That takes hard work, dedication, and
Brad says there are no typical days for practice. During production, you will see
animation editors. “Chaos is inherent many different personalities collaborating
in the business,” he says, “and the best- in many different capacities—from cre¬
intended plans often change daily if not ative to administrative—and a lot of fire
several times a day. Editing, like most can brew when they all meet. But when
creative works, is a process that involves it works, and it usually does, the results
several layers of responsibility. Perhaps are always unique and sometimes simply
the most important is understanding incredible.”
the vision behind the producers, writers, Despite the drawbacks, Brad truly
and creators that you will work with very enjoys his career. “The business, this craft,
closely over long periods of time. It is an has become a huge part of my life,” he
important relationship and you will often says. “I live and breathe it, sacrifice sleep
find the more experienced teams work¬ and stress over it, and I consider it all
ing together on many projects over the worthwhile. I don’t wake up in the morn¬
years. You have to be more than just an ing and consider my work as a ‘job.’ It’s a
operator to be successful as a broadcast lifestyle and I love being a part of it.”
editor. You need the ability to get inside Meagan VanBurkleo is an associ¬
your client’s head, understand what they ate editor at Game Informer Online, the
want, and then bring that vision to life.” most popular video game periodical in
Brad says that some of the drawbacks the world. “Video games have been an
of working as an animation editor are the important part of my life since the day
long hours and the tight deadlines. “This my dad brought home the original Nin-
Editors 77
tendo Entertainment System,” she says. at times, with the Web site helping with
“My brothers and I had a subscription the magazine and vice versa.”
to Game Informer for as long as I can Meagan travels often for her job. “Dur¬
remember and always fought over whom ing convention season we are usually out
got to read it first. One day I realized the of the office for at least a week per month,”
magazine was based in my home state of she says. “This is when we are touring
Minnesota. Right then I made my mind game development studios, attending
up to work for the publication someday. gamer's days, and making our way to inter¬
I attended college for both graphic design national events. While at these events we
and journalism, hoping to tailor my edu¬ attend press conferences and demos and
cation toward something in print media. conduct interviews from the show floor.
Immediately after graduating I applied for Then we immediately hunker down and
both a design and an editorial position at get our impressions online.”
the magazine, and was soon hired.
“Working primarily for the Web site,”
she continues, “I never really know what DO I HAVE WHAT IT TAKES
to expect on a day-to-day basis. How¬ TO BE AN EDITOR?
ever, the online team generally starts Animation editors should be able to work
off the morning looking for breaking cooperatively with other creative people
news. News can take the form of game when editing a film, television show, or
announcements, company mergers, video game. They should remain open
quarterly financial postings, and so on. to suggestions and guidance while also
Essentially, if we think it would interest maintaining their confidence in the pres¬
our readers, it goes up on the site. Media ence of other professionals. Successful
is also a priority, as the Internet culture editors have an understanding of the
has an appetite for visuals. Screenshots history of animation (or the video game
and video are posted to the Web site industry if they want to enter this field)
daily. After ensuring that the Web site is and a feel for the narrative form in gen¬
updated, we turn to larger-scale projects eral. Computer animation skills are also
and original features. This can involve important, as well as a desire to keep up
playing games for a preview, conduct¬ with the latest technology and editing
ing interviews, or brainstorming unique techniques in the field.
story concepts with the team.” Meagan VanBurkleo cites passion and
Meagan says that the print version of dedication as the two most important
Game Informer has a similar structure, personal skills for animation text editors.
aside from forgoing news for a more “Its easy to enjoy video games,” she says.
review-heavy focus. “The Web site popu¬ “But as a video-game editor you need to
lates with reviews from the magazine in be more than just passionate about games;
order to maintain a standard voice,” she you need to have an attraction to the
says. “However, we trade responsibilities industry as a whole. Being a video-game
Likes and Dislikes
Meagan VanBurkleo details the pros and vey the gaming industry; after all, variety
cons of working as a game magazine edi¬ is the spice of life.
tor in the following paragraphs: As for cons, variety also inherently
keeps your schedule in the air. Some days
The pros are many. Everyone who works or months during the holiday season are
at Game Informer is first and foremost a dead in terms of news and announce¬
gamer. Having the opportunity to check ments. However, convention season can
out our favorite franchises or to get the result in a massive influx of content for
scoop on new games is very fulfilling. Pre¬ which you are obligated to stay late and
viewing and reviewing games (being paid address. Deadlines are concrete in this
to play) is an obvious perk. For me person¬ industry. Late nights aren't uncommon
ally, travel is the largest plus. Travel takes and neither are long weekends. Being a
us to gamer hot spots such as Las Vegas, video-game editor isn't always fun and
Seattle, Austin, and New York, as well as games, despite the subject matter.
international locations such as London, Additionally, constantly studying and
Leipzig, and Tokyo. Variety is the third dissecting games can leave a sour taste in
benefit. While at its core being an edi¬ your mouth. Sometimes after reviewing a
tor means spending lots of time on your game it's tough to sit down and just enjoy
computer, you never really know how a playing through a title. It's not always
day will unfold. Although we are privy to easy to shut down the analytical side of
much information before it is announced your brain. Still, the cons are far and few
to the public, even we can be surprised by between and are greatly outweighed by
an unexpected announcement. It's excit¬ the inherent benefits of working in the
ing to open your inbox every day and sur¬ video game industry.
editor requires you to be up-to-date not the early morning till well past midnight.
just on details of specific games, but also Not to say that these events aren’t fun, but
on the latest tech and specs, video game your obligation to get news to readers in a
legislation, and even the financial standing timely manner is important. If you don’t
of the big contenders. To be a successful they will just go find their game fix some¬
video-game editor you need to have a wide where else.
breadth of knowledge on the industry, and “On a professional level,” Meagan con¬
that takes time and motivation to obtain. tinues, “the ability to multitask is impor¬
Dedication becomes fuel when you are up tant. It’s common to have several projects
at 3:00 a.m. writing impressions from an on your plate at any given time. Then news
event that just concluded. Weeklong trips will break and throw a kink in your plans,
to events such as the Game Developers forcing you to drop everything and pick up
Conference or the Electronic Entertain¬ the pieces later. An affinity for words and a
ment Expo usually keep you working from strong written voice is also necessary. We
Editors 79
translate what game developers (and their Postsecondary Training

golden-tongued public relations special¬ Some studios and game companies
ists) divulge to the masses. Being amiable require those seeking positions as anima¬
is also important, as much of your time will tion editors to have a bachelor's degree,
be spent communicating with publishers although many believe that on-the-job
and developers in order to set up coverage experience and contacts in the industry
or conduct interviews.” are the best guarantees of securing last¬
Depending on the employer, union ing employment. Two- and four-year col¬
membership may be required to work as leges often offer courses or majors in film
an animation or text editor. or animation editing.
Most text editing jobs require a college
education. Many employers prefer that
HOW DO I BECOME you have a broad liberal arts background
AN EDITOR? or a major in English, literature, history,
philosophy, or one of the social sciences.
Education
Other employers desire communications
High School or journalism training in college. Techni¬
Because animation editing requires cre¬ cal editors may have degrees in computer
ativity along with technical skills, you science, animation, game design, computer
should take English, speech, theater, programming, or related fields. If you are
and other courses that will allow you to interested in a career as an editor in an ani¬
develop writing skills. Art and photogra¬ mation-related industry, you should take
phy classes will involve you with visual courses on animation and game design in
media. Because of the technical nature of college. In addition to formal course work,
animation editing, take computer classes most employers look for practical editing
to become comfortable and confident experience. If you have worked as an edi¬
using basic animation editing programs. tor on high school or college newspapers,
If you are interested in becoming a text yearbooks, or literary magazines, or if you
editor, take general science, social stud¬ have worked for community newspapers,
ies, computer science, literature, foreign even in an unpaid position, you will make
language, and typing classes while in high a better candidate.
school. Editors must be expert communi¬
cators, so you should excel in English if you Certification or Licensing
wish to work in this career. You must learn No certification or licensing is available
to write extremely well because you will be for this profession.
correcting and even rewriting the work of
others. If they are offered at your school, Internships and Volunteerships
take elective classes in writing or editing, Many game companies, animation stu¬
such as creative writing, editing, journal¬ dios, book publishers, magazines, and
ism, and business communications. newspapers have summer internship
programs that provide valuable train¬ WHO WILL HIRE ME?

ing if you want to learn about the field. Animation editors work for game com¬
Interns do many simple tasks, such as panies, animation studios, television net¬
running errands and answering phones, works, advertising agencies, and related
but some may be asked to perform employers. Many animation editors who
research, conduct interviews, or even have worked for a studio or postproduc¬
write or edit some minor pieces. You tion company for several years often
might also consider volunteering at one become independent contractors. They
of these companies. offer their services on a per-job basis
Inside Animation Journal
Maureen Furniss is the founder and edi¬ are of general interest (artist statements,
tor of Animation Journal, one of the most for example).
respected scholarly publications in the When I receive an article for possible
field. She is also an animation professor publication, I look it over and make initial
and historian at California Institute of the comments. Often articles return to their
Arts, president of the Society for Anima¬ authors for revision, but if they happen to
tion Studies, and author of Art in Motion: feel close to ready for publication, I will
Animation Aesthetics and The Animation then send the article to members of my
Bible. She provides an overview of her pub¬ editorial board.These people (usually two,
lication and the editing process for each sometimes three) read the essay without
issue in the following paragraphs: knowing who wrote it, and they give me
feedback. If the article is accepted for
I started Animation Journal in 1992, when publication, then I begin to work with the
I was finishing my dissertation in Critical author on any last revisions that remain.
Studies in the School of Cinema-Television Sometimes I am required to do quite a bit
at the University of Southern California. I of editing, especially for authors who are
started it because at that time there was nonnative English speakers. After I get four
no scholarly journal available to publish or five essays together, I lay them out using
research in this field. Animation Journal a template I've developed on InDesign, an
is peer-reviewed, which was important Adobe application. Authors get the rights
for giving credibility to it since animation to use images they want to include, and
was still viewed somewhat skeptically by I put these in as well. Although I am far
a lot of people in universities (on tenure from a graphic designer, I did take some
review committees, etc.). I publish Anima¬ journalism courses in school, and I learned
tion Journal myself, so it is unusual in that a little about layout design.
respect. Most journals are run through Animation Journal comes out once a
institutions, such as a university press. My year, usually in October. It is 96 pages long
journal publishes work on any aspect of on average. During its first eight years, it
animation, so it is not particularly special¬ came out twice a year, but I couldn't keep
ized. I also publish book reviews and short up the pace since I am also a full-time col¬
articles that are not peer-reviewed, but lege professor.
Editors 81
to producers of films, television shows, you look for your first job. Your school's
and advertisements, negotiating their career services office may also have list¬
own fees, and typically have purchased ings of job openings. Some studio work is
or leased their own editing equipment. union regulated. Therefore you may also
Animation editors may develop ongoing want to contact union locals to find out
working relationships with directors or about job requirements and openings.
producers who hire them from one proj¬ Text editors should contact their col¬
ect to another. lege career services office or journalism or
Text editors are employed by enter¬ communications department for help with
tainment software publishers, animation their job search. In addition, contacts that
companies, computer and video game you make during an internship or summer
companies, book and magazine publish¬ job may provide employment leads. Aspir¬
ers, newspapers, online publications, and ing text editors can also find job leads by
any other organization that requires the visiting Web sites that offer job listings.
skills of an editor. These include Gamejobs (http://www.
With a minimum of a high school gamejobs.com) and Gamasutra (http://
diploma or a degree from a two-year col¬ www.gamasutra.com). Many people inter¬
lege, you can apply for entry-level jobs at ested in employment in the game industry
many film, television, or game studios. also attend the annual Game Developers
Most studios, however, will not consider Conference (http://www.gdconf.com) to
people for animation editor positions network and learn more about internship
without a bachelor's degree or several and job opportunities.
years of on-the-job experience. Larger
studios may offer apprenticeships for
animation editors. Apprentices have the WHERE CAN I GO FROM
opportunity to see the work of the anima¬ HERE?
tion editor up close. The animation edi¬ Once animation editors have secured
tor may eventually assign some of his or employment in their field, their advance¬
her minor duties to the apprentice while ment comes with further experience and
making the larger decisions him- or her¬ greater recognition. Some animation edi¬
self. After a few years, the apprentice tors develop good working relationships
may be promoted to animation editor with directors or producers. These editors
or may apply for a position as an editor may be willing to leave the security of a
at other studios. Those who have com¬ studio job for the possibility of working
pleted bachelor's or master's degrees have one-on-one with the director or producer
typically gained hands-on experience on a project. These opportunities often
through school projects. Another benefit provide animation editors with the auton¬
of going to school is that contacts that omy they may not get in their regular jobs.
you make while in school, both through Some are willing to take a pay cut to work
your school's career services office and on a project they feel is important. Some
alumni, can be a valuable resource when editors choose to stay at their studios and
Key Skills for Animation Editors
Brad Lee Zimmerman offers the following Listen. You have to listen to what
summary of the most important skills for your client needs and deliver only what
animation editors: they are asking. We're creative people and
we're lucky to get paid for our ideas, but
Organization! There's no way around it for you must understand where the client is
editors. Be organized. Take the extra time to coming from and what they want at all
set up properly and you will greatly increase times. It sounds simple but too often you
the odds for a smooth experience. I think a hear creative types attempting to explain
common rookie mistake involves rushing their "better" ideas when the producer
past organizational steps, perhaps to make already has a very clear idea of what they
up for a slower performance time. Maybe want. Imposing your thoughts without
the client is with you and you want to show being asked is an excellent way to upset
off your speed by skipping the slow and everyone in the room, and being overly
sometimes painstaking foundational steps persistent will probably get you replaced.
of organizing your elements. Learn to get Don't try to explain or argue your conflict¬
rid of that feeling. It's better to suffer the ing idea unless you are asked, and, occa¬
occasional huff of an impatient producer sionally, that does happen. Otherwise, you
than to watch your project slowly unravel are likely only doing damage to the rela¬
before both of your eyes. You need to know tionship. Give the client what they want,
exactly (or sometimes even just roughly) when they want it, and without resistance.
where the files are when the client wants If you can deliver that, you will certainly
to see them. This keeps confidence up and up your worth as an editor.
makes a positive experience for you both. Finally, seek a mentor or someone
Be personable and mindful to your cli¬ with experience that you can shadow and
ent. They are number one in your world. spend time learning from. It's invaluable.
You're probably going to spend a lot of Jay Edwards, Ned blastings, Dave Willis,
time together and you want them to enjoy and Matt Maiellaro are production cor¬
being with you. Make some small talk. Feel nerstones at Adult Swim and have been
them out for what they like and, more since it began. I can't begin to measure
important, what they don't like. Despite how much I've learned by working with
the hierarchy, you're both humans. Act them, and you can bet money that I listen
like it. You never know when a one-off gig when they say anything about making a
could turn into a long-lasting relationship. show.
advance through seniority to editing posi¬ and supervise staffs of less-experienced or

tions with higher salaries. They may be apprentice editors.
able to negotiate better benefits packages Most text editors break into the field by
or to choose which projects they will work working as editorial or production assis¬
on. They may also choose which directors tants. Editors usually have a better chance
or game designers with whom they wish to advance at smaller companies or pub¬
to work. In larger studios, they may train lications. Why? Because editors at these
Editors 83
employers are typically assigned a variety of offer stock-option plans. Freelance editors
duties and, as a result, learn many skills. A are responsible for providing their own
typical advancement path for editors might medical, disability, and life insurance. They
include the following steps: editorial/pro- must also fund their own retirement plans.
duction assistant, copy editor, senior copy
editor, project editor, first assistant editor,
managing editor, and editor in chief. Tech¬ WHAT IS THE JOB
nical editors advance by working on longer OUTLOOK?
and more complicated documents and by Employment of animation editors in
assuming managerial duties. Freelance or the motion picture and video industries
self-employed editors earn advancement
in the form of larger fees or work on more
prestigious publications as they gain expo¬
sure and establish their reputations. Rewarding Moments
Brad Lee Zimmerman details the following

WHAT ARE THE SALARY most rewarding moments of his career:
RANGES?
According to the U.S. Department of Labor Since high school, this work has been my
dream. I never really knew where it would
(DoL), the median annual wage for ani¬
take me and, especially early on, I didn't
mation editors employed in the film and always believe I could "make it" in broad¬
television industries was $50,560 in 2008. cast production. Now that I have momen¬
A small percentage of editors earned less tum in the industry (and it took time), I feel
than $24,640 a year, while some earned so fortunate to be around many talented
more than $112,410. The most experi¬ people in all levels of production. I have
worked with writers, animators, produc¬
enced and sought-after animation editors
ers, directors—all with experiences that I
can command much higher salaries. want to know more about. I try to let their
The DoL reports that the median experience rub off on me and glean as
annual earnings for text editors employed much as I can when we're together.
in all industries were $49,990 in 2008. Sal¬ I remember flipping through indus¬
try magazines as a high school student
aries ranged from $28,090 or less to more
and drooling over pictures of high-tech
than $95,490. Those who were employed edit suites, wishing that one day I could
by newspaper, periodical, book, and sit in that chair and drive. Today is that
directory publishers had mean annual day and I'm sitting in my chair, sur¬
earnings of $57,150 in 2008. rounded by art and talent and industry.
Typical benefits for all types of full-time, There's still so much more I want to be a
part of and learn and do, but the reward
salaried editors include sick leave, vacation
of being a sustaining industry profes¬
pay, and health, life, and disability insurance. sional and realizing my dream is some¬
Retirement plans may also be available, and thing that I experience every day and I
some companies may match employees' am very thankful for it.
contributions. Some companies may also
is expected to increase faster than the are being produced, which will create a
average for all careers through 2016, need for qualified editors. Opportuni¬
according to the DoL. More animated ties should also be good in the gaming
films, television shows, and commercials industry, although some designers and
Inside Animation Editing
Brad Lee Zimmerman provides the fol¬ moves, and basic animation that may occur
lowing overview of the editing process during the scene. Eventually, this sets up a
for animated television shows: rough version of the show for producers
to see and to make adjustments on the fly.
Most people are understandably a bit con¬ Scenes are dropped, others are added, and
fused as to how an animated show is edited. gags get rearranged. Sometimes, depend¬
Traditionally, editing is known as a phase ing on the producer's vision, this happens
during postproduction, after elements are quite often. Typically, the editor will need
created. Animation editing is different in the ability to quickly shift between acting
that we spend the majority of our creative as an audio engineer and/or a video com¬
time on the front end of production, before positor while maintaining the focus and
animators begin to work. Some studios call feel of a long-form editor. All of this hap¬
it "pre-vis" or "animatic" editing. Essentially, pens within the nonlinear editing system
the goal is to map out as much of the show and doesn't need to leave the suite.
as we possibly can before spending tons After several weeks of repeating the
of hours and tons of money animating the process, the final animatic is approved and
final version. Enter the animation editor to the show is then delivered to the anima¬
create what can be summed up as a low- tors where they re-create your cut, shot by
resolution version of the final product or shot, adding lip-flap, final effects, and the
likened to a moving storyboard. magic and timing that only a professional
Once a show is written and revised animator can bring.
and the actors have recorded their parts, On the back end of production
the dialogue editing begins. We select (many weeks later), the editor will receive
the best or most appropriate takes from approved movies and clips from the ani¬
each character and create a "radio play" mators and ingest them for conformity.
(the term is a nod to radio programs made This involves placing these elements
before the advent of TV) with stand-in together with the master audio tracks cre¬
Foley, music, and sound effects placed for ated in the first phase and making certain
timing. that the show is in synch. Over time, tweaks
After a few weeks of tweaks and revi¬ are made and, with the blessing of the pro¬
sions, audio is approved and basic video ducers, the show is edit-locked and sent to
takes over. For each scene, the editor an audio engineerforfinal sweetening and
composites the backgrounds, characters, mixing. It's likely that the conforming edi¬
and props together in time with the mas¬ tor will see the show one last time in mas¬
ter audio track. Scene by scene, decisions ter assembly, where quality control, color
are made concerning the type of shot, the correction, and the [television] network's
blocking of characters, styles of camera final delivery specs are made.
Editors 85
directors handle editing responsibilities books, advertising copy, game manuals,

for games, which may reduce employ¬ Web sites, and any other material that is
ment opportunities for editors at some written about the field. The DoL predicts
companies. that employment for editors employed in
Text editors play a very important role all industries will grow about as fast as
in animation-related industries. They the average for all occupations through
help create coherent, error-free articles, 2016.
Producers
SUMMARY
Definition Alternative Job Titles Employment Outlook

Producers are responsible Production supervisors Faster than the average
for every aspect of an
animation project—from Salary Range High School Subjects
the initial funding to its $46,667 to $82,905 to Art
final delivery. They may $125,000+ Business
oversee the creation of a Computer science
video game, a commercial, Educational Requirements
an animated simulation for Bachelor's degree Personal Interests
the health care industry or Business
Certification or Licensing Business management
military, a music video, or
None available
an animated film or televi¬ Film and television
sion show. Selling/making a deal
Animation producer Catherine Winder commercials; and other products that fea¬
says that she has enjoyed every animation ture animation. The following paragraphs
project she has worked on, but cites Ice Age provide more information on job respon¬
as her favorite. “At the time, we were doing sibilities for producers by industry.
something very unique in the industry/' Computer and video game producers
she explains. “We had relatively limited oversee and manage the development of
resources and few people with experi¬ video and computer games. While they
ence, but somehow through sheer hard do not generally handle the technical
work and determination the crew pulled aspects of projects, they are responsible
together and we managed to produce a for coordination, management, and over¬
movie that made us all very proud." all quality of the final product. At some
companies, however, the producer will
take on more technical duties, including
WHAT DOES A PRODUCER serving as the lead designer. Most often,
DO? the producer is the liaison or intermedi¬
Producers help create computer and video ary between the publisher and the game-
games; animated feature films, shorts, and development team.
86
Producers 87
Producers must have widely varied a certain process or specialty. Animation

knowledge of all aspects of the computer producers oversee all aspects of an ani¬
and video game industry. Whether their mation project from preproduction to
background is in computers, business, or postproduction. As the “go-to person”
art, producers must efficiently manage all for a project, producers have the ulti¬
steps of the development process. They mate responsibility for making sure they
assist the game development staff in the deliver, in a timely manner, a finished
licensing of software, artwork, sound, and product to the client, be it a major stu¬
other intellectual properties. dio, advertising firm, or other businesses
Producers have many administrative using animation sequences. Producers at
duties, including scheduling meetings and times also drum up interest and secure
managing documentation. They are also financing for a project—whether from
responsible for general business manage¬ the studio, outside sources, or at times
themselves. This is a challenging posi¬
ment duties, including hiring and firing
tion, since producers must protect the
of staff. It is essential that producers are
vision of the directors and writers while
excellent communicators, as they work
keeping aware of the time and financial
with and manage all different types of
limits of a project.
personalities. There are two very differ¬
A producer's duties include interview¬
ent sides to the video game industry: the
ing and hiring a crew of artists, stylists,
business side and the creative side. Both
writers, animators, directors, editors, and
executive, financial-minded profession¬
other technical workers. Producers also
als and creative, art-minded profession¬
plan and implement a schedule for filming
als must communicate their ideas to the and production, keeping aware of impor¬
producer, who is then responsible for col¬ tant deadlines, or addressing problems
laborating these ideas effectively. that may cause delays. On a daily basis,
Interactive line producers are special¬ producers may meet with animators to
ized professionals who act as liaisons view the samples of their work sequences,
between producers and the produc¬ brainstorm with directors regarding cre¬
tion staff of interactive products such as ative ideas, meet with accounting staff to
computer and video games and online make sure the project is within set bud¬
or wireless products. They supervise gets, or meet with outside vendors to
staff, financial budgets, and scheduling iron out details of merchandising, future
timelines. DVD sales, or marketing and promotion
Animation projects large or small need strategies.
capable individuals to ensure that work Producers may be responsible for over¬
gets done in a timely manner, staff is kept seeing several shows, episodes, or com¬
productive, and financial sponsors are mercials in different stages of production.
happy. Depending on the size and scope Depending on the scope of the project,
of a project, there may be numerous pro¬ there may be one or more individuals
ducers assigned, each one responsible for sharing the role of producer. Regardless
of their industry, there are several spe¬

cialized producer positions for workers in
the field. The highest level producing job To Be a Successful
is that of the executive producer, or senior Producer, You Should...
producer. This individual trains, mentors,
• have excellent leadership skills
and manages other producers. Typically
the executive producer resolves project • be able to work as a member of a
team
conflicts and may have extended contact
with clients. In addition to overseeing all • have strong communication skills
other producers and workers on a proj¬ • be highly organized
ect, the executive producer is responsible • be able to work under deadline
for obtaining funding, updating clients on pressure
the progress of projects, and eventually
• be willing to continue to learn
submitting the final work to the client for throughout your career
approval.
Line producers serve as the liaison
between the film’s executive producers
and the production staff. They handle the film or game project. In the computer and
daily nuts and bolts of producing a proj¬ video game industry, associate producers’
ect. They work closely with the animation main responsibilities include oversee¬
crew. In addition, line producers monitor ing research and product testing. They
scheduling issues, financial concerns, and gather information for the development
staffing difficulties and create solutions to team and supervise video game testers.
these problems. They may also be called Assistant producers have some expe¬
on to place orders with different vendors rience on productions and are in train¬
for technical products or supplies. ing with associate, line, and executive
Associate producers are responsible for producers to gain more job skills and
the budget and schedule of a production responsibilities.
on a day-to-day basis. They are at a man¬ Production assistants serve as aides to
agement level that is slightly lower than producers. This entry-level occupation is
that of line producer, although they may a step toward becoming a producer, but
have equal status on some projects. Asso¬ assistants do not usually have any deci¬
ciate producers help schedule meetings, sion-making authority.
organize production schedules, research Producers work in busy, hectic envi¬
historical or technical details, resolve any ronments that some may consider excit¬
budget concerns, and manage crews (for ing, but others may find it stressful. To
feature films they may manage crews of be successful at this job, producers need
200 or more workers). There may be one to manage many tasks at once and work
or more associate producers assigned to with varying personalities, from creative
work on a project, especially for a major professionals and technical workers to the
Producers 89
client whose only interest may be the bot¬ story, art, music, budget, schedule, cost
tom line. Balancing these (often oppos¬ reporting, postproduction, and final
ing) priorities can make for a trying, but delivery. It is my job to liaise and com¬
also exciting, work environment. municate with key talent in addition to
the client financing and/or distributing
the final product. I typically collaborate
WHAT IS IT LIKE TO BE A with the director to ensure that he or she
PRODUCER? is clear about the applicable short- and
Catherine Winder is the president of an long-term goals, depending on where
animation studio. During her career she we are in the production. Directors need
has worked as an animation producer, an to feel they are getting what they need
executive, and a consultant in the feature to ensure that their vision for the story
film, home video, and television indus¬ and look of the project is on track. I also
tries. She had executive oversight on such work closely with my line producer, who
projects as Ice Age, Titan A.E., Johnny is dealing with the day-to-day scheduling,
Bravo, Power Puff Girls, Dr. Seuss’s Daisy- quota, and personnel issues on the floor.
Head Mayzie, A Flintstone’s Christmas I will read scripts and follow up with the
Carol, and Yogi The Easter Bear, to name writers to make sure we are getting what
a few. Her producing credits include Star we need and that changes and notes are
Wars: The Clone Wars and series such as being addressed. I may touch base with
Spawn (animated series), Spicy City, and my casting and recording director to
Aeon Flux. She was the overseas produc¬ ensure that a recording session is booked
tion manager on Once Upon A Forest. She and ready to go so that we have our voice
is also the coauthor of Producing Anima¬ track produced on time. I am only nam¬
tion (Focal Press, 2001). “When I gradu¬ ing just a few of the daily tasks as they can
ated from university, I was searching for vary tremendously depending on where a
a career that was international, creative, project is in the schedule. Suffice it to say,
and could allow me to use my organi¬ most of my day is filled with interacting
zational and communication skills,” with the crew to make sure everyone is
Catherine recalls. “Animation was that clear about their goals so that they can in
perfect mix as it is both a highly creative turn ensure that their teams know what
and global business. Producing a project they need to accomplish. One thing I have
requires that you be extremely organized learned over the years is that you cannot
and a good communicator, as everyone over-communicate as there is so much
looks to you for clarity on how to move information flowing in so many direc¬
forward to get the project done. tions that you need to be in touch with as
“As a producer,” Catherine contin¬ many people as often as you can. If not, a
ues, “my day-to-day work is incredibly project can easily go off the tracks.”
varied. I am ultimately responsible for Catherine says those seeking a tradi¬
every aspect of a project, including the tional, stable 40-hour job might want to
reconsider a career in the field. “This is how animation can be a very successful
not a nine-to-five business, especially bridge-building tool across the globe.
during crunch times at the end of a proj¬ That aspect of animation has always been
ect,she says. “You need to assume that very attractive to me. As a producer your
you will work long hours, especially early job is to facilitate the making of great sto¬
in your career, to prove yourself and earn ries. I started as an art coordinator and
the trust of your employer. Animation is over time and numerous projects later,
project-based, so layoffs are very com¬
mon in the industry when a project is fin¬
ished. If you are looking for a stable job DreamWorks
at the same company for many years, this
Animation SKG
may not be the industry for you as that
is the exception versus the norm. With
Ever notice the unique logo that appears
that said, the great thing about working
before many of today's top animated
at a variety of companies and on many feature films—the little boy fishing off
different projects is that you are always a crescent moon? That's the logo of
challenged and learning. Experiencing DreamWorks Animation SKG, one of the
how different directors handle storytell¬ largest and most profitable animation
ing and how the various studios go about studios in the world. As an offshoot of its
parent company, DreamWorks Pictures,
producing is an excellent way to develop
this studio is known for producing top-
a rounded background, which will ulti¬ rated computer-generated animation
mately make you more valuable and help feature films such as Antz, Bee Movie,
you grow in your career/' Kung Fu Panda, and the series of Shrek
Zahra Dowlatabadi is a producer, direc¬ films, with Shrek 2 ranked as the 10th
highest grossing movie of all time. The
tor, and consultant in the feature film,
typical characteristics of a DreamWorks
home video, and television animation
Animation movie are a great story line
and live-action industries. Some of her coupled with incredible visual imagery.
credits include Quest for Camelot; Space Its movies are also popular because they
Jam; Land Before Time II, III & IV; Once can often be appreciated by both chil¬
Upon A Forest; Goof Troop; Peter Pan & dren and adults.
The company's founders, Steven
The Pirates; and Little Nemo. She is also
Spielberg, Jeff Katzenberg, and David
the coauthor of Producing Animation Geffen (hence the SKG), are some of
(Focal Press, 2001). “I grew up attending the most respected film industry pro¬
animation film festivals in Iran," she says, fessionals in the world. Their goal for
“and I vividly recall how the shorts from DreamWorks Animation is to produce
faraway places made an impression on and release two computer-generated
animated feature films a year.
me—be it from Czechoslovakia, Canada,
or Japan. We also had shows on televi¬ Sources: DreamWorks Animation SKG, Box
sion like Popeye the Sailor Man dubbed in Office Mojo
Farsi, of course! Over time, I discovered
Producers 91
I was given the ‘producer’ title. At this ducer is pulling the team together. I also
point the majority of my work is in a con¬ love the variety of the job as I am able to
sulting capacity so there is no one routine use both sides of my brain. Producing is
day. The goal is to find ways to creatively all about balancing both the creative and
expedite and troubleshoot so everyone on operational aspects of a project in order
the team has ample opportunity to put to get the most up on the screen. Produc¬
forward their best work.” ers work within the parameters of the
budget and schedule and the qualitative
expectations of whoever is financing the
DO I HAVE WHAT IT TAKES project. Each decision made must balance
TO BE A PRODUCER? the overall vision and limitations of your
While degrees can help get you in the final product.”
door of the larger companies, experi¬ “Making a film requires teamwork,”
ence is what really counts in the gaming says Zahra Dowlatabadi. “Producers must
industry. If you are a high school gradu¬ be able to focus on the ‘now’ but also have
ate with years under your belt as a game foresight so that they can guide the ship
tester, programmer, or production assis¬ in the best possible way. In a book that
tant, you might just get the job over a I co-wrote entitled Producing Anima¬
recent college graduate with no industry tion, there is an entire chapter devoted to
experience. Because the job of producer describing what makes an ideal producer.
includes much administrative work, Everyone has their own unique take on
producers should have working knowl¬ this topic, but the recurring qualities are
edge of basic commercial software, such the abilities to facilitate, support, and
as Microsoft Office programs and File¬ lead.”
Maker Pro. Familiarity with industry soft¬ Communication and mediating skills
ware used in game development is also are a must in this job, since all producers
often a requirement, since producers are are often forced to solve problems among
heavily involved in the work of designers, staff members and make decisions based
programmers, and testers. on varying opinions and priorities, such
Animation producers should have as those of the developer/animator and
comprehensive knowledge of the anima¬ those of the client.
tion industry and a keen sense for what
projects will be artistically and commer¬
cially successful. They also need strong HOW DO I BECOME A
leadership and management skills. “The PRODUCER?
role of producer is all about being a leader,
Education
and ensuring that your team understands
the goals and vision of the project they High School
are working on,” says Catherine Winder. While an interest in playing video games
“One of my favorite parts of being a pro¬ is obviously a requirement if you want to
work in the game industry, as a producer Certification or Licensing

you will need to know a lot more about No certification or licensing is available
the technical side of game development for this profession.
and testing. For this reason, make sure
you create a good foundation by taking Internships and Volunteerships
math and computer science classes while One of the best ways to get experience
in high school. Art classes are also use- is to make a short animated film of your
ful to stimulate and develop your creative own or get together with a group of
sensibilities, such as illustration—both by friends to create an animated feature.
hand and with computer drawing tools. You could assemble and manage the ani¬
High school courses that will be useful mation artists and brainstorm ways to
in your work as a motion picture or tele¬ get the film screened at a local animation
vision producer include film, animation, festival once it's completed. This will
speech, mathematics, business, psychol¬ help you learn about the challenges and
ogy, and English. rewards of producing an animated film.
“Nothing beats experience," says Zahra
Dowlatabadi. “When students make their
Most larger game developers require pro¬ own short film, they get a deep under¬
ducers to have a college degree. Bache¬ standing of how each aspect of filmmak¬
lor's degrees in computer science with an ing is interconnected—in the process of
emphasis in programming or Web design doing the work, he or she discovers how
are preferred, though many enter the to prioritize and process. Internships in
industry with business degrees that can studios are also highly advisable. When
come in handy when dealing with clients, working at Warner Bros, we had a team of
balancing the budget, and developing a interns and they have all proceeded to do
strong business plan. great work. They make me very proud."
Those who are interested in work¬ Information on internships and volun¬
ing on animated films or shorts should teer opportunities can be obtained by
undertake formal study of film, television, contacting the major animation or video
communications, theater, writing, Eng¬ game studios or, if you have attended a
lish literature, or art. Many entry-level college program, through your career ser¬
positions in the film industry are given vices office.
to people who have studied liberal arts,
cinema, or both.
In the United States there are more WHO WILL HIRE ME?
than 1,000 colleges, universities, and Computer and video game producers
trade schools that offer classes in film or are employed by companies of all sizes.
television studies; more than 120 of these While the largest game companies are
offer undergraduate programs, and more located on the East and West Coasts and
than 50 grant master's degrees. A small in Texas, Illinois, Maryland, and Mas¬
number of Ph.D. programs also exist. sachusetts, smaller employers can be
Producers 93
America—although all of these people do

not work in animation. The greatest con¬
And the Oscar centration of motion picture producers is
Goes to ... in Hollywood and New York City. Large
animation companies include Pixar, Blue
The following animated feature films
have won Oscars in recent years:
Sky Studios, Rhythm & Hues Studios,
Lucasfilm Animation, Walt Disney Ani¬
2008: WALL-E (Andrew Stanton) mation Studios, Warner Bros. Anima¬
2007: Ratotouille (Brad Bird) tion Studios, Sony Pictures Animation,
2006: Happy Feet (George Miller) and DreamWorks Animation SKG. Visit
http://aidb.com for a database of thou¬
2005: Wallace & Gromit in The Curse of
sands of animation-related companies.
the Were-Rabbit (Nick Park and
Steve Box) Because work experience is valued so
highly in all animation-related indus¬
2004: The Incredibles (Brad Bird)
tries, your best bet for landing your first
2003: Finding Nemo (Andrew Stanton) job is with a small, start-up developer or
2002: Spirited Away (Hay ao Miyazaki) animation studio. These companies may
2001: Shrek (Aron Warner) be more willing to hire less experienced
workers in the hopes that they will stay
For more information on animated on staff longer than an experienced (and
featured films that have been nomi¬ more sought after) producer.
nated for or won Academy Awards, Jobs are easy to find online; most
visit http://www.oscars.org/awards employers post job openings on their
database. company Web sites or with large job
search engines. However, because of the
industry's popularity, many open posi¬
tions do not remain open for long. Jobs
found almost anywhere in the country. often are filled internally or through con¬
Major entertainment software publish- nections before there is a need to post a
ers include Activision Blizzard, Elec¬ job classified.
tronic Arts, Nintendo of America, Atari, Those who want to work in the gaming
Sony, THQ, Take-Two Interactive Soft¬ industry should visit Web sites such as Ani¬
ware Inc., Microsoft, and Konami Digital mation World Network (http://www.awn.
Entertainment-America. com), Highend Careers (http://www.high
Many producers in the film and televi¬ endcareers.com), GameJobs.com (http:
sion industries are self-employed. Others //www.gamejobs.com), Gamasutra (http://
are salaried employees of film companies, www.gamasutra.com), and Dice (http://
television networks, and television sta¬ www.dice.com) for information on jobs
tions. Approximately 1,700 motion pic¬ and employers.
ture, television, and new-media producers Those interested in producing animated
are members of the Producers Guild of films should approach film companies,
television stations, or television networks sionals in California, conducts an annual

about employment opportunities. Posi¬ survey of its members. It reports that pro¬
tions may also be listed in trade publica¬ ducers earned weekly salaries that ranged
tions and at the Web sites of professional from $1,500 to $3,605 in 2009.
associations, such as the Producers Guild The U.S. Department of Labor reports
of America (http://www2.producersguild. the following mean annual salaries for pro¬
org/jobs). ducers by industry in 2008: motion picture
and video, $98,930; advertising; $107,520;
and television broadcasting, $71,860.
WHERE CAN I GO FROM Earnings vary based on skill, experi¬
HERE? ence, and ability to produce high-quality,
The job of production assistant is an top-selling games or animated films on
entry-level position. Advancement comes time and within budget.
in the form of higher-level producing jobs. Benefits for producers depend on the
Workers advance first to assistant pro¬ employer; however, they usually include
ducer, then to associate and line producer such perks as health insurance, retire¬
positions, and then to the top position of ment or 401 (k) plans, and paid vacation
executive producer, who is responsible days. Self-employed producers must pro¬
for the entire project. Some producers vide their own benefits.
become directors or make enough money
to finance their own projects.
WHAT IS THE JOB
OUTLOOK?
WHAT ARE THE SALARY According to a 2004 survey conducted by
RANGES? the Entertainment Software Association,
Game Developer magazine reports that 53 percent of game players interviewed
producers in the computer and video game predicted that in 10 years they would play
industry earned approximately $82,905 in video games as much or even more than
2008. Associate producers with three or they do now. This increasing demand for
fewer years’ experience earned an average challenging and entertaining games cre¬
salary of $46,667. Those with six or more ates a steady job market for computer and
years’ experience earned $65,147. Pro¬ video game producers. Overall, employ¬
ducers or project leaders with less than ment in this job should grow at a faster
three years’ experience earned an average than average rate through the coming
salary of $62,500. Those with six or more decade. One thing to keep in mind: This is
years’ experience earned $67,500. Execu¬ a very popular industry. Talented, artistic,
tive producers with at least six years in the business-minded individuals will be drawn
field earned average salaries of $125,000. to the business of making and selling com¬
The Animators Guild Local 839, a puter and video games, causing an influx
union that represents animation profes¬ of applicants for a limited number of jobs.
Producers 95
Individuals with more experience will find ated animation business continues to grow
it the easiest to land jobs. However, with and boom thanks to so many successful
the industry's growth, individuals who films at the box office over the past several
are hard-working, flexible, and passionate years."
about gaming should be able to find entry- Though opportunities may increase
level jobs in computer and video game with the expansion of cable and satel¬
production. lite television, video and DVD rentals,
Employment for producers employed online rental and purchase options, and
in the motion picture and video game an increased overseas demand for Ameri¬
industries is expected to grow faster than can-made animated films and television
the average for all careers through 2016, shows, competition for jobs will be high.
according to the U.S. Department of Labor. Some positions will be available as cur¬
“There is, and continues to be, a tremen¬ rent producers leave the workforce.
dous amount of opportunity in our field, Employment for producers who work
especially for animators, technical direc¬ in the advertising industry is expected to
tors, editors, and all sorts of artists," says grow about as fast as the average through
Catherine Winder. “The computer-gener¬ 2016.
Sound Workers
SUMMARY
Definition Alternative Job Titles Employment Outlook

Sound workers create the Audio workers About as fast as the average
audio aspects of com¬
High School Subjects
puter and video games, Salary Range
Computer science
animated features and $45,000 to $78,167 to
Music
shorts, animations in com¬ $130,000
mercials, and other ani¬ Personal Interests
mated products (such as Educational Requirements Entertaining/performing
training simulations used Some postsecondary training Music
by industry).
Certification or Licensing
None available
Composers sometimes find paying work DreamWorks Animation SKG, on a full¬

when they’re least expecting it. “There time basis. Many others, however, work
have been a couple of times when clients on a contract basis, meaning that they
weren’t looking for music or already had are freelancers who are hired by com¬
something they were satisfied with,” says panies to work on a particular project,
composer Mike Weiser. “Thinking I was and sometimes a particular aspect of a
working in vain, I sent a track for them to particular project, until it is completed.
listen to. They liked it so much that they Because of this and other factors, such
added my music to their game or film. It’s as the size of the employer, sound work¬
those moments that you least expect. It’s ers are referred to by a number of job
like shooting in the dark and hitting the titles. In addition, they may be respon¬
bull’s-eye.” sible for many types of sound production
or only have a few specific sound-related
responsibilities.
WHAT DOES A SOUND Sound designers are responsible for all
WORKER DO? of the sound (except the creation of origi¬
Some sound professionals work for large, nal music) used in computer and video
well-known companies, such as Sega or games, animated films, and commercials.
96
Sound Workers 97
They create the squealing noise of a race to do research to find out what musical
car's tires, the rapid clip-clop of a gallop¬ instruments were used then and then find
ing horse, the zap from an alien's weapon, ways to reproduce their sound.
or the crunching thud of one pro wres¬ Sound designers also frequently work
tler body-slamming another. They are with artists and animators. To enhance
also responsible for any talking, singing, the game, sound designers must make
yelling, and so on that characters in the sure the characters' voices somehow
game, film, or commercial do. Finally, complement their looks as well as match
they find recordings of all of the music up with the artists’ and animators’
to be used in the film or game, but they visions of their personalities. For exam¬
do not write or create music themselves. ple, the sound designer needs to know if
All the sounds must fit with its action a large, bear-like character should have
and setting to attract the interest of the a deep, slow-speaking, friendly voice or a
intended audience and increase their squeaky, fast-speaking, unpleasant voice.
emotional experience. Voices also need to match up with the
To understand the work of a sound character's actions. In some sports games,
designer, let’s take a look at the responsibil¬ for example, a commentator may speak
ities of a sound designer who is employed during much of the game but will need
in the computer and video game industry. to adjust his or her voice—from fast and
The first team members that sound design¬ excited to disappointed to surprised, and
ers usually consult are the game design¬ so on—to suit the events. Sound design¬
ers. It is the sound designer's job to find ers also work with game programmers
out what look and feel the game designers to ensure that the final sound produced
want. To do this, the sound designer may is what was desired. Although sound
study concept sketches and ask the game designers generally don't have to write
designers questions. Who is the intended the programming code, those who have
audience? How many levels of play will coding knowledge are at an advantage
there be? Where will the game be played because they have a good understanding
(for example, on the Internet, in an arcade, of both the programmer's job and how
or on a console)? Does the game take place to achieve the best sound style.
in a particular time period, such as 100 Sound designers employed in any
years in the future or during the height of animation-related industry usually have
World War II? Answers to questions like access to a “sound library," recordings
these give sound designers a framework of many different sounds. But they must
for their work. For example, if the game also know how to create and record their
will be played in an arcade, the designer own sounds for use in a product. This
will know to make sounds louder and sim¬ can mean recording sounds that will be
pler than for a game played on a console at used realistically in a game or animated
home. If the game takes place in the past, feature; for example, recording the noise
for example, the sound designer may need of a passing jet fighter to use in a war
scene. It can also mean recording sounds kicked, a bomb exploding, and so on—as
to go with imaginary action; for example, well as background noises, such as rain
recording a rotten orange hitting a brick falling or two cats fighting far away.
wall to use for the sound of a monster Composers are sound specialists who
being punched in the stomach. focus on creating the music for a game,
Game designers and animation direc¬ animated feature, or commercial. They
tors sometimes ask the sound designer to need to be able to write music in many dif¬
use music that has already been produced, ferent styles—techno, rock, and even clas¬
such as songs from a popular band. For sical—for different products and to create
example, Tony Hawk’s Pro Skater incor- many different moods. Frequently com¬
porates music from well-known punk posers know how to play an instrument
rock bands such as Motorhead and the on their own, and many find that know¬
Ramones. The popular animated feature ing how to play the piano, synthesizers,
film Shrek featured music from Smash or samplers is particularly helpful. Some
Mouth and The Proclaimers. Music composers in the animation industry are
licensors are the professionals who nego¬ well known. For example, the singer/song-
tiate with music labels and up-and-com¬ writer/composer Randy Newman wrote
ing bands for the rights to use music in the music for the animation smash hit Toy
games, commercials, and animated films Story. Musicians perform, compose, con¬
and television shows. In that case, either duct, and arrange music. They may work
the sound designer or a music licensor alone or as part of a group to create music.
needs to get permission to use the music Some composers and musicians may also
from the recording label. Sound designers have additional duties as sound design¬
also record the actors who do the voice¬ ers or sound effects designers. To create
overs for the game characters. Again, the various types of sound and music that
sound designers are sometimes respon¬ appear in animated creations, compos¬
sible for finding actors to do this work, ers and musicians may work from story¬
or they may do some of the voice-overs boards; a finished game, animated feature,
themselves. or commercial; or nothing but an idea or
The extent of sound designers’ respon¬ concept for the product.
sibilities depends a great deal on fac¬ Sound directors are responsible for
tors such as experience, the size of the managing sound workers such as com¬
employer, and the budget for creating the posers, musicians, singers, audio record¬
product. In an environment that offers ing engineers (who oversee the technical
the opportunity to specialize, such as at end of sound recordings), sound design¬
a large company, there may be sound ers, and recording mixers (who combine
designers who work only on sound effects. music and sound effects with an animated
These sound effects designers concentrate film or video game’s action).
on creating the noises for specific events Working conditions vary for sound
in a game, animated feature, or com¬ professionals. Sound designers work in
mercial—a car crash, a soccer ball being recording studios that are usually air-
Sound Workers 99
WHAT IS IT LIKE TO BE A
To Be a Successful SOUND WORKER?
Cal Scott is the owner of Cal Scott Music
Sound Worker,
in Tigard, Oregon. He composes music
You Should... for the film and television industry. (Visit
• be very knowledgeable and pas¬ http://www.calscottmusic.com to learn
sionate about music more about his career and listen to sam¬
• have artistic talent ples of his work.) “I’ve been writing music
• understand recording technologies
since I was a kid,” he says. “I was born
into a musical family and it’s what I’ve
• be self-disciplined
wanted to do my whole life. I took piano
• have excellent communication when I was seven, trumpet when I was 11,
skills
and bought my first guitar when I was 14.
• be able to work with many types of I got my start composing for film quite
people
by accident. I was playing in a band and
• be flexible and patient when deal¬ writing a lot of the music when a friend
ing with suggestions from your of mine who was a radio disc jockey rec¬
employer
ommended me to a new filmmaker for
• be willing to continue to learn a possible film score. One project led to
throughout your career
another, and it became my career.”
• have good listening skills Cal has worked on a number of ani¬
mation-related projects during his career.
“With animation, since there’s no 'natural’
conditioned because of the sensitivity sound, you get to invent the sound of the
of the equipment Studios may be loud world that the film occupies,” he explains.
or cramped, however, especially during “That’s great fun and a big challenge. I’ve
recording sessions where many people are done a number of theater trailers where
working in a small space. Some design¬ I got to do the sound design as well as
ers may be required to record off-site, at the music, and it allowed me to sculpt
live concerts, for example, or other places each side to balance the other. For those
where the recording is to take place. projects, I receive the film with no sound
The physical conditions of a composer’s effects and no music. The first meeting
workplace can vary according to personal with the director is called the spotting
taste and what is affordable. Some work in session. We decide where the music goes
expensive, state-of-the-art home studios, and what the basic nature of the sound
others in a bare room with an electric effects will be. Then I go to work. These
keyboard or a guitar. Musicians working are very short films, usually under a min¬
on animation-related projects may work ute, so it’s possible for one person to do
in recording studios, home studios, or at the whole thing. Obviously with a longer
concert halls and other venues. project this would be impossible.”
Mike Weiser is a composer for film, tracks used in the game. The more infor¬
television, animation, games, the Web, mation I have from the client, the less time
and advertisements. He is also a piano it takes to compose the right music.
teacher and musician. (Visit http://www. “I can really go to work once we have
mikeweisermusic.com to learn more about the general direction. I try to find themes
Mike’s career and listen to samples of his or sections that can fit together in different
work.) Tve been composing music for ways. I experiment with different sounds
more than 20 years and playing music for and instruments. I do most of my compos¬
30 years,” Mike says. ‘In high school and ing at the computer using audio software
college I started writing for singer/song- (Logic, Ableton Live, Digital Performer,
writers, jazz, and rock bands. I became MOTU MachFive, etc.) and my MIDI key¬
interested in composing music for films boards. MIDI keyboards are such a great
and animation about six years ago. One of way to interface with a computer.
my close friends was producing and direct¬ “When the compositions are approved,
ing films and animated shorts. I felt that the live recording, mixing, and mastering
my diverse musical background might be process begins. 1 often get an audio engi¬
a good match for the schizophrenic world neer involved at this point because then I
of music for media. My interest extended can focus more on the composition.
to games when I downloaded the iPhone “Lastly, the digital files need to be pro¬
application Zen Bound. The music was so vided in the proper format. This can vary
cool. I said, 1 can do that!’” drastically depending on the platform,
When Mike is composing for a video developer, etc. When working long distance,
game, iPhone game, animated film, or it’s necessary to have a Web site where you
other product, he begins by having a gen¬ can upload larger files for clients.”
eral discussion with his client about the Mike says that one of the best parts of
project. If the project feels like a good fit, his job is the creative collaboration pro¬
he signs a work-for-hire or licensing con¬ cess and the results that are generated.
tract. “It’s good to get this taken care of “A great soundtrack can enhance a great
before the creative work begins,” he says. game (or movie, TV show, Web site, etc.),
“Finalizing the contract usually involves a and vice versa! I feel great when the client
fair amount of faxing, emailing, and send¬ says, your music fits perfectly!’”
ing legal documents.
“Next,” he continues, “I find out what
type of music the client wants. Since many DO I HAVE WHAT IT TAKES
clients are not musicians, it may take a TO BE A SOUND WORKER?
while to narrow the possibilities. This Sound designers need to be able to use
can be done by finding preexisting music the latest technologies to record, edit,
that the client likes or by providing short and “sweeten” their work. Workers in
samples of original material that could be this field are continuously updating their
developed into full-length tracks. Some¬ skills, learning how to use new tools or
times these samples are expanded into full techniques to create the sounds they
Sound Workers 101
Mel Blanc: Man of a Thousand Voices
Many industry experts consider Mel Blanc his breakout success at Warner Bros. Soon
(1908-1989) to be the inventor of cartoon Blanc was closely associated with many of
voice acting. He was nicknamed the "Man the studio's biggest cartoon stars as well
of a Thousand Voices" for his ability to as characters from Hanna-Barbera Studios.
create distinct and entertaining charac¬ His longest running voice-over was for the
ter voices in films and radio and television character Daffy Duck—about 52 years.
shows. Among his most famous character Mel Blanc's success can be attributed to
voices include Woody Woodpecker, Bugs his vocal ability and expressive range;
Bunny, Tweety Bird, and Barney Rubble. he also created an entire persona for a
Blanc began his career in 1927 as a character, not simply a voice. Blanc was
voice actor for a local radio show. The pro¬ extremely protective of his work—screen
ducers did not have the funds to hire many credits reading "Voice Characterization
actors, so Mel Blanc resorted to creating by Mel Blanc" were always an important
different voices and personas for the show stipulation in his contracts.
as needed. He became a regular on The Mel Blanc died in 1989, and accord¬
Jack Benny Program, where he provided ing to his last wishes, his tombstone is
voices for many characters—human, ani¬ inscribed with the words of his famous
mal, and nonliving objects such as a car in character, Porky Pig—"That's All Folks."
need of a tune-up. The distinctive voice
and stutter he created for Porky Pig fueled Source: Toonopedia.com
want. Composers and musicians need to the role of music is in film. It's not the star.
have a passion for music; an interest in It's part of the support. You need a continu¬
computer and video games, animated fea¬ ing sense of curiosity to learn how music
tures, or commercials; and a high degree works. Maybe you're good at folk music
of dedication, self-discipline, and drive. and you get hired to write a score in that
All sound workers should also have style. The director likes what you did and
strong communication skills in order to he or she comes back to you for the next
work well with a diverse group of indus¬ film, but wants something with piano and
try professionals. They also need flexibility cello. Are you willing to study a bit about
to work with a variety of musical genres. those instruments so you can compose for
“Working in film is a collaborative pro¬ them? If you want to write music for film,
cess/' says Cal Scott. “You have to be able to I’d suggest you learn to play at least two
enjoy working as a team member. Your job instruments, one being the piano. These
is to help the director fulfill his or her vision will serve as your window into all the other
of what the film should be. This may not instruments you'll need to write for."
always be the same as your idea of what's “I think successful composers are good
best for the film, so you have to be flexible. listeners," says Mike Weiser. “It's a field
You need to have an understanding of what that requires a lot of listening to music and
listening to suggestions. Patience is a great If you are interested in becoming a com¬

quality in a composer as well as efficiency poser or musician, you can continue your
and flexibility. Sometimes projects take education in any of numerous colleges
months, other times they are due in six and universities or special music schools
hours! You may have to start from scratch or conservatories that offer undergradu¬
or do multiple revisions of the same track ate and graduate degrees. Your course of
to meet the client’s needs. In most cases, study will include music history, music
the end result is worth the hard work! criticism, music theory, harmony, coun¬
Lastly, I think composers must enjoy the terpoint, rhythm, melody, and ear train¬
games, films, advertisements, etc., they ing. In most major music schools, courses
compose for. That joy encourages us to in composition are offered along with
write the best music.” orchestration and arranging. Courses are
also taught covering voice and the major
musical instruments, including keyboard,
HOW DO I BECOME A guitar, and, more recently, synthesizer.
Most schools now cover computer tech¬
SOUND WORKER?
niques as applied to music as well.
Education Audio recording engineers and mixers
High School can prepare for the field by taking seminars
Take high school classes in computer sci¬ and workshops and by pursuing degrees in
ence and math, including algebra and music engineering and technology at tech¬
geometry, to prepare for this field. You nical schools or community colleges.
should also take English, history, and
other college prep classes. Of course, take Certification or Licensing
as many music classes as possible and learn No certification or licensing is available
how to play one or more musical instru¬ for this profession.
ments, especially the piano, synthesizer,
and keyboard. Internships and Volunteerships
Most university and college music pro¬
Postsecondary Training grams have formal internship programs
In the past, most sound designers learned that allow students to gain experience
their trade through on-the-job training. while earning college credit and making
Today, many sound designers are earning valuable industry contacts.
bachelor’s degrees in music, sound design, Try to gain any experience you can creat¬
or audio engineering, and this will prob¬ ing music for games or animated films and/
ably become more necessary as technolo¬ or working with music professionals. You
gies grow more complex. Typical programs could take up an instrument in the school
focus on computer and music studies, band or orchestra, or write your own com¬
including music history, music theory, positions. You might also consider work¬
composition, sound design, and audio ing as a technician in your school’s sound
engineering. recording studio or radio station.
Sound Workers 103
WHO WILL HIRE ME? ings at http://www.awn.com. Those who

Sound workers are employed by com¬ want to create sound for commercials and
puter and video game companies and other advertising should contact adver¬
developers, film and television animation tising agencies directly for more informa¬
studios, and advertising agencies. Some tion on employment opportunities.
sound professionals, especially compos¬ Aspiring composers and musicians
ers and musicians, work on a freelance or usually break into the industry by creat¬
project basis. Many positions in anima¬ ing a demo tape of their work and sub¬
tion-related industries are located on the mitting it along with a resume to game
East and West Coasts (namely California companies. They might also create a Web
and New York City) and aspiring sound site that features samples of their work
workers may have to relocate to these for potential employers to review.
regions to find work in the industry.
Other opportunities for sound workers
are found in the recording, music video, and WHERE CAN I GO FROM
radio industries. Composers can try to sell HERE?
their work to music publishers, recording With experience, sound workers at
companies, dance companies, and musical software publishers can advance to the
theater producers. Musicians can work for
religious organizations, orchestras, schools,
clubs, restaurants, and cruise lines; at wed¬
dings; and in opera and ballet productions.
Pros and Cons
Sound workers can learn more about
• Cal Scott describes what he likes most and
jobs in the computer and video game
| least about his career as a composer/sound
industry by visiting game company Web : designer in the following paragraphs:
sites and sites that advertise job openings,
such as Gamejobs (http://www.gamejobs. : On the pro side, I get to write music and
com) and Gamasutra (http://www.gama- : get paid for it. It's a gift to get to make
sutra.com). Many people attend the annual • a living doing what I love to do! Every
• project brings one or two things that
Game Developers Conference to network
• are particularly rewarding—something
and learn more about internship and job
• new I've learned or getting to work with
opportunities. Other industry Web sites | a new client with a different perspective
such as http://www.highendcareers.com : or point of view. Every day is a challenge
and http://www.dice.com offer informa¬ : and every day is rewarding.
tion on jobs and employers. • The cons would include not having
• any real job security. In this business, if
Sound workers who want to work in
• you have work for the next six months
the motion picture or television indus¬
• or a year, you're doing well. You never
tries should contact animation companies • know for sure where the next job is com-
such as Pixar, Walt Disney Animation \ ing from, but after a while, you just start
Studios, and DreamWorks Animation : to trust that more work will be coming.
SI<G directly. They can also find job list¬
position of music or audio director and The American Federation of Musi¬

oversee the work of sound designers and cians of the United States and Canada
other professionals. Others might start has created pay scales for musicians and
their own companies and provide ser¬ composers who perform or write music
vices to game companies or animation for computer and video games and for
studios on a freelance basis. Advance¬ motion pictures and television films
ment for composers and musicians (including animated features). Contact
often takes place on a highly personal the federation for the latest rates.
level. As they become known for their Full-time sound workers receive typi¬
artistic abilities, they may be asked to cal fringe benefits such as paid vacation
compose or perform music for more and sick days, health insurance, and the
prestigious projects or companies. Some opportunity to participate in retirement
may become well-known composers savings plans. Freelance sound workers
and musicians in the film and television must pay for their own health insurance
industries or in the fine arts. and other benefits.
WHAT ARE THE SALARY WHAT IS THE JOB

RANGES? OUTLOOK?
Sound designers in the computer and Although the use of sound in computer
video game industry earned approximately and video games, animated features and
$78,167 in 2008, according to Game Devel¬ shorts, and commercials is growing in
oper magazine. Those employed by soft¬ importance, sound workers still make
ware publishers earned $61,620, and those up a very small segment of professionals
who worked in the advertising industry in these industries. As a result, competi¬
earned $68,470 a year. Composers/arrang¬ tion for jobs is very strong. Sound work¬
ers with three to six years of experience ers who have a combined knowledge
earned average annual salaries of $80,192. of sound design and composition and
According to the International Game musical abilities will have good employ¬
Developers Association, salaries for sound ment prospects over the next decade.
workers range from $45,000 to $130,000, The rarest breed of sound worker in the
with an average of $57,500 annually. computer and video game industry is the
Sound engineering technicians professional who has expertise in both
employed in the motion picture and sound and game programming. Demand
video industries earned mean annual for these specialized workers will be espe¬
salaries of $60,600 in 2008, according to cially strong over the next decade. Like¬
the U.S. Department of Labor. Musicians wise, sound workers with knowledge of
employed in the motion picture and video filmmaking techniques will have better
industries earned mean hourly salaries of employment prospects than workers with
$37.70 in 2008. only a background in music.
Supporting Artists
SUMMARY
Definition Character modelers Educational Requirements

Supporting artists create all Digital effects artists Some postsecondary
the characters and back¬ Inbetweeners training
grounds in an animation Inkers
project. They create visual Layout artists Certification or Licensing
drawings and 2D and Matte painters None available
3D forms using different Modelers
Employment Outlook
media, including paints, Painters
About as fast as the average
pencil, clay, or various Production artists
computer software Riggers High School Subjects
programs. Storyboard artists Art
Stylists Computer science
Alternative Job Titles Texture painters Mathematics
3D texture artists Visual development artists
3D texture painters Personal Interests
Background artists Salary Range Computers
Character artists $31,570 to $71,910 to Drawing
Character builders $100,390+ Film and television
Character concept artists
“The best part of being a character mod¬ WHAT DOES A

eler,says Jason Baldwin, “is working
in a fun and creative environment. It’s
SUPPORTING ARTIST DO?
the best job in the world. Some days it's It takes a variety of support workers to
like I’m getting paid to play around. create award-winning animated features
There’s also the amazing experience of and shorts. The following paragraphs
walking into a theater and seeing your detail some of the key artists involved
character come alive on the big screen.” in creating works of animation.
105
Character concept artists, sometimes and art directors to maintain a certain

known as stylists, character builders, or mood, whether the feature is a drama or
character artists, work with writers and comedy.
animation directors during a project's Before production can begin, writers
preproduction stage. Besides a script, an and the director consult with storyboard
illustrated story line must be presented to artists to help create a plan for the film.
studio or industry heads to attract inter¬ As with many animated or action films,
est and financing for a project. Char¬ storyboard artists may be given loosely
acter concept artists design the look of sketched drawings along with a descrip¬
both principal and secondary characters. tion of what certain action scenes or
“When developing a character concept," characters should look like, as well as the
says character concept and texture artist director's vision of the movie. They take
Brandon Lai, “I must know the following this information and create their inter¬
about the proposed character: race, gen¬ pretation of the story in a storyboard for¬
der, ethnic background, attitude, athletic mat—individual drawings of key action
or nonathletic. After that I assemble a vast sequences, along with dialogue and writ¬
variety of references and proceed with ten instruction for layout and design.
my concept." Character concept artists Storyboard artists may go through many
often use different media for their draw¬ drafts before their work matches the
ings, including color pencils, pastels, or director’s vision. Some storyboard artists
acrylics. Some stylists may choose to use still create these boards by hand, while
different computer software programs in many choose to use software programs
addition to hand drawings. “When doing such as StoryBoard Quick, Poser, or
conceptual design," says Brandon, “I pri¬ FrameForge 3D Studio. Regardless of the
marily use Adobe Photoshop and bounce media they use, storyboard artists must
back and forth between Photoshop and have an eye for perspective and an under¬
Corel Painter." Often, stylists may need to standing of camera angles. Depending on
work with writers or directors to develop the project, storyboard artists may need
the character's different qualities—facial to conduct research on many different
expressions, clothing, and coloring—until topics, including history, costumes, land¬
the desired effects are attained. scapes, or architecture. Some storyboard
Animated features begin as an origi¬ artists may work as freelancers, though
nal story idea or they are adapted from larger studios and digital effects compa¬
a work of literature or other art form. nies such as Pixar or Digital Domain may
Visual development artists, along with employ a staff of storyboard artists.
other members of a creative team, work Layout artists arrange a rough organi¬
with different aspects of the story idea, zational layout of the animated feature,
including character and plot line, color short, or commercial. They refer to sto¬
and texture scheme, background set¬ ryboards and work closely with editors
tings, and lighting or prop design. They to create a suggested flow for the anima¬
work closely with production designers tion—for example, placing characters
in certain spots or using rough effects animated feature. Inbetweeners are super¬
to indicate where an explosion or fight vised by animators or animator assistants.
might take place. These layouts aren't This entry-level position is a great way to
part of the finished product. Instead, they break into the animation industry.
serve as a guide or stage for the animation When a film's schedule or operating
team and other departments to do their budget cannot accommodate the costly
work. setup of complicated sets, directors often
Modelers use storyboard sketches and turn to the talents of matte painters.
the writer's script to create a 3D version of Matte painters create foreground, mid¬
a character, animal, or even background ground, and background scenes for films
scenery or special effects; these objects and animated features and shorts using
and backgrounds are integral to the devel¬ paints or pastels. Their work can include
opment of a cartoon or movie. Modelers environments such as cityscapes, ocean
may use different approaches depending scenes, or famous landmarks. Much of
upon the task or their specialty. Some their work is currently done on a com¬
modelers build their geometric models puter using 3D tools (such as Cinema 4D)
using materials such as clay, latex, or wire and various software programs (such as
mesh. Many animated features today are Adobe Photoshop). Matte paintings that
created using computer-generated imag¬ were created using computer technology
ery. Modelers using this technique create have figured prominently in films such
their 3D models using graphics software as The Chronicles of Riddick, Superman
programs such as Maya, form Z, bonzai, Returns, and films in The Lord of the Rings
3ds Max, Mudbox, Softimage, LightWave, series.
Blender, and Pixologic Zbrush. The pro¬ What would the character SpongeBob
cess is similar to that detailed earlier, SquarePants be without the talents of
though instead of molding and sculpting background artists? This yellow sponge
3D characters out of a physical material, and his pals could be living in a nonde¬
modelers create geometric structures on script small town anywhere in the world.
their computer screens. Thanks to background artists, however,
Riggers create a digital 3D skeletal SpongeBob SquarePants is right where
structure that is used to manipulate com¬ he should be—in the deep ocean met¬
puter-generated characters. This struc¬ ropolitan city known as Bikini Bottom,
ture establishes how characters can bend complete with pineapple houses, boat
and move. highways, and jellyfish parks. Background
After animators draw key frames— artists work with writers and layout art¬
important motion movements within a ists to determine how the background
series of frames—artists known as inbe- should appear in an animated film or
tweeners are responsible for drawing the short. Is there a particular color scheme,
remaining frames between key frames. mood, or other details to consider? They
Key frames and “inbetween" frames are may use a variety of media such as water-
tied together to create the action of an colors, acrylics, pastels, or bits of other
materials or embellishments. The back¬ black ink (traditional animation) or onto

ground-consisting of city or landscape, a computer screen by using digital soft¬
key buildings, or other details—are ware programs (computer-generated
painted on separate cels which are later animation). Painters then fill in the out¬
layered over with character-painted cels. lines using a series of numbered colors.
Software programs such as Corel Painter A standard palette of colors is used to
or Adobe Illustrator or Photoshop have ensure uniformity. Software programs
allowed background artists to create have revolutionized this step, with much
much of their work on computers, which of inking and painting work now done on
is later composited with characters or computer.
action sequences. Production artists work for the proj¬
When an animated feature calls for ect’s designers. They create a computer
the lead character to be a brown bear, layout of graphics, audio, video, charts
for example, it is the 3D texture painter and graphs, or storyboards. They may
or artist who gets to decide (in consul¬ also be responsible for compiling, tag¬
tation with the director) what shade of ging, and filing final files or clips to be
brown, and if the bear’s coat will be flat later transferred onto film. Production
and smooth, or long and shaggy. Texture artists may also be called upon for support
painters have the important job of decid¬ on HTML editing, document tracking, or
ing what shades of colors and textures database management for a project. On
will look best and work with the overall larger projects, production artists may
personality of the character. They work oversee several assistant production art¬
to create the proper color scheme and ists to help manage the workflow.
attributes for all characters, as well as any Digital effects artists are often called
background environments. “Using a 3D upon to create postproduction effects
model, my job as a texture painter is to for feature films, especially when real life
color and detail its surface,” says Bran¬ effects would prove too costly, danger¬
don. “Usually I will be given a picture of ous, or simply impossible. For example,
reference (concept) that a client is trying a crucial scene in the movie Titanic had
to achieve. Depending on how large the the survivors floating in the waters of
project is, I have to remember my bud¬ the Atlantic, watching as the doomed
get in file size; the larger the detail, the ocean liner slowly sank into the ocean.
larger the file size. For all my 3D work I Producers did not have to go through the
am currently using Autodesk Maya soft¬ expense of re-creating the sinking of the
ware, though I am in the process of learn¬ Titanic with a real ship, but rather had
ing Autodesk 3ds Max. I use additional a team of talented digital effects artists
programs such as Adobe Photoshop and create this moment complete with details
Pixologic Zbrush for color and surface such as breaking metal, fires, and ocean
detail.” waves. Digital effects artists confer with
Inkers outline an artist’s drawing of other members of the visual department,
a character on a celluloid sheet using directors, and producers to create the
needed effects or backgrounds on com¬

puter. Their work is then composited
with live action sequences or computer- To Be a Successful
animated sequences to create important Supporting Artist,
scenes in a movie. You Should...
Supporting artists usually work in well-
lighted design studios. The atmosphere • have artistic ability and animation
is usually creative and fast-paced. Artists skills
may be work under constant deadline • be proficient with computers and
pressure, and may need to work nights design-related software
and weekends to complete projects. • be able to follow instructions
• have good organizational skills
WHAT IS IT LIKE TO BE A • enjoy watching and creating ani¬
mated works
SUPPORTING ARTIST?
Jason Baldwin is a character modeler. He • have strong communication skills
has worked in the field for seven years. • be willing to work long hours to
Jason is currently modeling for Dream¬ meet deadlines
Works Animation SKG on a yet-to-be- • be able to accept constructive
announced film. He just finished work criticism
on Guardians of Ga’Hoole for the anima¬ • be willing to continue to learn
tion studio Animal Logic. Previously he throughout your career
worked at the animation studio Laika in
film development and on the short films
Moongirl and The Mouse That Soared.
(Visit Jason's Web site, http://www.bunka in the character and the character's func¬
rt.net, to view samples of his work.) “From tion in the film," he explains. “Based on
the time I could hold a crayon I was draw¬ that information I model the character
ing," Jason says. “I always wanted a job to meet both design and rigging needs.
that would allow me to be creative. At When I feel the character is close to being
an extremely early age I decided I would done I again meet with the art director
work on animated films. I honestly never and address any notes he has. When I get
even considered doing anything else. final-look approval I send the character
Other kids would say they were going to on to the other departments and wait for
be a fireman or an astronaut. I said I was my new assignment."
going to make cartoons." Brandon Lai is a freelance texture
On a typical workday Jason meets painter and character concept artist. He
with his coordinator and art director has worked in the field for six years. (Visit
to discuss the concept art for his next http://www.lai3d.com to view samples of
assignment. “The art director will tell his work.) “I have had a passion for films,
me specific design cues he wants to see video games, and other forms of media art
ever since I was a child/' he says. “Com¬ ing translates into a three-dimensional
ing from a 2D fine arts/illustration back¬ character. This is difficult at first, but
ground, I felt the need to drive myself into sculpting and drawing help develop the
the 3D realm," he says. “Re-educating necessary observational skills. Model¬
myself for 3D digital art was a rough and ers should also be positive and friendly.
tedious road. In the end, though, for any You could be the most talented modeler
artist, learning new art forms and tools is out there, but it doesn’t matter if no one
pure bliss. Due to the various jobs in 3D wants to work with you."
digital art, I found that with my knowl¬ All supporting artists should be artis¬
edge as a traditional painter, being a tex¬ tically talented, creative, well organized,
ture painter only made sense. and have strong communication skills.
“The best part of my job," Brandon They also need to be able to follow
continues, “is working and learning along¬ instructions, be punctual, accept con¬
side other incredible artists. Sometimes structive criticism, and be able to work on
the most unlikely person will push you their own when necessary. “Being punc¬
harder than you could ever push yourself. tual and highly organized is a no-brainer
This way your limits increase and so does in my field," says Brandon Lai. “The most
your art. The cons for me would be com¬ important skill for me is the ability to
plications in the 3D software I use, which receive criticism. Criticism causes the
is a common occurrence. It happens and birth of new ideas, and it is the one thing
you have to deal with it." that can break artists out of their indi¬
vidual molds. The more criticism an artist
can embrace, the more valuable he or she
DO I HAVE WHAT IT TAKES will be to others."
TO BE A SUPPORTING Supporting artists also must be will¬
ARTIST? ing to continue to learn throughout their
Personal and professional skills for sup¬ careers. “On every project I have done,
porting artists vary by position. Story¬ whether it was a success or not, I have
board artists, for example, need good learned something new," says Brandon.
drawing, storytelling, and staging and “It may be a new shortcut in Photoshop
composition skills. Background artists or a new tool in Maya. The more experi¬
should have strong observational skills, ence I get from new projects, the faster
a comprehensive knowledge of color and I become using the software. Time is a
lighting, and an understanding of the ani¬ major issue in my field. Deadlines seem to
mation process. Jason Baldwin says that, get smaller and smaller with every client.
by far, the most important skill for suc¬ If I can reach my deadline early by using
cessful modelers is motivation. “There the shortcuts I have learned, my employ¬
are no bad modelers, only unmotivated ers will view my work and character in a
modelers," he says. “Modelers also need better light."
the ability to re-create what they see. Artists must be willing to work long
You have to understand how a 2D draw¬ hours to meet deadlines. “The hours can
Pixar Animation Studios
Pixar is an animation industry leader that cerned with their technical abilities and
is known for its groundbreaking work more interested in finding workers "with
in computer-generated (CG) animation. breadth, depth, communication skills, and
Since its founding in 1986, Pixar has cre¬ the ability to collaborate." It believes that
ated some of the highest grossing and its animation artists should specialize in
most critically acclaimed animated films animation art, not technical issues. Pixar
in history, including Toy Story, A Bug's Life, also designs its own animation software
Toy Story 2, Finding Nemo, Monsters Inc., programs—such as Marionette and Ren-
Cars, Ratatouille, The Incredibles, and Up. derMan—that are easy to use for its work¬
Pixar established its reputation by ers. It also founded Pixar University, which
creating CG film sequences and special offers animation- and fine arts-related
effects for some of the biggest produc¬ courses that employees can take during
tion companies in the business, as well as or after work hours.
creating award-winning animated short With each project, Pixar continues to
films such as LuxoJr., Red's Dream, and Tin think outside of the box when developing
Toy. In 1995 it released Toy Story, its first ideas and techniques for its newest fea¬
fully-animated feature film. The picture ture films. At the core of each of its films
was distributed by Walt Disney Produc¬ is the idea of the main character's growth
tions (which went on to acquire Pixar in into the real world with the help and sup¬
2006). port of friends and family. This is central to
Pixar is on the cutting edge not only the appeal of each Pixar film.
in terms of computer graphics, but also
in how it hires and trains its employees.
When hiring employees, Pixar is less con¬ Source: Pixar.com
be extremely long,” Jason says. “Fifty- lege degrees, so you should take a college
hour workweeks are generally the stan¬ preparatory curriculum in high school.
dard, though in crunch time you can hit
80 or more hours.”
Supporting artists often have associate's
or bachelor’s degrees in design, animation,
HOW DO I BECOME A illustration, or related fields. Others learn
their skills by receiving on-the-job train¬
SUPPORTING ARTIST?
ing. The Animation World Network offers
Education a database of animation schools at its Web
High School site (http://schools.awn.com). Another
In high school, take art (including draw¬ good source of schools can be found at
ing), graphic design, computer science, the International Game Developers Asso¬
and animation classes to prepare for the ciation’s Web site (http://www.igda.org/
field. Many supporting artists have col¬ breakingin/resource_schools.php).
Certification or Licensing on job openings. They can also find job

No certification or licensing is available listings at http://www.awn.com. College
for this profession. career services offices also provide job
listings.
Internships and Volunteerships “Jobs at the moment are out there, but
Participation in an internship will pro¬ opportunities are slim,” says Brandon
vide you with valuable contacts that could Lai. “An artist has to package himself to
lead to job opportunities. It will also allow be attractive to employers. A Web site is
you to explore career options and work a must, along with business cards and a
environments. Many animation compa¬ well-polished demo reel or portfolio. The
nies offer internship programs, often in most important step to take is to gain
cooperation with colleges and universi¬ contacts. The more contacts you have the
ties. If you are a college student, visit your better your name spreads throughout the
career services office or ask one of your industry. Keep updating your material,
animation instructors about available whether it is 2D or 3D; your hard work
internships. If you are still in high school, will pay off in your next interview.”
contact animation studios in your area
for information on internships or volun¬
teer opportunities. WHERE CAN I GO FROM
One of the best ways to learn about a HERE?
career as a supporting artist is to actually Supporting artists can advance in several
try your hand at a variety of animation ways. Talented workers might be assigned
techniques. Experiment and immerse more prestigious projects or seek posi¬
yourself in the art materials and com¬ tions at larger companies. Others can
puter software programs that are used continue their education to become art
in the field to get hands-on experience. directors, production designers, direc¬
You can also read books and magazines tors, or animators. Certain workers in
about animation, visit Web sites of ani¬ this field, such as storyboard artists, have
mation production companies and stu¬ the skills and experience to become ani¬
dios, and talk to supporting artists about mation directors.
their careers.
WHAT ARE THE SALARY

WHO WILL HIRE ME? RANGES?
Supporting artists are employed by ani¬ The U.S. Department of Labor does not
mation, film, and television studios (such provide salary information for support¬
as Pixar, DreamWorks Animation SI<G, ing artists. It does report that multimedia
and Walt Disney Animation Studios). artists and animators earned salaries that
Aspiring artists should contact anima¬ ranged from less than $31,570 to $100,390
tion companies directly for information or more in 2008. Those employed in the
Major U.S. Animation Studios on the Web
Animal Logic Mike Young Productions LLC

http://www.animallogic.com http://www.mikeyoungproductions.com
Blue Sky Studios Nickelodeon Animation Studios

http://www.blueskystudios.com http://www.nick.com
Blur Studio
Pixar Animation Studios
http://www.blur.com
http://www.pixar.com
Digital Domain
http://www.d2.com Rhythm & Hues Studios
http://www.rhythm.com
DreamWorks Animation SKG
http://www.dreamworksanimation.com Sony Pictures Imageworks
http://www.sonypictures.com/image
Industrial Light & Magic
works
http://www.ilm.com
Laika Walt Disney Animation Studios

http://www.laika.com http://www.disneyanimation.com
Lucasfilm Animation Warner Bros. Animation

http://www.lucasfilm.com/divisions/ http://www.warnerbros.com
animation
motion picture and video industries had 401 (k) plans. Self-employed supporting
mean annual earnings of $71,910. artists must provide their own benefits.
The Animators Guild Local 839, a
union that represents animation profes¬
sionals in California, conducts an annual WHAT IS THE JOB
survey of its members. It reports that OUTLOOK?
background artists and texture painters Employment for supporting artists
earned weekly salaries in 2009 that ranged should continue to be good during the
from $1,490 to $2,774. Inbetweeners had next decade. They play a key role in the
average weekly earnings of $1,100; ink¬ creation of animated films, shorts, music
ers, $1,099; painters, $1,091; and stylists, videos, and commercials. One thing that
$1,313. aspiring supporting artists need to keep
Benefits for full-time workers include in mind is that advances in technology
vacation and sick time; health, and some¬ will continue to change the way animated
times dental, insurance; and pension or films and products are created. This will
require them to continue to upgrade their introduction of sculpting packages like

skills throughout their careers. Those Zbrush and Mudbox,” he says. “These
with the most up-to-date skills will have became instrumental in modeling for a
the best employment opportunities in this lot of studios, especially in modeling for
highly competitive industry. Employment live action. I also see a glut of modelers
may be limited by the outsourcing of ani¬ entering the industry. Since modeling is
mation jobs to other countries, where generally the first 3D discipline you learn
wages are lower. in school, most people know how to do
Jason Baldwin believes that the employ¬ it. This means that you need a very good
ment outlook for modelers is fair. “The demo reel, good contacts, or both to land
future of modeling changed with the that first job.”
Writers
SUMMARY
Definition Salary Range Employment Outlook

Animation writers create $28,020 to $55,000 to About as fast as the average
content for animated fea¬ $117,602+
tures, computer and video High School Subjects
games, magazines, news¬ Educational Requirements Computer science
papers, books, and game Bachelor's degree English (writing/literature)
and animation Web sites.
Certification or Licensing Personal Interests
Alternative Job Titles None available Writing
Authors
Christy Marx says the most rewarding ing paragraphs detail the various oppor¬
aspect of being a video game professional tunities for writers in these industries.
is the continuing feedback she receives Scriptwriters write scripts for com¬
about the two adventure games that she puter and video games (such as Halo,
wrote and designed for Sierra On-Line. Guitar Hero, Hearts of Iron, or Comet
“I’ve heard from many people that the Crash), animated films (such as WALL-
games taught them history, moved them, E, Happy Feet, Bolt, or Persepolis), televi¬
inspired them to seek certain careers, that sion shows (such as Johnny Test or The
they have grown up to share them with Simpsons), commercials, and animated
their kids, and many other wonderful sto¬ training simulations or other products
ries. It’s deeply gratifying to me to know that are used in the military and a wide
that my work had such a positive and last¬ variety of industries (including health
ing effect on others.” care and education). Other scriptwrit¬
ers write nonanimated dramas, com¬
edies, soap operas, adventures, westerns,
WHAT DOES A WRITER DO? documentaries, newscasts, and training
Writers in animation-related industries films. Scriptwriters may choose themes
have a wide range of duties depending on themselves, or they may write on a
their job title and employer. The follow¬ theme assigned by a producer or director.
115
Scriptwriting is an art, a craft, and a busi¬ the latest version of Call of Duty. A writer
ness. It is a career that requires imagi¬ for a weekly entertainment section in a
nation and creativity, the ability to tell a newspaper may be assigned to interview
story using both dialogue and pictures, the well-known voice actor in Pixar’s lat¬
and the ability to negotiate with produc¬ est animated hit or write an article about
ers and studio executives. Scriptwriters how a popular video game is being turned
are sometimes called screenwriters. into an animated feature film.
Animation writers who work for print Many animation publications are only
and online publishing companies cover available online. Writing for this medium
a wide range of topics. They write about is much different than writing for print.
the major players (famous animators, Online writers must be able to write in
directors, producers, and voice actors), a style that provides information while
companies (such as Sega or Walt Dis¬ also maintaining the reader’s interest.
ney Animation Studios), industry trends They must pay special attention to the
(anime, computer-generated imagery, tone and length of an article. Few read¬
etc.), popular films and computer and ers will scroll through screen after screen
video games, genres, events (Game Devel¬ of text. While online writers do not need
opers Conference, animation festivals, to be computer whizzes, they do need to
etc.), history, and any other topic that know what computer and Internet tools
relates to these fields. The nature of their can make their articles more interesting.
work is as varied as the venues for which Frequently, online writers incorporate
they write: newspapers, magazines, books, highlighted keywords, lists, pop-up boxes
and Web sites and blogs. Some animation or windows, and hypertext links in their
writers also appear on television, radio articles. These items make the articles
talk shows, and in documentaries. visually appealing and easy to read.
Staff writers are employed by maga¬ Animation columnists or commenta¬
zines and newspapers to write news sto¬ tors analyze news and social issues as they
ries, feature articles, and columns about relate to animation industries. They write
animation-related topics. First they come about events from the standpoint of their
up with an idea for an article from their own experience or opinion.
own interests or are assigned a topic by Animation critics review animated
an editor. The topic is of relevance to movies or shorts for print publications
the particular publication; for example, a and television and radio stations. They
writer for an animation magazine may be tell readers and listeners why or why not,
assigned an article on the Annie Award in their opinion, they should spend their
for animation. A writer for a video game money to see a movie. Critics may also
magazine may come up with the idea interview actors, directors, and other pro¬
of interviewing one of the founders of fessionals for print or online articles and
Nintendo, a pioneer in the video game broadcast interviews. Some critics became
industry, or propose writing a review of celebrities in their own right. Game critics
Writers 117
review computer and video games to help

readers decide which ones to play, buy, or
avoid. They also review gaming hardware, To Be a Successful
consoles, and related equipment. Writer, You Should...
Some writers are employed by game
companies, game developers, and anima¬ • have excellent writing skills
tion studios. Technical writers employed • be highly creative
in the game industry prepare a wide vari¬ • be a good researcher
ety of documents and materials. They
• have a curious nature
might write content for user guides;
instructional online game videos; train¬ • be highly organized
ing manuals; package copy and game • be able to work well as a member
summaries; installation instructions for of a team
software, hardware, or related materials; • be self-motivated to work alone,
and help and technical support sections when necessary
on company Web sites. Others may write • have excellent communication
consumer publications published by game skills
companies such as Nintendo. Copywriters • be able to work under deadline
write advertising copy for computer and pressure
video games or movie packaging, com¬
pany Web sites, and print, radio, Internet,
and television advertisements.
Game Genres, Secrets of the Game Busi¬
ness, and Professional Techniques for
WHAT IS IT LIKE TO BE Video Game Writing (A I< Peters Ltd.,
A WRITER? 2009). “I became interested in computer
Sande Chen is a game writer who writes games while in middle school/' Sande
games on a contract and full-time basis. recalls. “I played Zork and Wizardry. I
She has worked in the game industry started writing my own text adventures
since 1998. Sande's game writing cred¬ in BASIC, but it never occurred to me
its include the 1999 Independent Games that I could work in the game industry
Festival winner Terminus and the 2007 until I went to film school at the Univer¬
PC Role Playing Game of the Year, The sity of Southern California. For a while,
Witcher, for which she was nominated I concentrated on screenwriting and
for a Writers Guild of America Award for music video direction. I even directed
Outstanding Achievement in Videogame a music video that was nominated for
Writing. She is the co-author of Serious a Grammy. When I reached my final
Games: Games That Educate, Train, and year, interactive movies and the World
Inform (Course Technology PTR, 2005) Wide Web were the hot topics for film
and a contributor to Writing for Video students. I had always been interested
in pushing boundaries, so I decided to create an amazing experience for a player.

concentrate on what I thought would be I fall in love with every game story that I
the most innovative experience in inter¬ work with, enough so that I can envision
active writing: computer games! countless stories, sequels, movies, and
“A game writer, in the studio or as books all emanating from within this one
a freelancer, can be employed to do world. You have to really love games to
many different things in game develop¬ be in game development. But I also love
ment,Sande continues. “Beyond the the adventure. Who knows what kind of
dialog and the high-level game concept, story I’ll be working on next? Each game
there is backstory, item descriptions, is an opportunity to learn about so many
mission briefings, journal entries, char¬ different things.”
acter profiles, and internal design docu¬ Haris Orkin has been a freelance game
mentation. Some writers, like me, also writer since 2004. His credits include Drag-
do game design and narrative design onshard for Atari, the western-themed
because many tasks require a working first-person shooter Call of Juarez for Ubi-
knowledge of game design in order to soft and Techland, and the 2008 Interactive
do them well. Achievement Award Winner for Strategy/
“Like most in the game industry, game Simulation, Command and Conquer: Red
writers work hard. They work closely Alert 3 for EALA. He also contributed to
with producers, designers, programmers, Writing for Video Game Genres: From FPS
and artists. If you work in a studio, you’ll to RPG (A I< Peters Ltd., 2009) and Profes¬
be expected to have the same hours as sional Techniques for Video Game Writing
everyone else. Freelancers who work for (A I< Peters Ltd., 2009).
themselves have the luxury of scheduling “I was an English and economics major
their own hours, but it’s very erratic. One in college,” Haris recalls, “and went to
week you may have to work extra hard the University of Southern California
because of deadlines, but another week for an MFA in creative writing. I then
may be relatively light.” spent many years trying to break into
Asked to name one negative aspect of the movie business as a screenwriter. To
her job, Sande cites the dearth of women pay the bills I also worked as an adver¬
working in game development. “Women tising copywriter. I’ve sold half a dozen
and girls are actually a large proportion original screenplays. I’ve also created
of the game-playing audience these days, stage plays that have been produced in
yet there are still many game companies New York, Los Angeles, and in regional
without women on the development theaters around the country. All along, I
team. That’s why I’ve been involved with was a hardcore gamer and decided to try
groups like Girls in Games and Women my hand in that industry as I could see
in Games International.” that story was becoming more important
In terms of positive aspects of her in video games. I also cast, produce, and
career, Sande says that “there’s nothing direct the voice-over acting for some of
like the feeling of knowing that you helped the games I’ve written.”
Writers 119
Writer Profile: Rhianna Prachett
Rhianna Prachett is a game writer based things like level dialogue on a PacMan
in London, England. She discussed her game and one of the many Sponge-
career with the editors of What Can I Do Bob SquarePants titles. When you're
Now? Animation. starting out, you can't afford to be too
picky. My first big game was the PS3
Q. How long have you worked in the epic Heavenly Sword with Sony and
game industry? How did you break Cambridge-based developer Ninja
into the field? Theory. That really kicked my career up
A. You could say that I've been prepar¬ a few notches and established me as a
ing to work in the game industry for a full-time writer and narrative designer.
very long time, considering I've been After that I moved on to projects such
an avid gamer since I was about six as Overlord, Mirror's Edge, Viking: Battle
years old. But officially I first entered for Asgard, Dark Legend, and Overlord
the industry back in 1998.1 was com¬ II. I still work freelance, mainly from my
ing toward the end of my journalism London office, but I travel all over the
degree and I started writing freelance world to work with clients on a whole
game reviews for a women's maga¬ range of projects.
zine called Minx. It was a rare thing
for a woman's magazine to cover Q. What are your typical responsibili¬
games—and still is. I think the reviews ties and hours as a writer?
only lasted about five issues, but it A. I've been freelance for more than six
was enough to get a foot in the door years now, so I pretty much work my
of the industry. I then continued the own hours, and these can vary from
freelance reviewing until I managed day to day depending on the status
to secure a full-time job as a writer on of the projects. Narrative production
PCZone—the UK's longest running PC isn't full-on all the time, so I've usually
game magazine. I stayed there for a got a couple of projects on the go in
few years and also ended up writing different stages of development. My
for the likes of The Guardian and The core hours tend to be about 10 a.m. to
Sunday Times newspapers. In 2003 I 4 p.m., but I often work long into the
left to go back to the pajama-based evenings and during weekends, as
world of freelancing and was lucky well. I really need to be better at set¬
enough to get offered some work ting boundaries!
as a story editor on a hardcore role- My work is varied. Largely it can be
playing game called Beyond Divinity. broken down into the writing compo¬
So it wasn't so much a case of me nents (which include things like story
finding game writing as game writing development, character creation,
finding me! biographies, world bible, as well as
It was another foot in the door dialogue and scene direction) and the
moment. From then on I rifled through narrative design components, which
my industry contacts and took all the largely revolve around the mechanics
work I could just to pay the bills and
get some credits. These included (continued on next page)
(continued from previous page) lost. Both of those scenarios can be

very difficult to deal with.
by which the story is delivered. Then The best thing about being a game
there are other elements of my job writer is it's such an evolving medium
such as preparing the scripts and and you can get to work on a very
actors for the voice recording sessions, diverse selection of projects. You
sometimes even taking on the voice always have to keep revising and hon¬
directing role myself (I did the voice ing your skill set because it's definitely
directing on both Overlord and Overlord not a medium that stays still for very
II), attending press events, and answer¬ long.
ing interviews and emails. Then there's
a lot of responsible cat petting to be Q. What are the most important per¬
done—mainly because my cats like to sonal and professional qualities for
sleep within inches of my keyboard! game writers?
A. Flexibility, dedication, robustness, and
Q. What do you like least and most knowing when to pick your battles—
about work as a game writer? mainly because there will always be a
A. I thinkthe industry has moved beyond lot of them to choose from. I think that
the question of whether or not it being a gamer is also very important.
needs professional writers onboard— You wouldn't set out to write movies
and has answered more or less with a without watching some or reading
resounding "Yes." Now it's just a ques¬ screenplays, would you?
tion of working out how best to inte¬
grate writers into a project and how Q. What is one of the most interesting
best to use narrative to enhance game or rewarding things that has hap¬
play. Unfortunately the industry is not pened to you while working as a
as well versed at dealing with narra¬ game writer?
tive and the creative process as other A. Certainly one of the most surreal
entertainment forms. This can mean things that happened to me was
that there's often too little interfer¬ when I attended the Overlord II press
ence—namely that the writer is left event. There were three actresses
to create his or her story world in a hired to dress up as three of the Mis¬
vacuum with not enough input from tresses characters in the game (Kelda,
the design team, which can often Juno, and Dark Fay). So at one point I
lead to game play and narrative being found myself washing my hands in the
severely out of line. Alternatively you ladies' bathroom watching a figment
could get the situation where every¬ of my own imagination putting on her
one wants in on the creative process mascara—a genuinely odd moment.
(whether they are well versed in this Aside from that it's given me a chance
field or not), and suddenly you're to travel the world, work with some
embroiled in a story-by-committee really great people, and even try my
situation where the views of the nar¬ hand at writing for other mediums,
rative professional(s) can become at such as the six-part Mirror's Edge mini¬
best diluted and at worst completely series I wrote for DC Comics.
Writers 121
Haris Orkin says that there is no such DO I HAVE WHAT IT TAKES

thing as a typical day on the job. “This
is one of things I love about it,” he says. TO BE A WRITER?
“As a freelance writer, I'm contracted Successful animation writers should be
by different video game companies to creative and able to express ideas clearly,
help them create narratives and charac¬ have a love of animated films or computer
ters and stories for their games. On days and video games, have broad general
I’m writing, I start early, around 8 a.m., knowledge, be skilled in research tech¬
and usually work until 2 or 3 p.m. In the niques, and be computer literate. Other
afternoon I answer emails and take care assets include curiosity, persistence, ini¬
of anything else that needs to be done. tiative, resourcefulness, and an accurate
Sometimes I'm writing dialogue. Other memory.
days I’m working on the overall outline “As with most professions,” says Sande
of a story. The game designers will send Chen, “communication and soft people
me design documents outlining the game skills are of utmost importance. You need
and Til send them story and characters to be able to communicate your ideas
ideas. We'll discuss, we'll hash it out, and effectively. When working with a team,
we'll brainstorm. Sometimes I'll meet in it's important to get buy-in and feedback
person with the designer. He'll show me from your coworkers. A game is a collab¬
artwork and game play. We'll discuss orative piece of work, so you shouldn't
story and how it fits into the game and feel that you have to get your way all
how it works together. If I'm dealing the time. In fact, in most cases there are
with a client in another country, this is lots of changes to a game before it gets
all done by email, phone, or Skype. I can shipped.”
work from four hours to 16 hours a day “As a game writer,” says Christy Marx,
depending on when things are due and “you need to have a quick, flexible mind
what else I'm working on.” that can adapt to the kind of continuous,
Haris cites the uncertainty of a free¬ fast-paced changes that happen in game
lance career as the only drawback to his development. You need to have a good
profession. “You’re always hustling the mind for tracking tons of detail. You
next job as you work on the current one,” need to be able to think in a nonlinear
he says. “But what's great about being a fashion. You need to be able to master
freelancer is that I'm not tied down to one technical software. You need to have an
company, one kind of game, one kind of understanding of at least the basics of
story, or one set of characters. One of the game design. As a professional writer,
best parts of my job is creating characters you need the same qualities of a profes¬
and plots and stories. I love figuring out sional writer in any field: be competent,
how to create story and game play and be pleasant to deal with, be thorough, do
intertwine them into a new kind of dra¬ your research, be prepared, and above
matic form.” all, meet your deadlines. Always, always,
Writer Profile: Christy Marx
Christy Marx is a game writer and designer. to terms on the spot, agreed to make a
She is also the author of Writing for Ani¬ King Arthur game, drove home and set
mation, Comics, and Games (Focal Press, about making the move to Oakhurst.
2006). (Visit http://www.christymarx.com When I arrived, I expected to be pro¬
to learn more about her career.) Christy vided some guidance—a how-to book
discussed the world of game writing and or set of instructions—something.
design with the editors of What Can I Do There was nothing. Zip, zilch, nada. I was
Now? Animation. on my own. I learned how to design a
game by: (1) playing and studying every
Q. Why did you decide to become a game Sierra had made up to that time;
game writer/designer? (2) studying the game outlines created
A. My story is atypical and not the kind by the other designers there; and (3)
of thing that could happen today. sitting down with each member of my
It was 1988. The Writers Guild strike team—artists, programmers, etc.—and
had been grinding on for months and having them explain what they could
there was no work to be had. At the and couldn't do, show me the tools
time, I was married to an Australian they had to work with, and educate me
artist, Peter Ledger, and he was con¬ to the best of their ability. Using what
tacted by a headhunter hired by Sierra I'd learned, I did my research and wrote
On-Line. Sierra was the leader in com¬ up a full game design.
puter games, famous for series such And that's how I became a game
as King's Quest, Space Quest, and Police writer/designer.
Quest, but they had chosen to locate
their studio in Oakhurst, an obscure Q. What are your typical responsi¬
mountain town in the Sierras, just out¬ bilities and hours as a writer and
side of Yosemite National Park. It was designer?
a beautiful place to live, but they had A. I've had two different types of careers
trouble finding people who were will¬ as a game writer/designer. I'll talk first
ing to move there to work on games. about schedule, then I'll get into the
I knew nothing about computer types of responsibilities I've had.
games, but I quickly asked whether For 18 years I worked freelance. That
they'd be interested in a writer and meant I spent a lot of my time look¬
artist team. When they learned of my ing for jobs and opportunities. It also
background, they were very inter¬ meant that I worked at home and set
ested. Back then, at a place run by a my own hours. I could work during the
husband-and-wife team, Ken and day or at night in any pattern of hours I
Roberta Williams, they were open wanted. The trick with being freelance
to giving almost anybody a shot at (besides finding the work) is that you
designing a game. The fact that I had a have to be disciplined about getting
Hollywood scriptwriting background the work done and making deadlines
was a huge enticement for them. once it comes your way.
Peter and I drove up there, spent In 20071 went to work full time as the
the day interviewing with them, came head writer and lead story designer for
Writers 123
a new MMORPG (massively multiplayer overwork its people. The reality is that
online role-playing game) for one of making people work too many hours
the studios under Gazillion Entertain¬ doesn't improve productivity. All it
ment. Game companies in general does is exhaust people, cause burnout,
tend to be more relaxed and flexible and make workers less productive.
about the hours that people work. At Some game companies like to take
Gazillion, they set core hours from 10 advantage of people who are new
a.m. to 5 p.m., meaning you have to be at and inexperienced, eager to break in,
work and available for meetings during and willing to do anything to get into
those hours. There's an hour for lunch. games, but there's no good excuse for
Beyond that, you have to put in your crunch time. If considering whether to
eight hours a day any way you like. I go work as a full-time employee for a cer¬
from 9:30 to 6:30. Other people come tain company, look for one that has a
in at 8 and leave at 5, or come in at 10 strong, positive attitude about QoL.
and leave at 7, according to their per¬ On the subject of responsibilities,
sonal preferences. that can also vary widely depending on
I want to mention one other impor¬ what I am hired to do. As a freelancer,
tant thing related to work hours. I've done a large variety of work. I've run
Although video games are still a fairly entire design teams and created every
young business, a certain culture has bit of the game design. I've been hired
developed that has led to some bad to create the story and characters for
practices. One of the worst of these games that were already partly done.
practices, which often borders on I've written dialogue for MMOGs (mas¬
abuse, is called "crunch time." Crunch sively multiplayer online games). I've
time means that people are expected served as a story consultant to evalu¬
to work 12 to 14 or more hours per ate the story in games. I've been a story
day, sometimes even on weekends. editor for other writers' dialogue.
Crunch time originated from a pattern In my Gazillion job, I was hired to
of scheduling games to ship around create the entire story and storyworld
Thanksgiving in order to have games for the MMOG. I worked closely with
for sale for the big Christmas sales the other game designers, world
push. If the company management designers, and artists to help create
wasn't good at estimating how long the look of the world, who lives there,
a game would really take to complete, what their cultures are like, how they
they would find themselves desper¬ interact with one another, the over¬
ately "crunching" and overworking all story of the world, and the stories
their people to meet that deadline. of the various zones (geographic
Crunch time then became a more regions) in the game. This was all writ¬
widely accepted way of doing things, ten up into a large, detailed document
even when it wasn't necessarily known as the game bible.
needed. This has led to emphasis on Additional duties in this job include
a new issue—QoL, meaning Quality working with other writers on my team,
of Life. A company that is concerned overseeing the quality of all writing on
about its employees having good
QoL will avoid crunch time and not (continued on next page)
(continued from previous page) ment, but the battle is far from won.
Too often writers are brought in very
the game (such as quest dialogue), cre¬ late in the process when the game is
ating quests, and doing other types of nearly complete and someone finally
writing that may be needed, such as realizes it doesn't have a story. Then
writing for the game's Web site or for the writer can only do the best they
promotional materials. can with what already exists instead
of being able to help shape the game
Q. What do you like least and most from the beginning.
about work as a game writer? What I like most: Getting to write
A. What I like least: The constant struggle for games! I love the challenge of it,
to get the game business to under¬ of doing the best work I can for each
stand the need for professional writ¬ project. I love the fantastic and inter¬
ers. I've fought for 20 years to change esting people with whom I get to
the underlying attitude that writers work. And I especially love hearing
aren't a part of the development from people who enjoyed playing the
process. I've seen some improve¬ games I made.
always get the work done on time. You understand what makes them successful
will get more work from being good and (or not) and what you can do as a game
dependable than you will get from being writer/designer to further the medium.”
brilliant but undependable.” For some jobs—on a newspaper, for
Haris Orkin says that freelance writ¬ example, where the activity is hectic and
ers need to be self-starters. “You have deadlines are short—the ability to concen¬
to have a need, a desire, a fire to express trate and produce under pressure is essen¬
yourself,” he says. “Then you have to have tial. Animation critics and columnists need
the discipline to do it every single day no to be confident about their opinions and
matter how inspired you feel, or lazy, or able to accept criticism from others who
distracted. I tell people who want to be may not agree with their views.
writers that the most important skill is
keeping your butt in the chair. But that’s
just step one. You have to love the medium HOW DO I BECOME A
you’re writing for, whether it is books, the
WRITER?
stage, TV, movies, or games. You need to
educate yourself. First of all, you need to
Education
learn the tenets of basic dramatic writing. High School
As a game writer, you need to play many, In high school, you should build a broad
many games, including both the com¬ educational foundation by taking courses
mercial and critical successes. You need in English, literature, foreign languages,
to study narrative technique. You need to history, general science, social studies,
Writers 125
computer science, and typing. The abil¬ requirements in your college program.
ity to type is almost a requisite for many During your internship—which may
writing positions, as is familiarity with be paid or unpaid, for credit or not for
computers. In addition, you should watch credit—you will work closely with anima¬
as many animated films or play as many tion professionals and get the opportunity
video games as possible, as well as read to try out various job tasks, learn animation
publications on animation and gaming. software, and experience different work
settings. An internship will also allow you
Postsecondary Training to make valuable contacts, which may lead
This is a competitive industry and one to a job after graduation. If you are unable
good way to stand out from other job to land an internship, try volunteering at
applicants is to earn a college degree. a local animation company. If you can’t
Many employers prefer that you have a work as an intern or get a volunteer posi¬
broad liberal arts background or a major in tion, try to write for your school newspa¬
English, literature, history, philosophy, or per or write a script for an animation short
one of the social sciences. Other employ¬ that you or your friends create.
ers desire communications or journalism
training in college. Occasionally a mas¬
ter’s degree in a specialized writing field
Rewarding Experiences
may be required. A number of schools
offer courses in journalism, and some of
The editors of What Can I Do Now? Anima¬
them offer courses or majors in newspa¬ tion asked Haris Orkin to detail some of
per and magazine writing, publication the most rewarding experiences during
management, book publishing, and writ¬ his career.
ing for the Internet. If you are interested
in animation writing, you might want to Writing games is a marathon, not a sprint,
so it would be hard to pick one thing. It's
consider a major, or at least a minor, in
the process to me more than the destina¬
a film-, computer game-, or animation- tion. But being nominated for a Writer's
related area. Game manual writers and Guild Award for Command and Conquer:
technical writers might be required to Red Alert 3 was meaningful to me. My
have an advanced degree in computer sci¬ nomination was voted on by fellow game
ence, engineering, or a related discipline. writers. And it's because of recognition
from the Writer's Guild that games are a
storytelling medium worthy of respect.
Certification or Licensing But to tell you the truth, the most mean¬
No certification or licensing is available ingful moments to me are reading game
forums or sites like Metacritic.com where
for this profession.
regular gamers talk about the games
they play. If I can touch someone or give
Internships and Volunteerships them a good time or just make them
You will most likely be required to par¬ laugh, that means a lot to me.
ticipate in an internship as part of degree
WHO WILL HIRE ME? Employers in the field of journalism

Writers are employed by publishing com¬ usually are interested in samples of pub¬
panies of various sizes. Others work for lished writing. These are often assembled
animation studios or independent game in an organized portfolio or scrapbook.
development studios and manufacturers Bylined or signed articles are more cred¬
of the various computer and video game ible (and, as a result, more useful) than
platforms. Major entertainment software stories whose source is not identified.
publishers include Activision Blizzard, Beginning positions as a junior writer
Electronic Arts, Nintendo of America, usually involve library research, prepa¬
Atari, Sony, THQ, Take-Two Interactive ration of rough drafts for part or all of a
Software, Microsoft, and Konami Digital report, cataloging, and other related writ¬
Entertainment-America. In addition to ing tasks. These are generally carried out
these large companies, there are many under the supervision of a senior writer.
small- to mid-level software publishers. You can apply for employment directly
Large animation companies include Blue to game companies or publishing com¬
Sky Studios, Rhythm & Hues Studios, panies that produce gaming publications.
Walt Disney Animation Studios, Pixar, Be sure to research these companies first
Lucasfilm Animation, Warner Bros. to learn more about their products or edi¬
Animation Studios, Sony Pictures Ani¬ torial focus. Don't send your resume and
mation, and DreamWorks Animation writing samples to every employer that
SKG. Visit http://aidb.com for a data¬ has a job listing. Look for work settings
base of thousands of animation-related that match your interests and abilities.
companies. There are many Web sites that have job
You will need a good amount of expe¬ listings for game writers. These include
rience to gain a high level position in the Gamejobs (http://www.gamejobs.com),
field. Nearly all writers start out in entry- Animation World Network (http://jobs.
level positions. These jobs may be listed awn.com), and Gamasutra (http://www.
with college career services offices, or gamasutra.com). Many people also attend
they may be obtained by applying directly the annual Game Developers Conference
to the employment departments of indi¬ (http://www.gdconf.com) to network
vidual publishers or game, broadcast¬ and learn more about internship and job
ing, or animation companies. Graduates opportunities.
who previously served internships with
these companies often have the advan¬
tage of knowing someone who can give WHERE CAN I GO FROM
them a personal recommendation. Want HERE?
ads in newspapers and trade journals are Most writers find their first jobs as edi¬
another source for jobs. Because of the torial, production, or research assistants.
competition for positions, however, few Advancement may be more rapid in small
vacancies are listed with public or private media companies, where beginners learn
employment agencies. by doing a little bit of everything and may
Writers 127
Writer Profile: Blake Snow
Blake Snow is a freelance writer and game Q. What do you like least and most
critic. He has worked in the field for nearly about your career?
five years. Blake's work has appeared on A. As a self-employed individual, I dictate
MSNBC, CNN, GigaOM, Joystiq, Kotaku, my own schedule and choose where I
Gamasutra, and GameDaily and in spend most of my time, which is usually
Gamepro, BusinessWeek, and PC World. on projects I'm most passionate about.
(Visit http://freelancegamewriter.com to That said, the workload and paychecks
learn more about his career.) Blake dis¬ aren't as set in stone as some of my
cussed his career with the editors of What cubicle-adventuring friends, perhaps
Can I Do Now? Animation. the only downside to my job.
Q. What made you want to enter this Q. What are the most important per¬
career? sonal and professional skills for
A. Video games are something I've game writers and critics?
always enjoyed. Being the curious A. Personal: You have to always sell
and opinionated guy that I am, it only yourself, be it a new pitch, email cor¬
made sense to marry the three with respondence, a telephone call, even
words. an in-person meeting over lunch. As
far as technical skills, you have to be
Q. Can you describe a day in your work confident, write in a clear (and prefer¬
life? What are your typical responsi¬ ably original) way, and be honest in
bilities? Hours? what you say.
A. I live and die by my gcal [Google Cal¬
endar], so I'm always updating it with Q. What has been one of the most
to-do items, deadlines, and follow¬ rewarding experiences in your
up efforts. I spend a lot of my time career?
researching ideas and pitching ideas, A. So far I'd say becoming a weekly col¬
then writing assigned ideas. Email is umnist for MSNBC is the most reward¬
by far my primary communication ing experience. I never dreamed of
tool for work, so I spend a lot of time in being a writer while in school, so it's
gmail as well. I typically work between encouraging to know that hard work,
six to nine hours per day (from home), determination, and some risk-taking
depending on my workload. can still take you places.
be given writing tasks immediately. At Promotion into higher-level positions

large publishers or broadcast companies, may come with the assignment of more
duties are usually more compartmental¬ important articles and stories to write, or
ized. Assistants in entry-level positions are it may be the result of moving to another
assigned such tasks as research and fact¬ company. Mobility among employees in
checking, but it generally takes much lon¬ this field is common. A staff writer at a
ger to advance to full-scale writing duties. small magazine publisher may switch to
a similar position at a more prestigious According to the Writers Guild of

publication. America (WGA) 2008 Theatrical and
As technical writers gain experience, they Television Basic Agreement, earnings
move into more challenging and responsible for writers of an original screenplay
positions. At first, they may work on simple ranged from $62,642 to $117,602 dur¬
documents or are assigned to work on sec¬ ing the 2010-2011 segment of the con¬
tions of a document. As they demonstrate tract. Although these figures sound high,
their proficiency and skills, they are given it is important to remember that work
more complex assignments and are respon¬ for scriptwriters is very cyclical. There
sible for more activities. Technical writers will be times when screenwriters will be
who show keen project management skills, steadily busy, and others where they will
leadership abilities, and good interpersonal be out of work for months at a time. And
skills may become supervisors or manag¬ since many writers work as freelancers,
ers. Technical writers can also move into they generally can’t predict how much
the position of senior writer, which involves money they’ll make from one year to the
increased responsibilities and may include next. Scriptwriters who are members of
supervision of other workers. the WGA are eligible to receive health
Freelance or self-employed writers benefits.
earn advancement in the form of larger In 2008 technical writers earned sala¬
fees as they gain exposure and establish ries that ranged from less than $36,500 to
their reputations. $97,460 or more, according to the DoL.
Median annual earnings for technical
writers were $61,620. Those employed
WHAT ARE THE SALARY by software publishers had mean annual
RANGES? earnings of $71,590.
Writers in all fields earned salaries that In addition to their salaries, many writ¬
ranged from less than $28,020 to more ers earn income from freelance work.
than $106,630 in 2008, according to Freelance earnings vary widely. Full¬
the U.S. Department of Labor (DoL). time, established freelance writers may
It reports the following mean annual earn more than $75,000 a year. Part-time
salaries for writers by industry: motion writers may be paid on a per-review or
picture and video, $98,820; advertising, per-article basis. These one-time fees
$71,640; television broadcasting, $63,330; may range from as little as $5 to $50 for a
and newspaper, periodical, book, and game review to $50 to $300 or more for a
directory publishers, $51,980. full-length article.
Writers in the game industry with less Typical benefits available for full-time,
than three years' experience earned aver¬ salaried writers include sick leave, vaca¬
age salaries of $51,731 in 2008, according tion pay, and health, life, and disability
to Game Developer magazine. Those with insurance. Retirement plans may also
three to six years’ experience averaged be available, and some companies may
$59,167. match employees’ contributions. Some
Writers 129
companies may also offer stock-option industry. As the industry continues to

plans. grow, and game delivery platforms such
Freelance writers do not receive bene¬ as online gaming continue to expand,
fits and are responsible for their own med¬ there will be good opportunities for
ical, disability, and life insurance. They do scriptwriters (especially those who also
not receive vacation pay, and when they work as game designers). Sande Chen
aren’t working, they aren’t generating stresses that there are not many full-time
income. Retirement plans must also be jobs for writers in the game industry. “If
self-funded and self-directed. you can get in as a content designer,”
she says, “you may be doing both writ¬
ing and mission design. However, many
WHAT IS THE JOB game companies are recognizing the
OUTLOOK? need for game writers, so I expect that
The U.S. Department of Labor predicts there will be better opportunities in the
that employment for writers employed in future.”
all industries will grow about as fast as the Writers will also continue to be needed
average for all careers through 2016. in the computer and video game industry
Demand is increasing for well-written to write advertising copy, game manu¬
animated films, television shows, and als, articles, or books about games and
commercials, which will create a need trends in the field. Opportunities will be
for screenwriters. Despite this predic¬ especially strong for writers with online
tion, there is intense competition in the publishing experience. Employment will
television and motion picture indus¬ also be good for technical writers because
tries for jobs. There are approximately the number of computer and video
11,000 members of the Writers Guild of games produced each year continues to
America—and only a small percentage increase.
specialize in writing animated films. As Employment of writers and authors in
cable television expands and digital tech¬ the motion picture and video industries is
nology allows for more programming, expected to increase faster than the aver¬
new opportunities for scriptwriters may age for all careers through 2016, accord¬
emerge. Television networks continue to ing to the U.S. Department of Labor.
need new material and new episodes for There is a steady demand for writers to
long-running animation series. Writers create advertising copy, write articles
will continue to find opportunities with and books about the animation industry,
advertising agencies and educational and and create content for industry and other
training video production houses, as well Web sites. Competition for jobs will be
as on the Internet. very strong since many people want to
Computer and video games are enter this field.
immensely popular, and in recent Employment for writers in the adver¬
years revenue in the industry has even tising industry is expected to grow about
exceeded that of the motion picture as fast as the average through 2016.
SECTION 3
Do It Yourself
So you’re thinking about a career in ani¬ gamers with analytical skills as well as
mation-good choice! There are oppor¬ those who can carefully detail errors and
tunities with computer and video game other problems with the software.
companies, film and television animation
studios, and a variety of other employers.
Although many animation careers require □ READ A BOOK OR
advanced education and/or on-the-job WATCH A MOVIE
experience, there are many animation- There are tons of animation-related
related activities that you can do right books and Web sites to check out. Ask
now. Read on for some suggestions. your librarian for help or check out “Read
a Book” in Section 4 for a great list of
books and periodicals about animation.
□ BECOME A VIDEO GAME Turn to “Surf the Web” in Section 4 for
TESTER a list of helpful Web sites. In the mean¬
Imagine getting paid to play video time, here are two suggestions to get you
games—this is a dream come true for started.
any video enthusiast! While most major Read Ender’s Game, by Orson Scott
video game companies have a staff of in- Card (Starscape, 2002). The main charac¬
house testers, many smaller companies ter, Andrew “Ender” Wiggins, thinks he is
rely on freelancers to find glitches or playing video games while attending Bat¬
suggest improvements on new products. tle School. In actuality, he is participat¬
Your first step in finding work is iden¬ ing in a real life zero-gravity war against
tifying your expertise. Send out resumes an unknown alien race, the Formics. He
listing what consoles you play on, types trains to exhaustion until the final exam
of games you like, and your gaming skill when Ender defeats the Formic’s military
level. Producers will also be interested units. Does Ender continue his destruc¬
in how many hours a day you devote to tion, or does he change his ways and save
playing games. Browse the Internet for a the Formics? You’ll have to put down
list of smaller game companies, or search your video controller and read the book
using keywords such as “video games” or to find out....
“quality assurance.” Rarely will producers Watch Spy Kids: Game Over (2003).
advertise any openings—the response for To save their grandfather, Juni and Car¬
these popular jobs would be overwhelm¬ men Cortez must enter a video game as
ing! It’s your job to find the openings. virtual players. Fighting against villains,
Another way to inch your way toward a flying flames, treacherous terrain, and
testing job is to write producers with your a battle against the Toymaker, Juni and
opinions regarding their games, or sug¬ Carmen win their way to the highest level
gestions on how to improve the gaming of the game. Along the way, the Spy Kids
experience of a particular game title. It’s create alliances with other gamers, collect
important to note that while proficiency lifelines, and find a cheater’s map to help
is key, producers pay extra attention to them locate their grandfather. Will they
Do It Yourself 133
make it before time runs out, or will it be animation, but there are other nontech¬
game over? nical ways to create animation (just like
the old days). You can create animation
by completing simple, hands-on projects
□ JOIN AN ASSOCIATION you can do at home.
Did you know that you can apply for Make a thaumatrope. Cut out two
membership in some animation profes¬ paper discs of the same size and attach
sional associations right now? One such them to two pieces of string. Twirl the
association is the International Animated strings between your fingers and, voila!,
Film Society-ASIFA, which promotes the the two discs appear to be one. Flere’s the
advancement of the art of animation. As a fun part: Pick a word or phrase and write
student member, you can go to screenings one part on one of the paper discs, the
or festivals that feature the latest anima¬ remainder on the second disc. When you
tion offerings, attend seminars to learn twirl the strings together, you’ll be able
about technological advances, network to view your word or phrase appearing as
with other members, and receive access one consistent image. Once you master
to the society’s library and its archives. At this technique, you can continue using
screenings and festivals, you will have the pictures or other images.
opportunity to rub shoulders with many Make a flipbook. Decide what story
of the industry’s leaders, artists, and writ¬ you want to tell, or action to portray—it
ers. There are ASIFA chapters throughout could be something simple such as a ball
the United States, including in Atlanta, rolling down a hill or a stick figure doing a
Georgia; Colorado; the East Coast; Port¬ cartwheel. You’ll also need a pad of paper
land, Oregon; San Francisco, California; on which to draw your images—a pad of
Seattle, Washington; and Washington, Post-it notes or even the corners of your
D.C. If you don’t live in these cities, states, math workbook will work well. Draw
or regions, but live nearby, you can join your image, taking care to set the char¬
the nearest chapter. Contact information acter or object a little further into their
for these and other organizations that action with each page. For example, if you
offer membership for high school stu¬ are drawing a ball, have it progress down
dents can be found in “Look to the Pros” the hill a little further with each page.
in Section 4. Once you have completed your drawings,
flip the pages quickly, and you’ll see your
drawings spring to life.
□ EXPERIMENT WITH
ANIMATION USING SIMPLE
CRAFTS □ TAKE HIGH SCHOOL
What is animation? Basically, it’s a quick CLASSES
sequence of 2D or 3D images which, High school is a great time to explore the
joined together, create a story. Many peo¬ field of animation. Many high schools offer
ple think you need a computer to create instruction in different specialties ranging
from video editing to computer animation. Museum, which is located in San Fran¬
Some even offer courses in game design. cisco. Dedicated to the greater apprecia¬
At John A. Rowland High School in Cali¬ tion of cartoon art, its archives are full
fornia, for example, students can enroll in of original cartoon art representing this
animation classes that give them the same genre, from past to present favorites such
experience as working in a professional as The Brinkley Girls and Watchmen.
animation studio. They learn the basics of Besides getting the opportunity to view
visual storytelling, how to hand-draw ani¬ cartoon art, you can browse exhibitions
mation cels, and techniques needed to cre¬ of animated shorts, its library of anima¬
ate stop-motion animation. Rowland High tion history, and perhaps even participate
School’s animation program also offers a in various workshops such as the Sum¬
virtual classroom with training direct from mer Cartoon Boot Camp. Boot Camp
animation professionals employed by classes are available in superhero design,
Warner Bros. Animation. Students receive storyboard design, cartoon storytelling,
top-notch animation education and men¬ and other topics. For more information,
toring sessions with people already estab¬ contact the Cartoon Art Museum, 655
lished in their field—not to mention the Mission Street, San Francisco, CA 94105-
chance to make important contacts that 4126, 415-227-8666, or visit http://www.
will be helpful when it comes time to find¬ cartoonart.org.
ing that first animation job! Check with
your high school to find out what anima¬
tion- or game design-related classes are □ VISIT AN ANIMATION
available. STUDIO
There are other classes that will lay a Pixar Animation Studios hosts an annual
strong foundation for a career in anima¬ Family Fun Day in cooperation with the
tion. Don’t forget your basic math classes, Cartoon Art Museum. Held as a mini¬
art, illustration, or graphic design classes, conference at its Emeryville, California,
as well as any computer classes you can campus, visitors can preview upcoming
find. Also, if you want to work as an ani¬ Pixar animated shorts and full-length
mation CEO, you will need to take busi¬ features. A recent Family Fun Day also
ness classes; music classes if you want to presented gallery exhibitions of prepro¬
become an animation composer or musi¬ duction artwork from Pixar animated
cian; marketing classes if you want to cre¬ movies as well as artwork displays cre¬
ate marketing campaigns for products; ated by Pixar employees. Workshops,
and so on. which are conducted by Pixar’s artists
and animators, teach basic techniques
and skills used when creating animated
□ VISIT AN ART OR movies or cartoons. This is a great oppor¬
ANIMATION MUSEUM tunity for anyone interested in the anima¬
Spend the day at the museum! One tion industry—but don’t wait too long to
great museum to visit is the Cartoon Art reserve your spot as tickets go fast. For
Do It Yourself 135
more information on the next scheduled resources departments may be able to

Family Fun Day, contact Pixar Animation schedule the next best thing—an informa¬
Studios, 1200 Park Avenue, Emeryville, tion interview on the phone with some¬
CA 94608-3677, http://www.pixar.com, one already established in the industry.
or contact the Cartoon Art Museum. Again, do some preliminary research on
animation, or at least in your interviewee's
specialty, and write your questions down.
□ JOB SHADOW A Some key questions to ask: How did you
WORKER/CONDUCT AN get your first job in animation? How did
INFORMATION INTERVIEW you train for this job? What are some high
There is no better way to learn about school classes to take, or clubs to join, in
the animation industry than by spend¬ order to prepare for this industry?
ing a day at an animation studio or other
workplace. One option is job shadow¬
ing. It may be hard to snag a shadowing □ LAND AN INTERNSHIP
opportunity at one of the major studios A high school-level internship in the ani¬
such as Pixar Animation, Warner Bros., mation industry carries both good news
or Nintendo—but, of course, you should and bad news. The good: It's a resume
try anyway. Search the Internet or phone builder, meaning the experience can help
book to locate smaller, independent stu¬ you get into college or find a job in ani¬
dios in your area where you may have mation. You'll also get the opportunity
better luck arranging a shadowing oppor¬ to learn the software and may even be
tunity. Usually, you'll have to speak with allowed to use the equipment for your
the company's human resources special¬ own projects—after hours, of course. The
ist—let him or her know why you want bad news: Most are voluntary internship
to shadow at the company and mention positions, meaning you won’t get paid.
any departments that especially interest Still, this opportunity for experience will
you. With any luck you can spend a day be invaluable.
with a video game designer, character One such internship offered to high
artist, programmer, or animation direc¬ school students is with the Public Library
tor. Youll follow their lead as they attend of Charlotte and Mecklenburg County's
meetings, tackle a software glitch, or sit ImaginOn Studio (http://www.plcmc.lib.
down at the computer to tweak a charac¬ nc.us). As an intern, you’ll be in charge
ter's design. Think about any questions of helping children create animated and
you may have regarding their specialty, live-action digital videos using sophisti¬
have a notebook ready to jot down their cated equipment and software, includ¬
answers, and make sure you're ready to ing iMovie, GarageBand3, and I Can
face a busy, but exciting, day. Animate. You'll be trained to use blue-
Don't let the lack of studios in your screen technology and tools to edit and
area stymie your chance of getting to mix audio, as well as learn animation
learn about the industry. Many human techniques such as Claymation or paper
cutouts. Qualified applicants must be gram has locations in San Francisco

in high school or college. They should and Montreal, Canada, which provide
have computer skills, and knowledge of the background for many students' films
video production and image editing pro¬ and documentaries. Finished projects
grams such as Photoshop. Other quali¬ are screened at the end of each session.
fications include good communication Don't worry—there is ample time pro¬
skills and interpersonal skills, especially vided for other activities such as sports
with children. or sightseeing.
Another course, offered at Moraine
Valley Community College (http://
□ TAKE A CLASS www.morainevalley.edu) in Illinois,
OR WORKSHOP OR gives teen students a hands-on oppor¬
tunity to explore the world of 3D ani¬
PARTICIPATE IN A SUMMER
mation and video editing. Using the
PROGRAM software Autodesk 3D Max, you’ll create
Editors assigned to work on an animation a computer scene and learn techniques
project have the huge task of organizing needed to modify and animate your
footage so the story flows and makes design. You'll also master how to edit
sense, but they must do so in a way that and frame scenes, as well as composite
presents each animated segment in the entire sequences together. Need some
best light possible, all the while captivat¬ special effects for a bit of drama? That's
ing the audience. How is this possible? not a problem because you'll also receive
You can certainly find out by taking one training with creating visual effects such
of the many animation-editing classes as fire or smoke using real-time 2D par¬
offered by community colleges, park dis¬ ticle systems.
tricts, or summer workshops throughout There are many such programs for
the country. teens offered in locations throughout the
You should also consider enrolling in United States. Search the Internet for
a summer program specially designed those located near your area, or ask your
to help you learn more about a career high school career counselor to help you
in animation or a related field. Colleges find some.
and universities offer many of these pro¬ See “Get Involved” in Section 4 for a
grams. One such program, the iD Film comprehensive list of animation-related
Academy (http://www.internaldrive. summer programs.
com/film), offers a two-week session
that immerses students in all facets of
the film industry. Students 13 to 18 □ CREATE YOUR OWN
years of age receive instruction in top¬ ANIMATION SHORT
ics ranging from how to use film-editing Not sure what to do with all your uneaten
programs and stop-motion animation to Peeps from last year's Easter basket? They
writing film scores. This summer pro¬ could have a starring role in your first ani-
Do It Yourself 137
mation short! Assemble your cast of play¬ • Ottawa International Animation

ers—yellow chick, pink bunny, and purple Festival (Ottawa, ON, Canada,
eggs—and decide what action to portray http://ottawa.awn.com). High school
or story to tell. You'll want to choose a animation departments can submit
simple background with access to strong a group project for consideration in
lighting. Now place your digital camera North America's largest animation
in front of your “set” and put your Peeps festival. The first-place film wins the
in proper position, making sure all are coveted Adobe Prize. There is also
within the camera's frame. Take a single a category for independent under¬
picture, and then slowly manipulate the graduate animation film.
Peeps bit by bit, repeating with a picture • Red Stick Animation Festival (Baton
shot until the action is completed. Every Rouge, Fouisiana, http://www.red
minute movement should be captured stickfestival.org). Sponsored by
with a picture. Fouisiana State University, this
Once your Peeps action is complete festival works with area students
(or your camera has run out of memory) to help them express their opin¬
transfer your images to your computer. ions and feelings about important
Using any movie-maker software—Win¬ social issues. Students submit ani¬
dows Movie Maker/iMovie is a good one mated shorts that interpret the
for beginners—you can edit each frame, festival's annual theme. Working
add a title or caption, and embellish with with a recent year's theme, Hurri¬
special effects such as lighting or sound. cane Katrina, students created their
Save your animated video on a CD and individual response using animation
share with your family and friends. techniques. Another recent theme
You can also use software programs revolved around organ and tissue
such as Adobe Flash to create animated donation. Winning entries receive a
shorts. Visit http://www.adobe.com for group prize as well as the opportu¬
more information. nity to screen their film (and convey
their message) to others around the
world.
□ ATTEND OR START AN • Bay Street Animation Film Fes¬
ANIMATION FESTIVAL tival for High School Students
Animation festivals are held throughout (Emeryville, California, http://www.
the world (visit http://www.filmfestivals. baystreetemeryville.com). Open to
com for a list), but don't let their distant area high school and middle school
location stop you from entering your ani¬ students, this festival has no guide¬
mated work of art. There are plenty of lines for submission; instead, it
local animation festivals, many of which encourages students to be as cre¬
are geared toward high school students. ative as possible. Members of the
Most are juried festivals, with the prom¬ local film community and anima¬
ise of a captive audience. Here are a few: tion experts from Pixar Animation
Studios, Industrial Light & Magic, Some high schools even have film or
and Expression College for Digital animation festivals. Maybe your high
Arts judge the entries. The prizes school is one of them. If not, you can
include a $15,000 scholarship to always work with your drama teacher or
Expression College. film/animation club adviser to start one.
SECTION 4
What Can I Do Right Now?
Get Involved: A Directory of
Camps, Programs, Competitions,
and Other Opportunities
Now that you’ve read about some of the are divided into categories, with the type
different animation-related careers, you of program printed right after its name or
may be anxious to experience this line the name of the sponsoring organization.
of work for yourself to find out what it’s
really like. Or perhaps you already feel
certain that this is the career path for you □ THE CATEGORIES
and want to get started on it right away. Camps
Whichever is the case, this section is for When you see an activity that is classi¬
you! You can do plenty of things right now fied as a camp, don’t automatically start
to learn about animation-related careers packing your tent and mosquito repel¬
while gaining valuable experience. Just as lent. Where academic study is involved,
important, you’ll get to meet new friends the term camp often simply means a
and see new places, too. residential program including both edu¬
In the following pages you will find pro¬ cational and recreational activities. It’s
grams designed to pique your interest in sometimes hard to differentiate between
animation and start preparing you for a such camps and other study programs,
career. You already know that this field is but if the sponsoring organization calls
complex, and that to work in it you need a it a camp, so do we! Visit the following
solid education. Since the first step toward Web sites for an extended list of camps:
an animation-related career will be gain¬ http://www.kidscamps.com and http://
ing that education, we’ve found nearly 45 find.acacamps.org/finding_a_camp.php.
organizations that provide programs that
will start you on your way. Some are camps College Courses/Summer Study
or special introductory sessions, others are These terms are linked because most col¬
actual college courses—one of them may lege courses offered to students your age
be right for you. Others offer membership must take place in the summer when you
or competitions. Take time to read over are out of school. Many summer-study
the listings and see how each compares to programs are sponsored by colleges and
your situation: how committed you are to universities that want to attract future stu¬
an animation-related field, how much of dents and give them a head start in higher
your money and free time you’re willing education. Summer study of almost any
to devote to it, and how the program will type is a good idea because it keeps your
help you after high school. These listings mind and your study skills sharp over the
140
Get Involved 141
long vacation. Summer study at a college limited—especially for jobs that require
offers any number of additional benefits, a bachelor's or graduate degree or those
including giving you the tools to make a that can require a lot of on-the-job expe¬
well-informed decision about your future rience. Perhaps you might be able to find
academic career. a job doing clerical work for a local ani¬
mation studio or game company. If you
Competitions can't land an animation-related job, you
Competitions are fairly self-explanatory, may just have to earn your money by
but you should know that there are working at a mall or restaurant and get
only a few in this book because anima¬ your experience in an unpaid position
tion-related competitions on a regional elsewhere. Bear in mind that if you do a
or national level are relatively rare. This good enough job and the group you work
means that if you are interested in entering for has the funding, this summer's vol¬
a competition, you shouldn't have much unteer position could be next summer's
trouble finding one yourself. Your school paying job.
counselor or animation/film teacher can Basically, an internship combines the
help you start searching in your area. responsibilities of a job (strict schedules,
pressing duties, and written evaluations
Conferences by your supervisor) with the uncertainties
Conferences for high school students are of a volunteer position (no wages [or only
usually difficult to track down because very seldom], no fringe benefits, no guar¬
most are for professionals in the field antee of future employment). While that
who gather to share new information may not sound very enticing, completing
and ideas with each other. But don't be an internship is a great way to prove your
discouraged. A number of professional maturity, your commitment to an anima¬
organizations with student branches or tion-related career, and your knowledge
membership options for those who are and skills to colleges, potential employ¬
simply interested in the field offer confer¬ ers, and yourself. Some internships here
ences. Some student branches even run are just formalized volunteer positions;
their own conferences. This is an option others offer unique responsibilities and
worth pursuing because conferences focus opportunities. Choose the kind that
on some of the most current information works best for you!
available and also give you the chance to
meet professionals who can answer your Field Experience
questions and even offer advice. This is something of a catchall category
for activities that don’t exactly fit the
Employment and Internship other descriptions. Anything called a field
Opportunities experience in this book is always a good
As you may already know, employment opportunity to get out and explore the
opportunities for teenagers can be very work of animation professionals.
Membership to affiliated members. Check with various

When an organization (such as the organizations to see what kind of semi¬
American Film Institute or International nars they offer and if there is some way
Game Developers Association^) is in this you can attend.
category, it simply means that you are
welcome to pay your dues and become a
card-carrying member. Formally joining □ PROGRAM
any organization brings the benefits of DESCRIPTIONS
meeting others who share your interests, Once you’ve started to look at the indi¬
finding opportunities to get involved, and vidual listings themselves, you’ll find that
keeping up with current events. Depend¬ they contain a lot of information. Natu¬
ing on how active you are, the contacts rally, there is a general description of each
you make and the experiences you gain program, but wherever possible we also
may help when the time comes to apply have included the following details.
to colleges or look for a job.
In some organizations, you pay a spe¬ Application Information
cial student rate and receive benefits Each listing notes how far in advance you’ll
similar to regular members. Many orga¬ need to apply for the program or position,
nizations, however, are now starting stu¬ but the simple rule is to apply as far in
dent branches with their own benefits and advance as possible. This ensures that you
publications. As in any field, make sure won’t miss out on a great opportunity sim¬
you understand exactly what the benefits ply because other people got there ahead
of membership are before you join. of you. It also means that you will get a
Finally, don’t let membership dues dis¬ timely decision on your application, so if
courage you from contacting these orga¬ you are not accepted, you’ll still have some
nizations. Some charge dues as low as $20 time to apply elsewhere. As for the things
because they know that students are per¬ that make up your application—essays,
petually short of funds. When the annual recommendations, etc.—we’ve tried to tell
dues are higher, think of the money as an you what’s involved, but be sure to contact
investment in your future and then con¬ the program about specific requirements
sider if it is too much to pay. before you submit anything.
Seminars Background Information

Like conferences, seminars are often This includes such information as the date
classes or informative gatherings for the program or organization was estab¬
those already working in the field, and are lished, the name of the organization that
generally sponsored by professional orga¬ is sponsoring it financially, and the faculty
nizations. This means that there aren’t all and staff who will be there for you. This
that many seminars for young people. But can help you and your family gauge the
also like conferences, they are often open quality and reliability of the program.
Get Involved 143
Classes and Activities the program can count toward your high
Classes and activities change from year to school diploma or a future college degree
year, depending on popularity, availabil¬ just like a regular course. Obviously, this
ity of instructors, and many other factors. can be very useful, but it's important
Nevertheless, colleges and universities to note that rules about accepting such
quite consistently offer the same or simi¬ credit vary from school to school. Before
lar classes, even in their summer sessions. you commit to a program offering high
Courses like “Introduction to Video school credit, check with your guidance
Game Design" and “Animation 101,” for counselor to see if it is acceptable to your
example, are simply indispensable. Look school. As for programs offering college
through the listings and see which pro¬ credit, check with your chosen college (if
grams offer foundational courses like you have one) to see if they will accept it.
these and which offer courses on more
variable topics. As for activities, we note Eligibility and Qualifications
when you have access to recreational facil¬ The main eligibility requirement to
ities on campus, and it's usually a given be concerned about is age or grade in
that special social and cultural activities school. A term frequently used in rela¬
will be arranged for most programs. tion to grade level is “rising," as in “rising
senior"—someone who will be a senior
Contact Information when the next school year begins. This is
Wherever possible, we have given the especially important where summer pro¬
title of the person whom you should con¬ grams are concerned. A number of uni¬
tact instead of the name because people versity-based programs make admissions
change jobs so frequently. If no title is decisions partly in consideration of GPA,
given and you are telephoning an organi¬ class rank, and standardized test scores.
zation, simply tell the person who answers This is mentioned in the listings, but you
the phone the name of the program that must contact the program for specific
interests you and he or she will forward numbers. If you are worried that your
your call. If you are writing, include the GPA or ACT scores, for example, aren't
line “Attention: Summer Study Program" good enough, don't let them stop you
(or whatever is appropriate after “Atten¬ from applying to programs that consider
tion”) somewhere on the envelope. This such things in the admissions process.
will help to ensure that your letter goes to Often, a fine essay or even an example of
the person in charge of that program. your dedication and eagerness can com¬
pensate for statistical weaknesses.
Credit
Where academic programs are concerned, Facilities
we sometimes note that high school or We tell you where you'll be living, study¬
college credit is available to those who ing, eating, and having fun during these
have completed them. This means that programs, but there isn't enough room
to go into all the details. Some of those Commuter programs may be viable only
details can be important: what is and isn’t if you live near the program site or if you
accessible for people with disabilities, can stay with relatives who do. For resi¬
whether the site of a summer program dential programs especially, the travel
has air-conditioning, and how modern the between your home and the location of
facilities and computer equipment are. the activity is almost always your respon¬
You can expect most program brochures sibility and can significantly increase the
and application materials to address these cost of participation.
concerns, but if you still have questions
about the facilities, just call the program’s
administration and ask. □ FINALLY...
Ultimately, there are three important
Financial Details things to bear in mind concerning all of
While a few of the programs listed here the programs listed in this volume. The
are fully underwritten by collegiate and first is that things change. Staff members
corporate sponsors, most of them rely come and go, funding is added or with¬
on you for at least some of their funding. drawn, supply and demand determine
Prices and fees for 2009 are given here, which programs continue and which
but you should bear in mind that costs terminate. Dates, times, and costs vary
rise slightly almost every year. You and widely because of a number of factors.
your parents must take costs into consid¬ Because of this, the information we give
eration when choosing a program. We you, although as current and detailed as
always try to note where financial aid is possible, is just not enough on which to
available, but most programs will do their base your final decision. If you are inter¬
best to ensure that a shortage of funds ested in a program, you simply must con¬
does not prevent you from taking part. tact the organization concerned to get the
latest and most complete information
Residential vs. Commuter Options available, or visit its Web site. This has
Simply put, some programs prefer that the added benefit of putting you in touch
participating students live with other with someone who can deal with your
participants and staff members, others individual questions and problems.
do not, and still others leave the decision Another important point to keep in mind
entirely to the students themselves. As is that the people who run these programs
a rule, residential programs are suitable provided the information printed here.
for local residents as well as young people The editors of this book haven’t attended
who live out of town or even out of state. the programs and don’t endorse them;
They generally provide a better overview we simply give you the information with
of college life than programs in which which to begin your own research. And
you’re only on campus for a few hours a after all, we can’t pass judgment because
day, and they’re a way to test how well you’re the only one who can decide which
you cope with living away from home. programs are right for you.
Get Involved 145
The final thing to remember is that the pursue a degree in an animation-related

programs listed here are just the tip of the field. Courses that offer college credit are
iceberg. No book can possibly cover all also available, but none currently focus
of the opportunities that are available to on animation-related topics. Tuition
you—partly because they are so numer¬ (which includes room and board) for the
ous and are constantly coming and going, program is approximately $6,195. Con¬
and partly because some are waiting to tact American Collegiate Adventures for
be discovered. For instance, you may be current course listings and application
very interested in taking a college course procedures.
but don't see the college that interests
you in the listings. Call its admissions American Collegiate
office! Even if the college doesn’t have a Adventures
special program for high school students, 1811 West North Avenue, Suite 201
it might be able to make some kind of Chicago, IL 60622-1488
arrangements for you to visit or sit in on 800-509-7867
a class. Use the ideas behind these listings info@acasummer.com
and take the initiative to turn them into http://www.acasummer.com
opportunities.
American Collegiate Adventures at
the University of Wisconsin
□ THE PROGRAMS College Courses/Summer Study/
American Collegiate Adventures at Employment and Internship
American University Opportunities
College Courses/Summer Study American Collegiate Adventures (ACA)
American Collegiate Adventures (ACA) offers high school students the chance to
offers high school students the chance to experience and prepare for college during
experience and prepare for college during their summer vacation. Adventures are
their summer vacation. Adventures, which based at the University of Wisconsin in
last four weeks, are based at American Madison; they vary in length from two to
University in Washington, D.C. During six weeks. On weekdays, participants take
the week participants take college-level college-level courses (for enrichment or
courses (for enrichment or college credit) college credit) that are taught by univer¬
that are taught by university faculty and sity faculty. On weekends, they visit other
visit other college campuses and recre¬ regional colleges and recreation sites. All
ation sites on weekends. Students live students live in comfortable suite accom¬
in comfortable suite accommodations, modations, just down the hall from an
just down the hall from an ACA resident ACA resident staff member. Enrichment
staff member. Enrichment courses vary, courses vary but recently included Get in
but recently included Movie and Theatre Character! Acting and Improv, Movie and
Reviews, Creative Writing, and Magazine Theatre Reviews, Journalism and the Art
Writing—perfect for those planning to of Interviewing, Creative Writing, and
Advertising, Marketing & Popular Cul¬ American Film Institute

ture. Students in the six-week program 2021 North Western Avenue
can also participate in law-, advertising-, Los Angeles, CA 90027-1657
and business-related internships (special¬ 323-856-7600
ties that are in demand in the animation http://www.afi.com
industry).
A Computer Gaming program is also American Screenwriters
available. Students “create their own Association (ASA)
complex, realistic arcade or platform- Conferences/Membership
style video games.” They learn how to use The association offers an associate mem¬
software such as Clickteam, Multimedia bership category for people who are inter¬
Fusion 2, Developer, Adobe Flash, CS4, ested in screenwriting. Members receive
and Photoshop CS4. They also interact access to the associate member section
closely with professors and game industry of the ASA Web site; an e-newsletter,
professionals. Script Notes; networking opportunities;
Tuition (which includes room and and advice on developing a career as a
board) for the two-week program is screenwriter. Members can also attend
approximately $2,895; the three-week the association s annual conference.
program, $4,395; the four-week program,
$5,595; and the six-week program, $6,995. American Screenwriters
Contact American Collegiate Adventures Association
for current course listings and application 269 South Beverly Drive, Suite 2600
procedures. Beverly Hills, CA 90212-3807
866-265-9091
American Collegiate asa@goasa.com
Adventures http://www.goasa.com/highschool.
1811 West North Avenue, Suite 201 shtml
Chicago, IL 60622-1488
800-509-7867 American Society of Composers,
info@acasummer.com Authors, and Publishers (ASCAP)
http://www.acasummer.com Membership
ASCAP is a membership association
American Film Institute of U.S. composers, songwriters, lyri¬
Membership cists, and music publishers in all genres
The institute offers a friend membership of music. You can become a member if
option for anyone who supports its goals. you “have written or co-written a musi¬
Members receive access to screenings, cal composition or a song that has been
events, and discussions with filmmakers, commercially recorded (CD, record, tape,
as well as discounts on film festival passes etc.), performed publicly in any venue
and film magazines. licensable by ASCAP (club, live concert,
Get Involved 147
symphonic concert or recital venue, col¬ tive environments.” There is also a Comic
lege or university, etc.), performed in any Book Illustration Art Camp. Additionally,
audio visual or electronic medium (film, there are High School Intensive Work¬
television, radio, Internet, cable, pay-per- shops for juniors and seniors only. Some
view, etc.), or published and available of the recent classes focused on topics
for sale or rental.” The application fee is such as 2D design, 3D design, graphic
$25, but there is no annual membership design, and traditional animation. The
fee after you pay this amount. Members student-to-teacher ratio for classes is 19-
can register their songs with ASCAP, to-1. Tuition for these five-day courses
earn performance royalties, and receive is $605; there is an additional lodging fee
other career benefits such as networking of $540 for students who plan to live in
opportunities. campus housing. A nonrefundable appli¬
cation fee of $50 is also required. (Note:
American Society of Lodging is only available for juniors and
Composers, Authors, and seniors.) Financial aid is available. Appli¬
Publishers cants must have a GPA of at least 2.0.
One Lincoln Plaza Contact the director of continuing edu¬
New York, NY 10023-7129 cation for more information.
212-621-6000
info@ascap.com Rocky Mountain College of
http://www.ascap.com Art + Design
Attn: Director of Continuing
Arts Camp at Rocky Mountain Education
College of Art + Design Arts Camp
Camps 1600 Pierce Street
Rocky Mountain College offers several Lakewood, CO 80214-1433
summer arts camps for high school stu¬ 303-225-8570
dents who are interested in animation. kimberlyc@rmcad.edu
Students in the 3-D Computer Animation http://www.rmcad.edu/high-school-
Camp learn how to use AutoDesk’s Maya p rog ra m s/a rt-ca m ps
software and state-of-the-art equipment
to create the 3D modeling and animation Association for Computing
used in films and video and computer Machinery
games and on television shows. Those in Membership
the Character Design Art Camp learn how The association offers four different
to design and animate two- and three- membership categories to high school
dimensional characters. In the Game Art and college students, each providing dif¬
Camp, participants learn the techniques ferent benefits. Membership benefits at
and software that game art animators the basic level ($19) for high school and
use to “bring 3D modeling into interac¬ college students include print and online
subscriptions to association publica¬ first-come, first-served basis. Cost of the

tions. Contact the association for more program is $135 for residential students
information. and $125 for commuters. Residential
students stay in residence halls, which
Association for Computing are not air-conditioned. For further
Machinery information about the program and spe¬
Two Penn Plaza, Suite 701 cific session offerings, contact the RIT
New York, NY 10121-0701 admissions office.
800-342-6626
acmhelp@acm.org College and Careers Program
http://www.acm.org Rochester Institute of Technology
Office of Admissions
College and Careers Program at 60 Lomb Memorial Drive
Rochester Institute of Technology Rochester, NY 14623-5604
College Courses/Summer Study 585-475-6631
The Rochester Institute of Technol¬ http://ambassador.rit.edu/careers
ogy (RIT) offers its College and Careers
Program for rising high school seniors College Experience Program at
who want to experience college life and Southern Methodist University
explore career options. The program, College Courses/Summer Study
in existence since 1990, allows you to Southern Methodist University (SMU)
spend a Friday and Saturday on cam¬ offers two opportunities for students
pus, living in the dorms and attending interested in animation and other fields:
up to four sessions in the career areas of College Experience Program and Sum¬
your choice. Past sessions include Game mer Youth Program.
Design & Development: What Does It Gifted and highly motivated high
Take for a Career in Gaming?; 3D Digital school students who have completed
Graphics, Software Engineering: Team- the 10th or 11th grades can participate
Based Software Development; Com¬ in the College Experience Program. The
puter Engineering: Circuits to Software; five-week residential program allows
Illustration; Marketing: Will Your Idea students to experience college-level
Sell?; and New Media Design & Imaging. instruction and earn up to six college
In each session, participants work with credits. Students take two courses (such
RIT students and faculty to gain hands- as Film and Television Genres, Business
on experience in the topic area. This Ethics, Pre-Calculus Mathematics, and
residential program is held twice each Introduction to Calculus for Business
summer, usually in July and August. The and Social Science) from the SMU sum¬
registration deadline is one week before mer school schedule. Applicants must
the start of the program, but space is submit an academic transcript, recom¬
limited and students are accepted on a mendations, essay, and PSAT, SAT, or
Get Involved 149
ACT scores. Tuition for the program Collegiate Scholars Program/

is approximately $2,470. An additional Community School Program at
$1,600 for room and board and a nonre- Arizona State University (ASU)
fundable registration fee of $35 are also College Courses/Summer Study/
required. Employment and Internship
Students ages five through 18 can par¬ Opportunities
ticipate in enrichment workshops in a The Collegiate Scholars Program allows
variety of fields via the Summer Youth high school students to earn college
Program. There are several classes for credit during summer academic sessions.
students who are interested in anima¬ Students get the opportunity to explore
tion and related subjects. Students enter¬ careers and interact with college profes¬
ing grades seven through 11 can take sors, as well as receive access to intern¬
computer animation courses such as ships, mentoring programs, and research
3D Animation Beginner or 3D Anima¬ opportunities. Arizona high school
tion Advanced, as well as gaming-related seniors may apply, and they are evaluated
courses such as Neverwinter Nights; for admission based on their “high school
Computer Gaming, Beginners; and Com¬ GPA and/or class rank, test scores, high
puter Gaming, Advanced. Each class in school schedules, and involvement in
this nonresidential program lasts five other programs offering college credit.”
days and costs $199. Recent courses include Introduction to
In addition, several programs are Computing; Performance, Acting, and
available for students interested in engi¬ the Individual; Public Speaking; Math
neering, which plays a major role in ani¬ for Business; and Calculus for Engineers.
mation. Contact the university for more Contact the Collegiate Scholars executive
information. coordinator for information on program
costs and other details.
Southern Methodist University The university also offers several pro¬
College Experience Program grams for students who are interested in
PO Box 750383 computer graphics and animation via its
Dallas, TX 75275-0383 Community School Program. Opportu¬
214-768-0123 nities include Camp Game, which offers
gifted@smu.edu an intensive introduction to computer
http://www.smu.edu/continuing_ and video games for middle and high
education/youth school students; Digital Game Extensive,
in which students in grades nine through
Southern Methodist University 12 “work in collaborative teams to study
Summer Youth Program and design interactive digital games that
5236 Tennyson Parkway use full-body 3D movements and ges¬
Plano, TX 75024-3526 tures within ASlTs innovative mixed-
http://smu.edu/education/youth reality environment, SMALLab”; and ID
Tech Camps, which offers “courses in 3D Students live in Santa Cruz Residence
video game design, Web design, Flash, Hall, which is located near the Pacific
programming, robotics, and digital video Ocean. The rooms feature high-speed
editing” for those ages seven to 17. There Internet access. Other amenities in the
are also music-, journalism-, and design- residence halls and on-campus include
related programs. Costs and admissions a recreation center, pool table, video
requirements vary by program. Contact games, multi-station computer center,
ASU for more information. and laundry room. Cost for the program
is approximately $6,770 (which includes
Arizona State University tuition, housing, three daily meals, and
Collegiate Scholars Program extracurricular activities). A nonre-
Attn: Executive Coordinator fundable application fee of $95 is also
480-965-2621 required.
mark.duplissis@asu.edu
http://promise.asu.edu/csp University of California-
Santa Barbara
Arizona State University c/o Summer Discovery
Office of University Initiatives 1326 Old Northern Boulevard
Community School Program Roslyn, NY 11576-2244
PO Box 873203 805-893-2377
Tempe, AZ 85287-3203 http://www.summer.ucsb.edu/
480-965-3199 precollegeprograms.html
scisummercamps@asu.edu
http://community.asu.edu/summer Exploration Summer Programs:
Senior Program at Yale University
Early Start Program at the College Courses/Summer Study
University of California-Santa Exploration Summer Programs (ESP) has
Barbara been offering academic summer enrich¬
College Courses/Summer Study ment programs to students for more
The University of California-Santa Bar¬ than three decades. Rising high school
bara offers the six-week Early Start Pro¬ sophomores, juniors, and seniors can
gram for high school students who are participate in ESP's Senior Program at
interested in a variety of fields: Students Yale University. Two three-week resi¬
take two college-level courses to help them dential and day sessions are available.
explore career options and prepare for col¬ Participants can choose from more than
lege study. Recent courses include Intro to 90 courses. Past courses include A Stage
Computer Programming, Intro to Cinema, of Your Own-Acting + Directing; Improv
Fundamentals of Music, and World Music. Underground-Guerilla Theater; Lights,
Applicants must have completed the 10th, Camera. . . Action!-Video Production;
11th, or 12th grades and have a GPA of at Calling All Newscasters-Broadcast Jour¬
least 3.3 to be eligible for the program. nalism; Go to Press!-Print Journalism;
Get Involved 151
Bare Bones of Music-Music Theory + members-only seminars and screenings;

Composition; Everyone’s a Critic-Film and discounted rates for conferences.
Studies; Applets + Applications-Java
Programming; Can You Hear Me Now? The Film Music Society
Advertising + Marketing; Explo Screen 1516 South Bundy Drive, Suite 305
Writers Guild—Screenplay Writing; and Los Angeles, CA 90025-2683
No Business Like Show Business—Musi¬ 310-820-1909
cal Theater. All courses and seminars info@filmmusicsociety.org
are ungraded and not for credit. In addi¬ http://www.fi I m m u sicsociety.org
tion to academics, students participate in
extracurricular activities such as tours, Frontiers & Launch at Worcester
sports, concerts, weekend recreational Polytechnic Institute
trips, college trips, and discussions of cur¬ College Courses/Summer Study
rent events and other issues. Basic tuition Worcester Polytechnic Institute offers
for the Residential Senior Program is two exploration programs for high school
approximately $4,555 for one session students: Frontiers and Launch.
and $8,390 for two sessions. Day session Frontiers is an on-campus research and
tuition ranges from approximately $2,100 learning experience for rising high school
for one session to $3,820 for two sessions. juniors and seniors who are interested in
A limited number of need-based partial science, mathematics, and engineering.
and full scholarships are available. Pro¬ Opportunities are available in computer
grams are also available for students in science, electrical and computer engi¬
grades four through nine. Contact ESP neering, mathematics, interactive media
for more information. and game development, and other areas.
In interactive media and game develop¬
Exploration Summer Programs ment, students “take on the role of pro¬
932 Washington Street grammer or artist, and work on a team
PO Box 368 to bring a game to life” and publish their
Norwood, MA 02062-3412 game on the Web. Participants attend
781-762-7400 classes and do lab work Monday through
http://www.explo.org Friday. They also have the opportunity
to try out communication modules such
The Film Music Society as creative writing, music, and speech.
Conferences/Membership/Seminars In addition to the academic program,
This organization, which “promotes the students attend evening workshops, live
preservation of film and television music,” performances, field trips, movies, and
offers membership to anyone interested tournaments. Applications are typically
in music that is used in film and televi¬ available in January and due in March.
sion. Benefits include a subscription to Tuition is about $2,950 (includes room,
the society’s quarterly journal; discounts board, linens, transportation, and
on books, collectibles, and CDs; free entrance fees to group activities). A $500
nonrefundable deposit is required. For Game Audio Network Guild

more information, contact the program 1611-A South Melrose Drive, #290
director. Vista, CA 92081-5471
Rising high school freshmen and soph¬ info@audiogang.org
omores who are interested in interactive http://www.audiogang.org
media and game development, biology,
chemistry/biochemistry, and robotics High School Honors Program/
can participate in the five-day Launch Summer Challenge Program/
program. This program focuses on cur¬ Summer Preview at Boston
rent laboratory techniques as they apply University
to the particular study area. The program College Courses/Summer Study
is held from 9 a.m. to 4:30 p.m., Monday Three summer educational opportuni¬
through Friday. Tuition is $495 (includes ties are available for high school students
lunch, activities, and equipment). interested in animation and other majors.
Rising high school seniors can partici¬
Worcester Polytechnic Institute pate in the High School Honors Pro¬
Frontiers & Launch gram, which offers six-week, for-credit
100 Institute Road undergraduate study at the university.
Worcester, MA 01609-2280 Students take two for-credit classes (up
508-831-5286 to eight credits) alongside regular Boston
frontiers@wpi.edu College students, live in campus dorms,
http://www.admissions.wpi.edu/ and participate in extracurricular activi¬
Frontiers ties and tours of local attractions. Recent
classes include Screenwriting, Acting and
Game Audio Network Guild Performance, Introduction to Comput¬
(GANG) ers, Introduction to Computer Science,
Membership Principles of Marketing, Introduction to
This organization represents “compos¬ Management, Introduction to Drawing,
ers, sound designers, voice-over direc¬ and Graphic Design. The program typi¬
tors, game designers, producers, and cally begins in early July. Students who
other associates and executives within the demonstrate need may be eligible for
greater interactive entertainment indus¬ financial aid. Tuition for the program
try/’ It offers membership ($50) to high is approximately $4,120, with registra¬
school and college students. Member ben¬ tion/program/application fees ($550)
efits include networking and mentoring and room and board options ($1,897 to
opportunities, discounts on products, and $2,055) extra.
access to the GANG Web site, which offers Rising high school sophomores, juniors,
“industry news, articles, white papers, and seniors in the university’s Summer
panel recordings, event dates, and online Challenge Program learn about college
message boards where members discuss life and take college classes in a noncredit
the ins and outs of interactive audio.” setting. The program is offered in three
Get Involved 153
sessions. Students choose two seminars ety of academic areas for college credit via
(which feature lectures, group and indi¬ Columbia's five-week High School Sum¬
vidual work, project-based assignments, mer Institute. Academic areas of interest
and field trips) from a total of 15 avail¬ to readers of this book include film and
able programs, including Mass Commu¬ video, journalism, and television. Partici¬
nication (which covers film, television, pants use state-of-the-art facilities such
advertising, public relations, journalism), as animation labs and film and video pro¬
Business: From the Ground Up, Creative duction and postproduction studios. All
Writing, Journalism, and Engineering. courses are taught by Columbia College
Students live in campus dorms and par¬ Chicago faculty, and most include field
ticipate in extracurricular activities and trips and hands-on experiences. Students
tours of local attractions. Program cost is who successfully complete their course(s)
approximately $3,070 (includes tuition, receive college credit from Columbia.
room charge, meals, and sponsored Contact the institute for information on
activities). tuition; a limited number of scholarships
Rising high school freshman and soph¬ are available. (Note: Columbia also offers a
omores can participate in one-week Sum¬ six-week Summer Arts Camp for children
mer Preview Programs. This noncredit, in grades three through eight.)
commuter program introduces students
to college life and a particular area of High School Summer Institute
study. Recent classes include Film Stud¬ Columbia College Chicago
ies, Graphic Design, and Learning the Art 600 South Michigan Avenue
of Writing. Tuition is $1,100 (includes Chicago, IL 60605-1900
textbooks, lunch, and activities). No http://www.colum.edu/Admissions/
financial aid is available. hssi/index.php
Boston University High School iDTech Camps

Programs Camps
755 Commonwealth Avenue, iD Tech Camps advertises itself as “Amer¬
Room 105 ica’s #1 summer computer camp for kids
Boston, MA 02215-1401 and teens.” It offers summer camps and
617-353-1378 academies for young people seven through
buhssumr@bu.edu 18 years of age at more than 60 colleges
http://www.bu.edu/summer/ and universities in the United States and
high-school-programs Canada. There are literally dozens of dif¬
ferent opportunities available. Past camps
High School Summer Institute at include 3D Game Design-Role Playing
Columbia College Chicago Games, 3D Game Modeling with Maya,
College Courses/Summer Study Web Design & Flash Animation, and
Rising high school juniors and seniors and Game Creation-Arcade and Platform.
recent graduates can take courses in a vari¬ Also available are a two-week Gaming
Academy for those between the ages of http://www.idyllwildarts.org/

13 and 18, a Programming Academy (ages summer/summer.html
13-18), a Film Academy (ages 13-18), and
Ultimate Gaming Weekends (ages 12-17). Interlochen Arts Camp
Tuition varies by camp/academy; residen¬ Camps
tial and commuter options are available. Interlochen, located near scenic Traverse
Visit the iD Tech Camps Web site for City, Michigan, is one of the premier art
more information. camps in the United States for young peo¬
ple in grades three through 12. Opportuni¬
iD Tech Camps ties are available in the following programs:
42 West Campbell Avenue, Suite 301 Motion Picture Arts, Theatre Arts, Cre¬
Campbell, CA 95008-1042 ative Writing, Dance, Music, and Visual
888-709-8324 Arts. The Motion Picture Arts program
info@internalDrive.com is open to rising high school sophomores,
http://www.internaldrive.com/film juniors, and seniors and recent graduates.
Participants choose either a screenwriting
Idyllwild Arts Academy Summer or production emphasis. Campers stay in
Program cabins with 10 to 18 other students and
Camps counselors and have access to a private
Since 1950, the Idyllwild Arts Academy has beach, tennis courts, division headquar¬
been offering students intensive opportu¬ ters, and laundry (students are required
nities to explore the arts. The Academy's to do their own laundry). Extracurricular
Youth Arts Center offers a variety of ani¬ activities include concerts by well-known
mation/film-related classes for students musicians, dances, viewing gallery exhib¬
between 13 and 18 years of age, includ¬ its, arts and crafts, films, sports, and out¬
ing Computer Animation, Screenwriting door activities. Tuition for this camp varies
Workshop, Acting for the Camera, Song by program type and length, but includes
and Dance, and Filmmaking for Fligh classes, room and board, group instruc¬
School Filmmakers. Commuter and resi¬ tion, and use of all recreational facilities.
dent options are available. Most sessions Financial aid is available based on need and
last two or three weeks. Contact the acad¬ the artistic ability of the applicant. Applica¬
emy for information on tuition and fees for tions for all programs are due in February.
room and board. Scholarships are awarded Contact the camp for more information.
on the basis of financial need and the artis¬
tic ability of the applicant. Interlochen Arts Camp
Admissions Office
Idyllwild Arts Academy PO Box 199
Summer Program Interlochen, MI 49643-0199
52500 Temecula Drive, Box 38 231-276-7472
Idyllwild, CA 92549-0038 admissions@interlochen.org
951-659-2171 http://www.interlochen.org/academy
Get Involved 155
The International Animated Film The International Animated

Society: ASIFA Film Society-ASIFA-
Membership/Volunteer Programs Northeast/NewYork Chapter
ASIFA is a “worldwide organization http://www.asifaeast.com
of professional animators and those
involved with the production of ani¬ The International Animated
mated films (such as directors, produc¬ Film Society: ASIFA-Portland
ers, musicians, and traditional artists)/' http://asifaportland.org
Its nine chapters in the United States
(listed below) offer volunteer opportu¬ The International Animated
nities and membership to anyone who Film Society-ASIFA-San
is interested in animation. Contact the Francisco
ASIFA chapter near you to learn more PO Box 14516
about membership benefits and volun¬ San Francisco, CA 94114-0516
teer opportunities. http://www.asifa-sf.org
The International Animated The International Animated

Film Society: ASIFA-Atlanta Film Society-ASIFA-Seattle
410 Candler Park Drive, #B3 PO Box 23063
Atlanta, GA 30307-2143 Seattle, WA 98102-0363
http://asifa-atlanta.com asifanews@asifaseattle.com
http://asifaseattle.com
The International Animated
Film Society: ASIFA-Central The International Animated
http://www.asifa.org Film Society: ASIFA-
Washington, DC
The International Animated PO Box 3115
Film Society: ASIFA- Silver Spring, MD 20918-3115
Colorado http://asifa.net/washington
6585 West 62nd Place
Arvada, CO 80003-4919 International Game Developers
http://asifa-colorado.org Association (IGDA)
Membership
The International Animated This membership organization represents
Film Society: ASIFA- the professional interests of game devel¬
Hollywood opers, designers, and other workers in the
2114 Burbank Boulevard game industry. It offers membership to
Burbank, CA 91506-1232 students and anyone with an interest in
818-842-8330 game development. Fans of game devel¬
info@asifa-hollywood.org opment get access to the IGDA Web site
http://www.asifa-hollywood.org (except member profiles/directory) and
discussion forums and a subscription Internship Connection

to the association's newsletter. Student 17 Countryside Road
members ($30) receive the aforemen¬ Newton, MA 02459-2915
tioned benefits and the opportunity to 617-796-9283
create an online member profile, access carole@internshipconnection.com
to the association's member directory http://www.internshipconnection.
and special discounts, and a membership com
card. Contact the association for more
information. Junior Engineering Technical
Society PathAssess
International Game Developers Competitions/Field Experience/
Association Membership
19 Mantua Road The Junior Engineering Technical Soci¬
Mt. Royal, NJ 08061-1006 ety (JETS) offers several opportunities for
856-423-2990 young people in grades nine through 12
contact@igda.org to assess their aptitude for engineering
http://www.igda.org before making college and career deci¬
sions. One of the most useful methods is
Internship Connection by taking the JETS PathAssess, an online
Employment and Internship vocational assessment tool that assesses
Opportunities your thinking, reasoning, and understand¬
Internship Connection provides summer ing processes and suggests engineering
or “gap year" internships to high school careers in which you will be successful.
and college students in Boston, New York PathAssess not only reveals whether your
City, and Washington, D.C. Internships skills are generally suited to an engineer¬
are available for students who are inter¬ ing career, but also what your weaknesses
ested in advertising, business, computers, are so that you can work to improve them
engineering, journalism, marketing, media, before starting college. To take this exam,
music, publishing, technology, theatre, go to the JETS Web site and create a user
and other fields. As part of the program, account; the cost is about $12.95. Contact
participants learn how to create a resume, JETS for information on additional pro¬
participate in a job interview, and develop grams, competitions, student chapters,
communication and personal skills that are and other resources.
key to success in the work world. They also
get the chance to make valuable contacts Junior Engineering Technical
during their internships that may help Society (JETS)
them land a job once they complete col¬ 1420 King Street, Suite 405
lege. The program fee for interns in New Alexandria, VA 22314-2794
York or Washington is $2,500, and $2,000 703-548-5387
for those in Boston. Contact Internship jetsinfo@jets.org
Connection for more information. http://www.jets.org
Get Involved 157
Learning for Life Exploring Summer Institute for high school students
Program who have a strong interest in computer and
Field Experience video games and an interest in pursuing
Learning for Life’s Exploring Program a career in the industry. Participants are
allows young people to work closely with “introduced to game design fundamentals
community organizations to learn life by analyzing popular games, and by learn¬
skills and explore careers. Opportunities ing the different steps required to develop
are available in the following programs: a digital game...and learning about story¬
Arts & Humanities, Business, Commu¬ boarding, character design and animation,
nications, Engineering, and other fields. as well as programming.” They complete
Each program has five areas of empha¬ a final game, which is available on the
sis: career opportunities, service learn¬ program’s Web site. Those who complete
ing, leadership experience, life skills, and the institute receive two quarter-units of
character education. As a participant college credit. Three separate sessions are
in the Arts & Humanities program, for available. Tuition is $825 for commuter
example, you explore the demands and students and $1,235 for residential stu¬
rewards of careers such as editor, enter¬ dents (which includes two meals a day).
tainer, playwright, and camera operator. Contact UCLA for more information.
To be eligible for participation, you must Other institutes are available, such as
be between 15 and 21 years old or be 14 and Video, Entertainment and Media Man¬
have completed the eighth grade. This pro¬ agement, Entrepreneurship, Motion
gram is open to both males and females. Picture Producing, Introduction to Jour¬
To find a Learning for Life office in your nalism, and Music.
area (there are more than 300 throughout
the United States), contact the Learning University of California-Los
for Life Exploring Program. Angeles
Media Arts Institute
Learning for Life Exploring Summer Sessions and Special
Program Programs
1325 West Walnut Hill Lane 1332 Murphy Hall
PO Box 152079 Los Angeles, CA 90024
Irving, TX 75015-2079 310-267-4836
972-580-2433 institutes@summer.ucla.edu
http://www.learningforlife.org/exploring http://dma.ucla.edu/Summerlnstitute
Media Arts Institute at the National High School Game

University of California-Los Academy at Carnegie-Mellon
Angeles University
College Courses/Summer Study Camps
The University of California-Los Angeles Rising high school juniors and seniors
(UCLA) offers a four-day Game Design who are interested in computer and
video game design can attend the May. Contact the Office of Admission
National High School Game Academy. for complete details.
This six-week program introduces In addition to the National High School
students to the field through hands- Game Academy, programs are also avail¬
on exercises, lectures, and discussion able in advanced placement/early action,
groups. Participants learn about career architecture, art, design, drama, and
paths and the skills necessary to be music.
successful in the field. Two classes are
offered by the academy: Topics in Game Carnegie Mellon University
Development (which is held from 9:45 Office of Admission
to 11:30 a.m.) and Game Design Studio Pre-College Programs
(which runs from 1:00 to 5:00 p.m.). Both 5000 Forbes Avenue
classes are scheduled Monday through Pittsburgh, PA 15213-3890
Friday. Topics in Game Development 412-268-2082
is a lecture-style course that examines precollege@andrew.cmu.edu
the entire product life-cycle of a video http://www.cmu.edu/enrollment/
game and helps students “discover new pre-college
ways that video game techniques are
being used.” Additionally, game indus¬ National High School Institute at
try professionals occasionally give talks Northwestern University
about the rewards and challenges of College Courses/Summer Study
the field. The Game Design Studio fea¬ Established in 1931, the National High
tures several skill-specific workshops School Institute is the nation's oldest uni¬
(digital and traditional art, design, and versity-based program for outstanding
programming) and classes. Tuition high school students. The program offers
for students who reside on campus is the following courses: Debate, Speech,
$6,169 (includes housing, dining, activ¬ Journalism, Music, Film & Video Produc¬
ities fee). The commuter fee is $4,315 tion, and Theatre Arts. Students in the
(includes dining and an activities fee). Film & Video Production program can
A $40 nonrefundable application fee is take Production, Animation, or Screen¬
also required. Students who choose to writing (which are five-week courses)
live on campus during the program stay or Acting on Camera (which lasts three
in residence halls; there is no air condi¬ weeks). In the Animation concentration,
tioning. In their off hours, students can students learn how to write, animate, and
participate in a variety of extracurricu¬ edit their own work and take classes in
lar activities, including movie nights, computer animation, nonlinear editing,
pizza parties, crafts and game nights, screenwriting, and camera and lighting
and trips to Pittsburgh and surrounding techniques. In addition, students take one
areas, plays, musicals, amusement and or more of the following elective classes:
water parks, museums, and art galleries. Stop-Motion Animation, Flash Ani¬
Applications are typically due in early mation, Rotoscoping, Cell Animation,
Get Involved 159
After-Effects, Videogame Modeling, and drama can participate in the following

Cinematic Design. At the end of the pro¬ camps offered by the New York Film
gram, students must write and animate Academy: 3-D Animation, Film, Acting,
a narrative animated short or an experi¬ Screenwriting, Musical Theatre, Broad¬
mental animated short. cast Journalism, and Music Video. More
Applicants for the National High than 20 specialized camps and classes are
School Institute must be rising high available under these categories. Camp
school seniors, excel academically, and sessions run for time spans of one, three,
“meet a high standard of character, four, and six weeks. A 12-weekend film
dependability, and intelligence.” A variety camp is also available. Camps are located
of extracurricular activities are also avail¬ at Millennium High School in New York
able to students in the program, including City; Universal Studios in Los Angeles;
tours, movies, shopping, sing-alongs, and Harvard University in Boston; Disney
outings to sporting and cultural events. Studios in Florida; the National Film
Students live on campus in university School of France in Paris; and locations to
residence halls, where they also take be determined in Florence, Italy. (Note:
their meals. Program costs range from Film and Acting Camps located in New
approximately $2,850 to $6,500 depend¬ York City and Florida are also available
ing on the program; these amounts cover to students ages 10-13.) Classes typically
tuition, room, board, health service, field run Monday through Friday, 9 a.m. to 6
trips, and group events. Scholarships are p.m. On weekends, campers participate in
available. The early admission deadline is planned activities and field trips. Instruc¬
typically in the beginning of March, while tors are film professionals who have
the regular admission deadline is in early MFAs from top film schools. Contact the
April. Visit the program’s Web site for academy for more information on tuition
more information. costs, room and board, and application
deadlines.
Northwestern University
National High School Institute New York Film Academy
617 Noyes Street 100 East 17th Street
Evanston, IL 60208-4165 New York, NY 10003-2160
800-662-NHSI 212-674-4300
nhsi@northwestern.edu film@nyfa.edu
http://www.northwestern.edu/nhsi http://www.nyfa.com/summer_camp/
programs/filmmaking
New York Film Academy Film and
Acting Camps for High School Pre-College Courses at Brown
Students and Kids University
Camps College Courses/Summer Study
Teens ages 14-17 who are interested in High school students in the Pre-College
film, television, video, animation, and Courses Program at Brown can take one
or more interesting college-level courses. amount of financial aid is available. Con¬

Classes, which last from one to four tact the Office of Summer & Continuing
weeks, are held Monday through Friday. Studies for more information.
More than 200 classes are available; all
are not for credit. Students spend three Brown University
hours a day in class, and the rest of the Office of Summer & Continuing
time studying, interacting with professors Studies
and fellow students, and participating in 42 Charlesfield Street, Box T
cultural and social activities. A wealth of Providence, RI 02912-9063
fascinating courses are offered, includ¬ 401-863-7900
ing The Art of the Film; Creative Writ¬ http://brown.edu/scs/pre-college/
ing: Script and Stage; A Comprehensive pre-college-courses.php
Study of Music: Performance and The¬
ory; Introducing The Craft of Journalism; ProjectFUN Summer Workshops at
Electronic Music; Principles of Computer DigiPen Institute of Technology
Programming; and Do You Want to Be an College Courses/Summer Study
Engineer? Classes are also offered to help Middle and high school students can par¬
students develop their communication or ticipate in ProjectFUN Summer Work¬
study skills or better prepare for the col¬ shops, two-week camps that explore
lege admissions process, including Crack¬ animation, gaming, or robotics. Project¬
ing the AP Code (one week), Putting Ideas FUN is proprietary software developed
Into Words (one week), Persuasive Com¬ by DigiPen that helps campers learn to
munication (one week), Writing the Aca¬ program and create games. Participants
demic Essay (three weeks), and Writing do not need any experience in these fields
the College Admissions Essay (one week). to participate in the camps. The teacher-
Program participants live in residence to-student ratio ranges from 1:6 to 1:12
halls that are within walking distance depending on the workshop. DigiPen
of classes and other activities. Students does not provide housing for campers,
who are interested in taking Pre-College but it offers several tools to help partici¬
Courses must have intellectual curios¬ pants find housing.
ity, be emotionally mature, and have a Three workshops are available: Video
strong academic record. The following Game Programming, 3D Animation, and
tuition rates are charged for Pre-College Robotics. Students who take Video Game
Courses: one week residential ($2,153), Programming learn about the video game
one week commuter ($1,652); two week production process, programming, anima¬
residential ($3,265), two week commuter tion, sound effects and music, special effects,
($2,255); three week residential ($4,702), and other topics. An online version of this
three week commuter ($3,200); four week workshop is also available. Those in 3D
residential ($5,454), four week commuter Animation learn about the 3D animation
($3,449). Housing and meals are included industry, basic modeling techniques, light¬
in the residential tuition. A limited ing techniques, key-framing techniques,
Get Involved 161
rendering, and other topics. Advanced and board ($4,250) are extra. Contact the
versions of these workshops are available. program for more information.
Cost of each workshop is $1,000; full and In addition to the aforementioned on¬
partial scholarships are available. Contact site offerings, Harvard also offers selected
the institute for more information. online classes to students who can’t attend
classes on campus.
DigiPen Institute of Technology
Attn: ProjectFUN Workshops Harvard University
5001 150th Avenue, NE Secondary School Program
Redmond, WA 98052-5170 51 Brattle Street
workshops@digipen.edu Cambridge, MA 02138-3722
https://workshops.digipen.edu 617-495-3192
ssp@dcemail.harvard.edu
Secondary School Program at http://www.summer.harvard.
Harvard University edu/2009/programs/ssp
College Courses/Summer Study
High school students who have com¬ SkillsUSA
pleted their sophomore, junior, or senior Competitions
years may apply to Harvard’s Secondary SkillsUSA offers “local, state and national
School Program. The program is held for competitions in which students dem¬
six weeks each summer, and participants onstrate occupational and leadership
earn college credit. Students who live skills.” Students who participate in its
on campus take either two four-credit SkillsUSA Championships can compete
courses or one eight-credit course for in categories such as 3-D Visualization
college credit. Commuting students may and Animation, Audio Production, Com¬
take two concurrent four-credit courses puter Programming, Entrepreneurship,
or one eight-credit course. Recent courses Prepared Speech, and Television (Video)
include Beginning Screenwriting, Intro¬ Production. In the 3-D Visualization and
duction to Acting, Directing, Principles Animation competition, “contestants
of Editing, Great Ideas in Computer Sci¬ must produce high-quality images and
ence with Java, Video Editing and Digi¬ an animated short subject using 3D com¬
tal Design, Journalism, Fundamentals of puterized images. Students are tested
Music, and Introduction to Film Theory. on their technical knowledge, produc¬
In addition to academics, students can tion skills and creative/artistic abilities,
participate in extracurricular activities take a preliminary written exam, and
such as intramural sports, a trivia bowl, a do storyboarding (visual planning).”
talent show, and dances. Tuition for the SkillsUSA works directly with high
program ranges from $2,475 (per four- schools and colleges, so ask your guid¬
unit course) to $4,950 (per eight-unit ance counselor or teacher if it is an
course). A nonrefundable registration fee option for you. Visit the SkillsUSA Web
($50), health insurance ($165), and room site for more information.
SkillsUSA are available from the Summer College

14001 SkillsUSA Way office.
Leesburg, VA 20176-5494
703-777-8810 Cornell University Summer
http://www.skillsusa.org College for High School
Students
Summer College Programs for B20 Day Hall
High School Students at Cornell Ithaca, NY 14853-2801
University 607-255-6203
http://www.sce.cornell.edu/sc
Rising high school juniors and seniors and
recent graduates who are interested in ani¬ Summer Enrichment Camps at
mation can take The Digital World and Wright State University
You, a three-week residential program. College Courses/Summer Study
Students in this program learn about a Students in grades six through nine can par¬
variety of topics, including “digital music, ticipate in weeldong Summer Enrichment
Web technology, digital cameras, robots, Residential Camps. The following camps
artificial intelligence, computer games, are available to students who are interested
biotechnology, human/computer interac¬ in animation and related fields: Multime¬
tion, the creation and use of information, dia (which involves hands-on work with
and privacy issues” and investigate majors animation software), Digital Storytelling,
and career options in the fields of comput¬ Computing Technology, Music Explora¬
ing and information science. You interact tion, and Young Writers—Creative Mind.
closely with professors, film professionals, For further details on these programs, con¬
and fellow students. Other recent pro¬ tact the Office of Pre-College Programs.
grams include The Business World, Focus
on Writing, On Camera: Studies in Film Wright State University
Analysis, and Topics in Engineering. Bear Office of Pre-College Programs
in mind that these are regular undergrad¬ 3640 Colonel Glenn Highway
uate courses condensed into a very short Dayton, OH 45435-0001
time span, so they are especially challeng¬ 937-775-3135
ing and demanding. Program participants precollege@wright.edu
live in residence halls on campus and get http://www.wright.edu/academics/
to take advantage of campus facilities. Cost precollege
for the program is $5,310 (includes room
and board). Applications are typically due Summer Institutes at Marist
in late April, although Cornell advises that College
you submit them well in advance of the College Courses/Summer Study
deadline; those applying for financial aid Marist offers seven Pre-College Institutes,
must submit their applications by April 1. including a Summer Game Institute. Par¬
Further information and details about the ticipants first learn how to create basic
program and the application procedure games and then gradually increase their
Get Involved 163
skills using game development software to three-week Summer Intensive Program

create more challenging applications. They in animation. Participants learn how to
also ‘learn how to create, test, and debug create traditional and 3D animation via
different types of exciting games such as screenings, discussions, lectures, and stu¬
scrolling shooters, maze games, platform dio work, and they get a chance to screen
games, and 3D parallax games/’ Three col¬ their final animation project during an
lege credits are awarded to students who art exhibit at the end of the program.
complete the institute. Classes run Monday through Friday and
Rising high school juniors and seniors last six hours each day. On weekends, stu¬
may apply for the institutes. Rising sopho¬ dents can return home or stay on campus
mores and recent high school graduates and take Art Adventure courses and/or
may also apply and be accepted on a space- participate in extracurricular activities.
available basis. Students live in Marist resi¬ Tuition for residential students is $2,700
dence halls and have the opportunity to (includes a double-occupancy dorm room
use the college’s library and recreational and all meals). Commuter students pay
facilities. Tuition is $2,900 (includes fees, $2,200 (includes lunch and dinner meals
housing, all meals, field trips, and course daily). A nonrefundable application fee
materials). The college suggests that par¬ is also required. Students who choose to
ticipants bring a small amount of spending reside on campus stay in air-conditioned
money for souvenirs and personal items. residence halls with access to Internet
Contact the Office of Undergraduate and cable TV connections, but no tele¬
Admission for information on application phones (cell phones are allowed). The
deadlines and other details. application deadline is typically in late
Several other institutes may be of May. Contact the program director for
interest to readers of this book, including more information.
those in creative writing and business. In addition to the Animation Program,
the following programs are also available:
Marist College 2D/3D Fine Arts Portfolio Development,
Office of Undergraduate Admission 2D Portfolio Development, Digital Film-
Attn: Summer Pre-College making, Digital Photography, Fashion
3399 North Road Design + Merchandising, and Theatre.
Poughkeepsie, NY 12601-1350
845-575-3226 Virginia Commonwealth
http://www.marist.edu/summer University
institutes Summer Intensive Program
Attn: Program Director
Summer Intensive Program for 325 North Harrison Street
High School Students at Virginia Richmond, VA 23284-9070
Commonwealth University 866-534-3201
College Courses/Summer Study summerarts@vcu.edu
Rising high school sophomores, juniors, http://www.vcu.edu/arts/
seniors, and recent graduates can take a summerintensive
Summer Program for High School of extracurricular activities including on-

Students at Columbia University campus events (such as parties, a talent
College Courses/Summer Study show, a scavenger hunt, an open mike
Rising ninth through 12th graders who night, and organized sports) and off-
are interested in animation and other campus excursions in and around New
fields can participate in Columbia Univer¬ York City (such as guided walking tours,
sity’s Summer Program for High School films, museums, concerts, restaurants,
Students. Freshman-Sophomore divi¬ beaches, and amusement parks). Par¬
sion courses include Computer Graphics ticipants also have access to university
through Game Programming, Introduc¬ libraries, computer labs, a fitness center, a
tion to Creative Writing, and Introduc¬ student activity center, and other facilities.
tion to Drawing: Taking a Walk with a Commuter students pay approximately
Line. Junior-Senior division courses $3,400 per session. Residential students
include Digital Filmmaking: From Initial pay $6,225, which includes housing and
Concept to Final Edit; Creative Writing: dining. Both commuter and residential
Introductory and Advanced Workshops; students pay an additional fee of $135 for
Introduction to Programming in C; Criti¬ activities and health coverage. The uni¬
cal Focus on the Visual Arts; Introduc¬ versity also suggests that residential stu¬
tion to Business Finance and Economics; dents bring an additional $700 in spending
and Communicating with Consumers: money. Contact the School of Continuing
The Basics of Marketing, Advertising, Education for more information.
and Public Relations. A course on college
preparation is also available. Students Columbia University
enrolled in Computer Graphics through Summer Program for High School
Game Programming learn about topics Students
such as object-oriented programming, School of Continuing Education
design, and development and computer 203 Lewisohn Hall
graphics-related topics (texture mapping, 2970 Broadway, Mail Code 4119
rasterizing, antialiasing, transformations, New York, NY 10027-6902
ray tracing, and animation). To better 212-854-9666
understand these topics, students create http://www.ce.columbia.edu/hs
individual visual animation and interac¬
tive games. All courses are rigorous, but Summer Program for High School
are not available for college credit. Dur¬ Students at New York University
ing the week, students attend classes from College Courses/Summer Study
10:00 a.m. to 12:00 p.m., break for lunch Rising high school juniors and seniors in
and activities from 12:00 to 2:30 p.m., and the New York City area can take up to
return to class from 2:30 to 4:30 p.m. In two college-level classes as part of New
the evenings and on weekends, residen¬ York University’s Summer Program for
tial students participate in a wide variety High School Students. Up to eight college
Get Involved 165
credits are awarded to those who com¬ FUTube: Video for the Web! learn video,
plete the classes. Recently offered classes animation, design, and editing tech¬
include Language of Film, Introduction to niques that allow them to create videos
Computers and Programming, Reporting, for YouTube and other Web sites. They
and Video Games: Culture and Industry. learn how to use iMovie, Garage Band,
Video Games: Culture and Indus¬ Photoshop, Dreamweaver, digital video
try meets twice a week in the evenings. recorders, flatbed scanners, and other
The course “examines the emergence software and hardware. In the Theater:
of video games as sites of contemporary ACTion! seminar, students learn how to
cultural production and practice...and use their bodies to communicate moods
pays special attention to the symbolic and emotions while acting. Students who
and aesthetic dimensions of video games, take Writing About Film: Creative and
including their various narrative forms Critical Eyes learn about the “elements of
and subgenres.” Students are not allowed film style: setting camera angle and move¬
to live on campus, and must find living ment, editing, and sound.” Tuition for
arrangements within commuting dis¬ each one-week program is $800 (includes
tance of the campus. Tuition varies by room, board, activities, and fields trips).
class credit amount and subject area. The Applications are typically due in June.
application deadline is typically in mid- Contact the Office of Enrollment for
April. Financial aid is available. Contact more information.
the Office of Undergraduate Admissions
for more information. Furman University
Office of Enrollment
New York University 3300 Poinsett Highway
Office of Undergraduate Admissions Greenville, SC 29613-0002
Summer Program for High School 864-294-3231
Students mary.hearne@furman.edu
22 Washington Square North http://www.fu r ma n .ed u/ca m ps
New York, NY 10011-9191 andconferences/camps.htm
212-9984500
http://www.nyu.edu/summer/2009/ Summer Seminars at the
highschool/program.html University of Southern California
Summer Scholars Program at Rising high school sophomores, juniors,
Furman University and seniors who are interested in anima¬
College Courses/Summer Study tion and other subjects can get a taste of
Rising juniors and seniors with strong college life by participating in four-week
academic skills who are interested in summer seminars at the University of
animation/film careers can take several Southern California. Commuter and
interesting seminars. Students who take residential options are available. Past
seminars include Introduction to Video net hookup, linens, and toiletry items.
Game Design, News: The Basics and The Cost of attendance for residential stu¬
Future, and Basic Animation Techniques. dents is about $6,105 (and includes room
Students who take Introduction to Video and board and lab, program, and health
Game Design “gain hands-on experience center fees). Attendance cost for com¬
by developing video games and utilizing muter students is about $4,300 (includes
various software applications. Upon com¬ a meal plan and lab, program, and health
pletion of the seminar, students can con¬ center fees). Financial aid is available. The
ceptualize, design, develop, implement, application deadline is typically in late
and integrate current and emerging video March.
game features and technologies/' Stu¬
dents also interact closely with game pro¬ University of Southern
fessionals from leading companies such California
as Electronic Arts, Sony Playstation, and Continuing Education and Summer
Activision Blizzard. In Basic Animation Programs
Techniques, students learn about non¬ 3415 South Figueroa Street,
computer-generated animation and learn Suite 107
how to produce a short animated film by Los Angeles, CA 90089-0874
the end of the class. A typical schedule 213-740-5679
involves lectures from 9:00 a.m. to 12:00 summer@usc.edu
p.m., a break for lunch, a workshop from http://cesp.usc.edu
1:30 to 4:30 p.m., a study session from
4:00 to 6:00 p.m., dinner, and free time in Summer Study at Pennsylvania
the evening. In addition to classes, work¬ State University
shops, and studying, students partici¬ College Courses/Summer Study
pate in a variety of recreational activities Students who have completed the ninth,
(dancing, karaoke, movie night) and field 10th, and 11th grades can apply to partic¬
trips (Hollywood Walk of Fame, youth ipate in the university's Summer Enrich¬
symphony concert, Disneyland, Knott's ment Program. This noncredit program
Berry Farm, J. Paul Getty Museum, the offers three-and-a-half week and two-
Santa Monica Pier, a Dodgers baseball week options and recently featured
game, visit to the beach). classes such as Animaniacs: Introduction
Participants who choose the residen¬ to Computer Animation; Move Over
tial option stay in dormitories on cam¬ Spielberg: Digital Video/Film Editing; and
pus that have a common hallway with Stop the Presses: Journalism/Communi¬
bathroom and showers. Each room has cations. Students who take Animaniacs:
analog phone ports, Ethernet ports, a Introduction to Computer Animation
Microfridge (a half-sized refrigerator learn how to create short animated films
with attached microwave), and cable TV and projects using Macromedia Flash.
hookup. Students must bring their own Tuition for the Summer Enrichment
telephones, televisions, cables for Inter¬ Program is approximately $4,495 (three-
Get Involved 167
and-a-half-week program) and $2,495 course. College credit is awarded to stu¬

(two-week program). Limited financial dents who satisfactorily complete the
aid is available. Contact the Summer class. Past courses include Discovering
Study Program for more information. New Ventures-Foundations of Entrepre¬
neurship, Introduction to Journalism, and
Pennsylvania State University Introduction to Technology Marketing
Summer Study Program and Product Development. Participants
900 Walt Whitman Road live in the residence halls at the Univer¬
Melville, NY 11747-2293 sity of Maryland and take their meals on
800-666-2556 campus or in selected College Park res¬
info@summerstudy.com taurants. To apply, you must submit an
http://www.summerstudy.com/ application form, an essay, two letters of
pennstate recommendation, a current transcript,
and an application and enrollment fee of
Summer Term/Young Scholars $205 by mid-May. Admissions decisions
Program at the University of are based primarily on the recommenda¬
Maryland tions, the applicant’s academic record,
College Courses/Summer Study and overall academic ability. Residential
Rising high school juniors and seniors tuition is about $2,935; tuition for com¬
with a GPA of at least 3.0 may take one muters is approximately $1,815. For
or more classes for credit in the Univer¬ further details and an application form,
sity of Maryland’s Summer Term pro¬ contact the Office of Extended Studies.
gram. Two six-week sessions and four
three-week sessions are available. Col¬ University of Maryland
lege credit is awarded to students who Office of Extended Studies
satisfactorily complete the course. Recent 0132 Main Administration Building
classes include Introduction to Computer College Park, MD 20742
Programming via the Web, Object-Ori¬ 301-405-7762
ented Programming, Introduction to http://www.summer.umd.edu
Mass Communication, and Music Fun¬
damentals. Participants live in residence Summer University at Johns
halls at the University of Maryland and Hopkins University
take their meals on campus or in selected College Courses/Summer Study
College Park restaurants. A commuter Rising high school juniors and seniors
option is also available. Contact the who are interested in getting a jump on
Office of Extended Studies for informa¬ college can participate in the Summer
tion on current tuition costs and applica¬ University program. Participants live on
tion deadlines. Flopkins’ Homewood campus for five
Participants in the three-week Young weeks beginning in early July. Classes
Scholars Program spend July exploring leading to college credit are available in
various fields and taking a college-level more than 30 programs. Recent classes
include Introduction to Programming in one of many career fields through classes,

in Java, Principles of Marketing, Tech¬ field trips, and discussions with MTU fac¬
nical Communication, Introduction to ulty and other professionals. Many sessions
Business, and Introduction to Dramatic are offered for those interested in some
Writing: Film. All participants in the Pre- aspect of the animation industry, such as
College Program also attend workshops Computer Graphics and Design, Graphic
on college admissions, time management, Design, Learning to Lead: A Leadership
and diversity. Students who live in the Introduction for Everyone, Computer and
greater-Baltimore area have the option of Electrical Engineering, and Entrepreneur-
commuting. All applicants must submit ship: Start a Business While in High School.
an application form, essay, transcript, two All of these sessions are for students in
recommendations, and a nonrefundable grades nine through 11. Several interesting
application fee (rates vary by date of sub¬ classes are available for aspiring animators
mission). Tuition for residential students and game designers. Introduction to Flash
is $6,300 (for two courses, room and (grades nine through 11) teaches you how to
board, and up to six credits). Commuter create an animated short or Web site using
students pay $630 per credit hour (books, the popular Flash software. Introduction
supplies, meals, and special activities are to Programming: Alice (grades six through
not included). Contact the Office of Sum¬ nine) teaches you how to create your own
mer Programs for more information on interactive games or animated stories using
both programs. Alice, a 3D software program. In Video
Game Programming (grades seven through
Johns Hopkins University 11), you explore the “elements of design¬
Pre-College Program ing a game, creating images, and using Java
Office of Summer Programs applets.” Other sessions of interest include
Wyman Park Building, Suite G4 Computer Programming: C++ (grades six
3400 North Charles Street through 11), Hidden Computers in Our
Baltimore, MD 21218-2685 Lives (grades eight through 11), Computer
800-548-0548 Programming: Java (grades seven through
summer@jhu.edu 10) , and Stop the Hackers! Computer Net¬
http://www.jhu.edu/~sumprog works and Security (grades nine through
11) .
Summer Youth Explorations at Cost of the Summer Youth Program is
Michigan Technological University $650 for the residential option (includes
College Courses/Summer Study a residence hall room, Sunday lunch
Michigan Technological University (MTU) through Saturday breakfast, books, sup¬
offers the Summer Youth Explorations plies, instructional fees, and recreational
program for students in grades six through activities in the residence hall). Com¬
12. Participants attend weeldong sessions, muter students pay $395 (covers books,
choosing either to commute or to live on supplies, instructional costs, noon meals
campus. Students undertake an exploration on Monday through Friday, and residence
Get Involved 169
hall recreational activities). Financial aid is Houghton, MI 49931-1295

available. Applications are accepted up to 906-487-2219
one week before the exploration begins. http://youthprograms.mtu.edu/syp
The university also offers the following
programs for people who are interested Women in Animation (WIA)
in computer science and engineering: Conferences/Membership
Women in Engineering (for high school This nonprofit organization represents
freshman/sophomore/junior), Explo- the professional interests of women (and
rations in Engineering (for female high men) in animation. It offers membership
school freshmen, sophomores, and for high school and college students. Mem¬
juniors), and Women in Computer Sci¬ bership benefits include a subscription to
ence (for young women in grades nine a quarterly newsletter, free or discounted
through 11). Contact the Youth Programs admission to WIA events, and access to
Office for more information. the WIA membership directory.
Summer Youth Explorations Women in Animation

Michigan Technological University PO Box 17706
Youth Programs Office Encino, CA 91416-7706
Alumni House wia@womeninanimation.org
1400 Townsend Drive http://www.womeninanimation.org
Read a Book
When it comes to finding out about ani¬ own original music—from conception
mation, don’t overlook a book. (You’re to publication. How to write lyrics, find
reading one now, after all.) What follows a publisher, and deal with music-indus¬
is a short, annotated list of books and try professionals are covered.
periodicals related to animation. The Bateman, Chris, ed. Game Writing:
books range from personal accounts of Narrative Skills for Videogames. Flor¬
what it’s like to be an animator to profes¬ ence, I<y.: Charles River Media, 2006.
sional volumes on specific topics, such as Today’s video games are more like
animation scriptwriting or the history of Hollywood productions than ever
animation. Don’t be afraid to check out before, and they require good stories
the professional journals. The technical crafted by good writers. This col¬
stuff may be way above your head right lection of articles by members of
now, but if you take the time to become the International Game Developers
familiar with one or two, you’re bound Association covers all the techniques
to pick up some of what is important to of game writing, from constructing a
animation professionals, not to mention narrative to creating interesting char¬
begin to feel like a part of their world, acters, with an emphasis on what pro¬
which is what you’re interested in, right? ducers and publishers are looking for.
We’ve tried to include recent materi¬ Beck, Jerry. The Animated Movie Guide.
als as well as old favorites. Always check Chicago: Chicago Review Press, 2005.
for the latest editions, and if you find A guide to more than 300 animated
an author you like, ask your librarian to films that have been released theatri¬
help you find more. Keep reading good cally in the United States, with credits,
books! ratings, plot summaries and other
information for each release. A valu¬
able reference for fans of animated
□ BOOKS films as well as those with an interest
Austin, Dave, Mary Ellen Bickford, and in the animation industry.
Jim Peterik. Songwritingfor Dummies. Beck, Jerry. Animation Art: From Pencil
Hoboken, N.J.: John Wiley & Sons, to Pixel, the World of Cartoon, Anime,
2002. Written for the novice songwriter, and CGI. New York: Collins Design,
this book guides readers through the 2004. A history of film animation from
process of writing and producing their cartoons to anime to computer-
170
Read a Book 171
generated imagery (CGI), broken Jones & Bartlett Publishers, 2008. This
down by decade and by country and book has everything that a video game
featuring plenty of full-color illustra¬ producer or studio manager needs to
tions. A good source of information know to successfully develop a game
on the creation and evolution of comic from concept to finished product. It
books. includes an overview of general areas
Bendazzi, Giannalberto. Cartoons: One such as preproduction and game test¬
Hundred Years of Cinema Animation. ing as well as addressing more spe¬
Bloomington, Ind.: Indiana University cific topics such as how to organize
Press, 1995. A chronological history voice-over and motion-capture shoots,
of animation covering works dating working with marketing people and
back to 1888 and originating in more external contractors, and project man¬
than 70 countries. In describing many agement practices. The book comes
rarely seen works from independent with a CD-ROM with relevant tem¬
artists, it focuses on the evolution of plates and forms that allow for imme¬
animation more as an art form than as diate application of the ideas discussed
a box-office phenomenon. in the book.
Boyd, S. Gregory. Business & Legal Primer Crouch, Tanja L. 100 Careers in Film
for Game Development Florence, Ky.: and Television. Hauppauge, N.Y.: Bar-
Charles River Media, 2006. Those with rons Educational Series, 2001. Focus¬
an interest in starting their own game ing on behind-the-scenes positions
company will find this overview of the as camera operators, film editors, art
business aspects of the industry to be directors and more, the author talks
a valuable reference. The author, an to real-world film workers about their
attorney who has represented many chosen careers.
game companies, explains the ins and Dancyger, Ken. The Technique of Film
outs of getting started, negotiating con¬ and Video Editing: History, Theory,
tracts, licensing, and protecting your and Practice. 4th ed. St. Louis, Mo.:
intellectual property (stories, characters, Focal Press, 2006. This book provides
etc., that you create). a comprehensive look at the past and
Campbell-Kelly, Martin. From Airline the future of film and video editing.
Reservations to Sonic the Hedgehog: A Despain, Wendy, ed. Professional
History of the Software Industry. Cam¬ Techniques for Video Game Writing.
bridge, Mass.: The MIT Press, 2004. Wellesley, Mass.: A K Peters Ltd.,
Informative book covering the history 2008. A book of articles by members
and development of the vast industry of the International Game Developers
of computer software, including cor¬ Association that, in addition to offer¬
porate and recreational software. ing how-to information and exercises
Chandler, Heather Maxwell. The Game for the beginner, delves into other
Production Handbook. Sudbury, Mass.: aspects of a video game writing career,
such as working as a member of a resource publication also serves as a

team, making a living as a freelancer, guidebook on how to market and sell
and protecting one's creations. your work.
Dille, Flint, and John Zuur Platten. Furniss, Maureen. The Animation Bible:
The Ultimate Guide to Video Game A Practical Guide to the Art of Ani¬
Writing and Design. Los Angeles: mating from Flipbooks to Flash. New
Lone Eagle, 2008. Advice from two York: Abrams, 2008. A how-to guide
top game designers on how to write for aspiring animation professionals
a game that produces an involving, that describes the nuances of different
emotional experience for the person forms of animation, from traditional
playing it. Tips on writing, including cel production to Flash and stop-
integrating story into the game and motion animation, and provides case
formatting a proper script, are mixed studies and advice on telling a good
with straightforward advice on pre¬ story, sticking to a budget, and finding
senting new ideas to developers and a market for one’s work.
publishers and, once you have your Gabler, Neal. Walt Disney: The Tri¬
foot in the door, surviving and thriving umph of the American Imagination.
in this very competitive industry. New York: Vintage Books, 2007. This
Ebert, Roger, and David Bordwell. complex biography of the man whose
Awake in the Dark: The Best of Roger name is synonymous with animation
Ebert. Chicago: University of Chicago contains a great deal of information
Press, 2008. This “best of’ book from on the early years of the Disney stu¬
the master of film criticism features dio, including the creation of Mickey
reviews of the best films of the past 38 Mouse and Disney’s methods of work¬
years; essays on colorization, digital ing on such productions as Pinocchio
projection, and the movie-ratings sys¬ and Fantasia.
tem; and star interviews and profiles. Gardner, Garth. Careers in Computer
Edgar, Tom, and Karin Kelly. Film Graphics & Animation. Washington,
School Confidential: The Insiders D.C.: Garth Gardner Company, 2001.
Guide to Film Schools. New York: This informative book includes more
Perigee Trade, 2007. Provides reviews than 130 job description in graphics,
of the top film schools in the United design, and animation, with salary
States, and includes information on expectations and education require¬
curriculum, student body, and pro¬ ments; it also includes important con¬
gram requirements. tact information.
F & W Publications. 2009 Songwriter's Gibson, Bill A. The S.M.A.R. T. Guide to
Market. 31st ed. Cincinnati, Ohio: F Mixing and Mastering Audio Record¬
+W Media Inc., 2009. Providing all ings. Boston: ArtistPro Publishing,
of the latest submission guidelines 2005. With technological advances
and up-to-date contacts for songwrit¬ making it increasingly easy for any¬
ers seeking publication, this annual one to mix their own music, this
Read a Book 173
guidebook provides the necessary look behind the scenes of the Pixar
information to help aspiring record¬ Animation Studios film. It features
ing technicians mix and master audio 250 pieces of art related to the film's
recordings. production in addition to quotes from
Gibson, Bill A. The S.M.A.R.T\ Guide the director and various members of
to Digital Recording Software, and the production team.
Plug-Ins. Boston: ArtistPro Publishing, Irish, Dan. The Game Producer's Hand¬
2005. Explaining everything you need book. Florence, I<y.: Course Technol¬
to know about modern digital record¬ ogy PTR, 2005. A guide to succeeding
ing, this book provides a practical and in the video game industry as a pro¬
informative overview of the software ducer of content, this book examines
and hardware necessary to create pro¬ the complexity of such a career and
fessional quality recordings. all the responsibilities that fall under
Gregory, Georgina, Ros Healy, and Ewa the producer's umbrella, including
Mazierksa. Careers in Media and scheduling, budgeting, quality control,
Film: The Essential Guide. Thousand and legal considerations. Learn how
Oaks, Calif.: Sage Publications Ltd., financial considerations often affect
2008. Provides useful advice on pur¬ the development of a game and how to
suing a career in the film and media avoid some of the most common mis¬
industries. takes game developers make.
Hahn, Don. The Alchemy of Animation: Jeffrey, Tom. Film Business: A Hand¬
Making an Animated Film in the Mod¬ book for Producers. 3d ed. Crows Nest,
ern Age. New York: Disney Editions, NSW, Australia: Allen & Unwin,
2008. This book uses examples from 2006. The producer moves a film
seven decades of Disney animated project forward from idea to release,
films to detail various animation pro¬ as quickly as possible, on time and on
fessions and how they have changed budget. The strategies and advice from
as a result of the emergence of digital various industry experts that are pre¬
filmmaking. sented in this book, such as building a
Hamlett, Christina. Screenwriting for business plan, selecting and analyzing
Teens: The 100 Principles of Screen¬ scripts, and developing deal-making
writing Every Budding Writer Must skills, provide the necessary tools for
Know. Studio City, Calif.: Michael a producer to succeed in a financial as
Wiese Productions, 2006. Provides well as an artistic sense.
useful tools, writing exercises, and Johnston, Ollie, and Frank Thomas.
advice that will help teens write their The Illusion of Life: Disney Anima¬
first screenplay. tion. New York: Disney Editions, 1995.
Hauser, Tim. The Art of WALL-E. San This book gives the inside story of
Francisco: Chronicle Books, 2008. how Disney Studios created its most
Fans of the Oscar-winning WALL-E as famous and beloved animated films, as
well as aspiring artists will enjoy this told by two of its original animators.
Production processes are described Levy, David. Animation Development:

in nontechnical terms, and dozens From Pitch to Production. New York:
of photographs and illustrations are Allworth Press, 2009. Those who aspire
included. to create and produce their own ani¬
Kushner, David. Masters of Doom: How mated series will find this a valuable
Two Guys Created an Empire and reference, as will already-established
Transformed Pop Culture. New York: animation artists, writers, and voice
Random House, 2004. Anyone who artists. The author, an animation direc¬
has ever dreamed about making it big tor whose work has been seen on Nick¬
in the video game industry will enjoy elodeon, MTV, and NBC, stresses the
this behind-the-scenes look at the importance of fostering and nurturing
controversial yet wildly popular game relationships in finding employment
Doom and its creators, John Carmack opportunities and getting one’s projects
and John Romero. Learn how the noticed and sold.
two whiz kids and their company, id Levy, David. Your Career in Animation:
Software, used both technological and How to Survive and Thrive. New York:
financial innovations to forge a path Allworth Press, 2006. This is a book for
toward success. anyone who is thinking about working
Laramee, Francois Dominic. Secrets of the in animation. The author, a working
Game Business. 2d ed. Florence, I<y.: and teaching animation professional,
Charles River Media, 2005. This book provides the insight of other industry
is a compilation of information from pros on developing a body of work and
video game industry insiders, including getting a job in the field. Contains a list
publishing executives, game producers, of resources for exploration or network¬
studio owners, and writers, about the ing, such as animation schools, film fes¬
inner workings of the game develop¬ tivals, Web sites, and publications.
ment and publishing industry. Topics Loguidice, Bill, and Matt Barton. Vintage
include the publisher/developer rela¬ Games: An Insider Look at the History
tionship and how games get from devel¬ of Grand Theft Auto, Super Mario,
opers to players; how to get games on and the Most Influential Games of All
the shelves; how to negotiate contracts; Time. St. Louis, Mo.: Focal Press, 2009.
and how to get started in the business Essential reading for video game fans
or improve an existing company. or those interested in video game his¬
Lenburg, Jeff. Who's Who in Animated tory, this book discusses and analyzes
Cartoons: An International Guide to some of the most historically important
Film and Televisions Award-Winning video games of all time, including Super
and Legendary Animators. New York: Mario Bros., Doom, and The Sims.
Applause Books, 2006. Features pro¬ Includes hundreds of color screen shots
files of nearly 300 animators who have and illustrations.
won or been nominated for Academy, Marx, Christy. Writing for Animation,
Emmy, or other awards. Comics, and Games. St. Louis, Mo.:
Read a Book 175
Focal Press, 2006. Written for begin¬ Spanning 100 Years. New York: Harry
ners as well as professionals, this book N. Abrams, 2005. Acclaimed special
explains the practical aspects of cre¬ effects artists discuss makeup, anima¬
ating scripts for animation, comics, tion, animatronics, modelmaking,
graphic novels, and computer games. computer tricks, and other techniques
It shows you how to create scripts that used in some of the most famous films
are formatted correctly for each indus¬ in the history of the motion picture
try, offers tips on meeting deadlines industry.
and collaborating with others, and Price, David A. The Pixar Touch. New
shows how “visual” writing requires a York: Vintage Books, 2009. The author
different approach than prose. takes readers inside Pixar Animation
Milic, Lea, and Yasmin McConville. Studios, one of the most successful
The Animation Producer’s Handbook. animation studios of all time and the
Maidenhead, U.K.: Open University creator of such classics as WALL-E,
Press, 2006. This book is intended as Toy Story, Cars, Ratatouille, Finding
an “all-in-one” guide to the business of Nemo, and The Incredibles.
animation, breaking down all the steps The Princeton Review. Television, Film,
involved with the creation, sale, devel¬ and Digital Media Programs: 556 Out¬
opment, and production of an animated standing Programs at Top Colleges and
project in an easy-to-understand way. Universities Across the Nation. New
Muir, Shannon. Gardners Guide to York: The Princeton Review, 2006.
Writing and Producing Animation. This book provides the scoop on top
Washington, D.C.: Garth Gardner programs and features interviews with
Company, 2007. Interviews with well-known industry professionals.
industry professionals, profiles of ani¬ Raugust, Karen. The Animation Busi¬
mation studios, and career advice aug¬ ness Handbook. Rev. ed. New York:
ment this overview of the animation St. Martin's Press, 2004. An essential
production process, in which several reference tool for aspiring animation
TV specials, shorts, and other ani¬ professionals, this comprehensive
mated projects are tracked from their guide to the “business” side of the
creation through completion. career details how studios or entre¬
The New York Times. The New York preneurs get their work produced
Times Guide to the Best 1,000 Mov¬ and covers distribution, sales and
ies Ever Made. Rev. ed. New York: St. marketing, finance and budgeting,
Martin's Griffin, 2004. This book pro¬ international markets, and licensing of
vides a comprehensive overview of the characters for merchandise.
best dramas, documentaries, come¬ Rickitt, Richard, and Ray Harryhausen.
dies, musicals, and thrillers ever made Special Effects: The History and Tech¬
(and includes animated features). nique. 2d ed. New York: Billboard
Pinteau, Pascal. Special Effects: An Oral Books, 2007. This book traces the his¬
History-Interviews with 37Masters tory of special effects in films, provides
an overview of special effects tech¬ the industry to draw on, but he has
niques, and features profiles of well- also written books and TV shows,
known figures in the field. which give additional weight to his
Rush, Alice, David Hodgson, and Bryan insights on writing good dialogue and
Stratton. Paid to Play: An Insider's creating characters that readers or
Guide to Video Game Careers. Rose¬ game players will sympathize with.
ville, Calif.: Prima Games, 2006. Based Slone, Michael. Special Effects: How
on more than 100 interviews with cur¬ to Create a Hollywood Film Look on
rent working professionals in the video a Home Budget. Studio City, Calif.:
game industry, this book presents a Michael Wiese Productions, 2007.
complete rundown of available jobs This is a helpful resource for the
across the entire world of gaming and beginning filmmaker who wants to
points readers in the direction of jobs create dazzling special effects without
that match their talents. breaking the bank.
Sacks, Terence J. Opportunities in Car¬ Thompson, Kristin, and David Bordwell.
tooning & Animation Careers. New Film History: An Introduction. 3d ed.
York: McGraw-Hill, 2007. This book New York: McGraw-Hill Humanities/
has up-to-date information on how to Social Sciences/Languages, 2009. This
break into and what it’s like to work book rovides an overview of U.S. and
in cartooning and animation. Profiles world film history in every genre—
of animators, cartoonists, and instruc¬ from comedy and horror to documen¬
tors are included in each chapter, and tary and drama.
a list of newspaper syndicates, schools, Wang, Wally. Beginning Programming
and other related organizations is for Dummies. 4th ed. Hoboken, N.J.:
provided. For Dummies, 2006. Perfect reference
Scott, Jeffrey. How to Write for Anima¬ for computer programming novices!
tion. New York: Overlook TP, 2003. Easy to follow and informative, with
The rapid and continuing growth of CD-ROM companion.
animation has created a need for writ¬ Whalen, Zach, and Laurie N. Taylor.
ers who can enhance the medium with Playing the Past: History and Nostal¬
well-told stories and interesting char¬ gia in Video Games. Nashville, Tenn.:
acter development. The author, an Vanderbilt University Press, 2008. A
award-winning animation writer, takes collection of essays on history and
you through the step-by-step process nostalgia in video games and in gam¬
of writing a script for an animated ing culture, this thoughtful publication
project and then getting it sold. examines how the games many people
Sheldon, Lee. Character Development have played since childhood shape
and Storytellingfor Games. Florence, how they see the world today as well
I<y.: Course Technology PTR, 2004. as how the games being produced and
The author is a veteran video game played today help communicate ideas
writer and has a lot of experience in about real-world history.
Read a Book 177
Wright, Jean. Animation Writing and to animation and reviews of some of

Development: From Script Development the more recent ones. Those wish¬
to Pitch. St. Louis, Mo.: Focal Press, ing to join a dialogue on the place of
2005. A guide to becoming a good animation in popular culture, politics,
writer as well as a successful one, this and beyond can access a free online
book takes you through the process of discussion group to exchange ideas.
creating original characters, developing Animation Magazine. Published 10 times
an animated project, writing outlines annually by Animation Magazine Inc.
and scripts, and pitching new ideas as (30941 West Agoura Road, Suite 102,
well as stories for episodes of shows Westlake Village, CA 91361-4637, 818-
that are already on the air. 991-2884, info@animationmagazine.
net), this magazine covers all genres
in which animation is used—movies,
□ PERIODICALS television, commercials, and more.
AnimationBlast. Currently on hiatus. Also included are school and job list¬
Published by Amid Amidi (http:// ings, making a subscription to this Web
www.cartoonbrew.com/amid-amidi), site/magazine invaluable to animation
there have been nine issues of this career seekers as well. Print and elec¬
magazine, which puts the focus on tronic subscriptions are available. Visit
animation artists and their art. The http://www.animationmagazine.net to
latest issue, one of only three that are read sample articles.
still available, explores the life and Animation World. Published by Anima¬
work of Disney animator John Sibley, tion World Network (6525 Sunset
looks back at forgotten animated films, Boulevard, Garden Suite 10, Holly¬
and displays a series of photos from wood, CA 90028-7212, 323-606-4200),
the Disney Studios during the 1950s. with online articles updated at the
Visit http://www.animationblast.com rate of three to five per week and a
for general information, and http:// full-color, downloadable PDF edition
www.stuartngbooks.com to purchase published every month, this maga¬
copies of available issues. zine is dedicated to the art, craft, and
Animation Journal. Published annually industry of the international anima¬
by the Society for Animation Stud¬ tion community. It provides insider
ies (c/o Dr. Maureen Furniss [Presi¬ commentary; professional and techni¬
dent], California Institute of the Arts, cal advice; reports from animation fes¬
24700 McBean Parkway, Valencia, CA tivals, conferences, and trade shows;
91355-2340, 661-253-7825, editor@ and profiles of artists and studios from
animationjournal.com, http://www. all over the world. Check it out at
animationjournal.com), this is a schol¬ http://mag.awn.com.
arly journal devoted to animation Below the Line. Published by Below the
history and theory. Limited online Line (6500 Hatillo Avenue, Woodland
content includes a list of books related Hills, CA 91367-2816, 818-888-5946,
subscriptions@btlnews.com, http:// York, NY 10087-0777, 800-342-6626),

www.btlnews.com), this newspaper this high-level publication devoted to
bills itself as the editorial voice of the spreading the word about computer
film crew and features interviews with graphics and interactive techniques
industry professionals and articles has ceased production of its print
about the field. version, but content is still provided
CARTOON. Published three times a online. Go to http://www.siggraph.
year by The International Animated org/publications to read past articles.
Film Society: ASIFA-Hollywood (2114 Computer Graphics World. Published
Burbank Boulevard, Burbank, CA monthly by COP Communications
91506-1232, 818-842-8330, info@ Inc. (620 West Elk Avenue, Glendale,
asifa-hollywood.org, http://www.asifa- CA 91204-1404, 800-280-6446), this
hollywood.org), this magazine features magazine keeps readers up-to-date
articles about well-known animators, on the latest in computer graphics
updates on chapter activities, and fea¬ technology, spotlights new games
tures on animation from around the and films, and examines the potential
world. of animation as an educational tool
Cinefex. Published quarterly by Cinefex and as an agent for social change.
(PO Box 20027, Riverside, CA 92516- Print and online versions are offered.
0027, 800-434-3339, http://www. Visit http://www.cgw.com to browse
cinefex.com), this magazine provides past issues; there is also a job board,
comprehensive coverage of motion an online forum, and a list of other
picture special makeup and visual resources, including links to schools
effects. It has been published since offering courses and degree programs
1980. in computer graphics and animation.
CinemaEditor. Published quarterly by Crossroads: The International ACM
American Cinema Editors Inc. (100 Student Magazine. Published quar¬
Universal City Plaza, Rose Hunter terly by the Association for Comput¬
Building B, Suite 202, Universal ing Machinery (Two Penn Plaza,
City, CA 91608-1002, 818-777-2900, Suite 701, New York, NY 10121-0701,
amercinema@earthlink.net, http:// acmhelp@acm.org), this student-writ¬
www.ace-filmeditors.org/newace/ ten publication covers computer-
mag_Main.html), this magazine high¬ related topics. Features educational
lights goings-on in the field of film and career articles, opinion columns,
editing. Recent issues included career and reviews of books, software, and
achievement award winner profiles, conferences. Read it online at http://
profiles of well-known editors, book www.acm.org/crossroads.
reviews, and career profiles. Daily Variety. Published Monday
Computer Graphics. Published quar¬ through Friday by Reed Business
terly by the Association for Comput¬ Information (5700 Wilshire Boulevard,
ing Machinery (PO Box 30777, New Suite 3100, Los Angeles, CA 90036-
Read a Book 179
3659, 866-698-2743), this show-biz is considered the bible of the world

publication covers the latest breaking of horror entertainment. It features
news in the entertainment industry articles, book reviews, and interviews.
and is delivered in print or online for¬ Fangoria has been published since
mats. Visit http://www.variety.com to 1979. Visit http://www.fangoria.com
read selected articles. to read sample articles.
Directors Guild ofAmerica Monthly. Film Music. Published by Global Media
Published by the Directors Guild of Online Inc. (23360 Valencia Boulevard,
America (7920 Sunset Boulevard, Suite E-12, Valencia, CA 91355-1700,
Los Angeles, CA 90046-3300, 310- 888-910-7888), this comprehensive
289-5333), this publication includes resource is especially useful for aspiring
in-depth articles on guild activities. and professional film composers. Visit
Electronic editions are available at http://www.filmmusicmag.com to sign
http://www.dga.org. up for a subscription.
Directors Guild ofAmerica Quarterly. Film Score Monthly Online. Published
Published by the Directors Guild of by Film Score Monthly (6311 Romaine
America (7920 Sunset Boulevard, Los Street, Suite 7109, Los Angeles, CA
Angeles, CA 90046-3300, 310-289- 90038-2617, 323-461-2240, http://
5333), this publication includes in- www.filmscoremonthly.com), this
depth articles on areas of interest to online magazine features useful arti¬
film and television directors. Articles cles and resources for film compos¬
include director profiles, technology ers—some of which are available for
news, historic accomplishments in the free.
field, and important trends to watch. FILMMAKER: The Magazine of Inde¬
Electronic editions are available at pendent Film. Published quarterly by
http://www.dga.org. FILMMAKER (68 Jay Street, Suite 425,
Emmy. Published bimonthly by the Brooklyn, NY 11201-8361, 212-465-
Academy of Television Arts and Sci¬ 8200, subscriptions@filmmakerma
ences (Attn: Subscription Department, gazine.com), this magazine features
5220 Lankersheim Boulevard, North articles about “the most intriguing
Hollywood, CA 91601-3107, 818- independent feature films that will be
754-2800, emmymag@emmys.org, released in theaters over the subse¬
http://www.emmys.com/emmymag), quent three months/' Print and online
this journal will interest general read¬ subscriptions are available. Visit
ers who seek profiles of people in the http://www.filmmakermagazine.com
news and articles on trends and topics to read a sample issue.
in the world of television. FPS Magazine of Animation. Published
Fangoria. Published 10 times annually irregularly by Frames per Second (PO
by The Brooklyn Company (250 West Box 46546, C.O.P. Boul. St-Jean R.P.O.,
49th Street, Suite 304, 3rd Floor, New Pierrefonds, QB, Canada H9H 5G9,
York, NY 10019-7454), this magazine 514-812-1751), this online magazine
features interviews with animation pro¬ azine covers games for all the popular
fessionals, reviews of animated films, platforms as well as online, PC, and
podcasts, a job board, and news relating handheld games, serving up news, pre¬
to the animation industry. Visit http:// views, reviews, codes, strategies, and
www.fpsmagazine.com to read sample interviews with game industry veter¬
articles. ans. Visit http://www.gameinformer.
Gamasutra. Published by Think Ser¬ com to read sample articles; you can
vices (c/o UBM LLC, 600 Community also participate in numerous forums
Drive, Manhasset, NY 11030-3810, or browse and buy games online.
516-562-5000, http://www.gama- GameZone Online. Presented by Game-
sutra.com), this is the online sister Zone Online (248-615-8244, http://
publication to the print magazine www.gamezone.com), this online mag¬
Game Developer. It includes regularly azine is comprised of game reviews
updated video game news and features and previews, interviews with industry
collected by category (programming, professionals, editorials, game-playing
art, audio, design, and production), hints and cheat codes, forums, down¬
other online resources for game loadable game demos, a special section
developers, and a job posting board focusing specifically on games for chil¬
for employment in the video game dren, and an extensive list of and links
industry. to game developers and publishers.
Game Developer. Published 11 times The Hollywood Reporter. Published daily
a year by CMP Media LLC (PO Box (Monday through Friday) by Nielsen
1274, Skokie, IL 60076-8274, 800- Business Media Inc. (866-525-2150,
250-2429), this magazine, available in subscriptions@thr.com), this industry
print and online versions, is produced news source has provided up-to-date
specifically for creators of entertain¬ information to industry profession¬
ment software. Its articles are writ¬ als for more than 75 years, covering
ten by professional game developers all topics related to the entertainment
and provide information on the latest industry. The publication is available
game development techniques in the in print and/or online subscriptions.
areas of graphics, audio design and Visit http://www.hollywoodreporter.
engineering, art and animation, quality com to read sample articles.
assurance testing, and project manage¬ The Hollywood Scriptwriter. Published
ment. Sample articles and summaries bimonthly (PO Box 3761, Cerritos, CA
of past issues are available at http:// 90703-3761), this trade magazine for
www.gdmag.com. screenwriters, producers, and direc¬
Game Informer. Published monthly by tors provides insightful articles on film
Game Informer Magazine (724 North industry happenings. Also included in
1st Street, 4th Floor, Minneapolis, MN the publication are listings of recom¬
55401-2885, 612-486-6100), this mag¬ mended books as well as contests and
Read a Book 181
festivals for scriptwriters. Visit http:// 10019-2925, 212-767-7800, http://

www.hollywoodscriptwriter.com to www.wgaeast.org/index.php?id=255),
read sample articles. this publication for writers provides
Journal of Popular Film and Televi¬ articles, essays, and commentary on
sion. Published quarterly by Heldref the art of writing. The guild represents
Publications (Subscription Offices, writers who write for film, television,
PO Box 830350, Birmingham, AL radio, and news, and the publication
35283-0350, 866-802-7059, heldref@ caters to such writers. Issues may be
subscriptionoffice.com, http://www. downloaded for free as PDF files from
heldref.org/jpft.php), this scholarly the organization's Web site.
title emphasizes U.S. popular film with Perspective. Published bimonthly by the
a sociocultural analysis of film theory Art Directors Guild & Scenic, Title,
and criticism. Print and electronic edi¬ and Graphic Artists (11969 Ventura
tions are available. Boulevard, Suite 200, Studio City,
Journal of the Audio Engineering Soci¬ CA 91604-2619, 818-762-9995), this
ety. Published 10 times annually by professional journal covers issues of
the Audio Engineering Society (60 interest to art directors and related
East 42nd Street, Room 2520, New professionals. Back issues are available
York, NY 10165-2520, 212-661-8528, for free at http://www.artdirectors.
http://www.aes.org/journal), this peer- org/?content=cm&art=perspective_
reviewed journal is devoted exclusively magazine&section=25.
to audio technology. It contains the Pro Sound News. Published by NewBay
latest industry reports, society and Media (810 Seventh Avenue, 27th
product development news, and trade Floor, New York, NY 10019-5872,
convention schedules. 212-378-0400, http://www.prosound
MovieMaker. Published bimonthly (174 news.com), this publication, which
Fifth Avenue, Suite 300, New York, is free to industry insiders, features
NY 10010-5965, 212-766-4100), this headline news, product spotlights,
publication for independent filmmak¬ and an industry calendar. It covers
ers and mainstream Hollywood film topics of importance to those work¬
professionals, offers film reviews, tips ing in audio production. The publica¬
on moviemaking, festival coverage, tion's Web site provides a complete
and profiles of actors, cinematogra¬ directory of educational degree and
phers, directors, editors, producers, certificate programs in audio technol¬
and screenwriters. Visit http://www. ogy that are available in the United
moviemaker.com to read selected States.
articles. The SCORE. Published quarterly by
On Writing. Published “occasionally” the Society of Composers & Lyri¬
by the Writers Guild of America, East cists (8447 Wilshire Boulevard, Suite
(555 West 57th Street, New York, NY 401, Beverly Hills CA 90211-3209,
310-281-2812), this newsletter fea¬ the association's Web site (http://

tures interviews with film composers www.goasa.com) to register to receive
and articles about breaking into the the publication.
industry, technological trends, legal Videomaker. Published monthly by Vid¬
issues, and the history of the field. eomaker Inc. (PO Box 4591, Chico,
Visit http://www.thescl.com to read CA 95927-4591, 800-284-3226,
sample articles. customerservice@videomaker.com),
Script. Published bimonthly by Final this magazine is written for begin¬
Draft Inc. (PO Box 90846, Long ners and professional technicians
Beach, CA 90809-0846, 888-881- with an emphasis on camcorders,
5861, scriptsubs@pfsmag.com), this desktop video, copywriting, animation
publication provides practical advice software, reviews, and much more.
on screenwriting, interviews with top Intended for those using video in
screenwriters, and information on hobbies, business, or education. Visit
developments in the film and tele¬ http://www.videomaker.com to read
vision industries. Regular features sample articles.
include Writers on Writing, Scene Fix, Weekly Variety. Published by Reed
Anatomy of a Scene, Book Reviews, Business Information (5700 Wilshire
Film Reviews, and Product Reviews. Boulevard, Suite 3100, Los Angeles,
Visit http://www.scriptmag.com to CA 90036-3659, 866-698-2743), this
read sample articles. show-biz magazine covers everything
Script Notes. Published “semimonthly” from film, music, theatre, and televi¬
by the American Screenwriters Asso¬ sion and includes the latest promo¬
ciation (269 South Beverly Drive, Suite tions and hirings within the industry,
2600, Beverly Hills, CA 90212-3807, technology-related articles, and job
866-265-9091, asa@goasa.com), this listings. Appropriate for anyone inter¬
free e-newsletter is an ideal place ested in the business of show business,
to sell your script, review recent job this magazine provides respected,
openings in Hollywood, or simply read up-to-date entertainment news.
news on what kinds of scripts have Visit http://www.variety.com to read
been bought and sold recently. Visit selected articles.
Surf the Web
You must use the Internet to do research, filmmaking. Awards are given to actors,
to find out, to explore. The Internet is the cinematographers, directors, screen¬
closest you’ll get to what’s happening now writers, and other film professionals, as
around the world. This chapter gets you well as to the best film, animated feature,
started with an annotated list of Web sites and films in other categories. Visit the
related to animation. Try a few. Follow the academy’s Web site for information on
links. Maybe even venture as far as asking the Academy Awards, past winners, and
questions on a message board. The more the Student Academy Awards (for col¬
you read about and interact with those in lege students).
the field of animation, the better prepared
you’ll be when you’re old enough to par¬ AMC Filmsite
ticipate as a professional. http://www.filmsite.org
One caveat: You probably already Given a thumbs-up by renowned film
know that URLs change all the time. If a critic and columnist Roger Ebert, this
Web address listed below is out-of-date, site is a movie lover’s paradise! Mov¬
try searching on the site’s name or other ies are organized into diverse categories
keywords. If it’s still out there, you’ll prob¬ including 100 Best Films, Top 10 Best
ably find it. If it’s not, maybe you’ll find Animation Films, and Milestones in Film;
something better! all movie listings include a plot synopsis
and cast listing. There’s also an informa¬
tive section on animation and a special
□ THE LIST section called Visual and Special Effects
Academy of Motion Picture Arts Milestones in Cinematic History. An
and Sciences added bonus is the Cinema’s Best Ques¬
http://www.oscars.org tion, a trivia quiz that might even stump
The academy was founded in 1927 by Roger Ebert himself!
some of the most influential actors,
AnimationMentor. com
directors, and studio heads of the time.
http://animationmentor.com
It is an honorary membership organiza¬
tion that now has more than 6,000 mem¬ This site offers an 18-month (six 12-week
bers. Members vote to award Academy quarters) online animation program
Awards, better known as Oscars, to designed to teach students the skills nec¬
those who have achieved excellence in essary to obtain a job in character ani-
183
mation. Weekly video lectures featuring your own animation-related blog or join
examples, step-by-step walk-throughs, a forum; and sign up for four different
animated exercises, and movie analysis are free email newsletters to stay even more
available for viewing for up to four weeks. current on animation happenings.
Students are assigned their own personal
mentor, who provides feedback and cri¬ Association of Film
tiques in one-hour, once-a-week live Web Commissioners International
conference sessions. They can also view http://www.afci.org
critiques of others’ work. The school’s goal At this organization’s Web site, you can
is to have students prepared to step into find links to more than 300 film commis¬
a production job with a demo reel upon
sions on six continents. For example, a
graduation. search of the state of Colorado locates
four commissions: Boulder County Film
Animation Industry Database Commission, Colorado Film Commis¬
http://aidb.com sion, Colorado Springs Film Liaison
This site calls itself “the ultimate resource Office, and Glenwood Springs Film Com¬
for the professional animation commu¬ mission. These commissions can provide
nity.” Its database and free downloadable valuable information on film-related job
directories can be used to find animation, opportunities in particular areas, and you
visual effects, and related companies all may be able to locate contact information
over the world. More than 8,000 compa¬ of film professionals who might be will¬
nies in 80 categories ranging from ani¬ ing to take a few minutes to participate
mation production, to distribution, to in information interviews about their
advertising agencies are listed. The data¬ careers.
base can be used as a buyer’s guide, as a
way to find clients, and as a way to find a The Big Cartoon Database
job in the industry. http://www.bcdb.com
The title of this site is 100 percent accu¬
Animation World Network
rate; it is a searchable database of infor¬
http://awn.com
mation on classic cartoons and animated
This site provides a very wide range of films in general. The content is broken
information on all aspects of anima¬ down by studio and covers TV shows,
tion: coverage of news and events in the feature films, and animated specials. You
industry, links to trailers of upcoming can post messages for other animation
films, career advice and job listings, a fans in one of several forums, or browse
database of animation schools, profiles titles of DVDs and books that are avail¬
of noteworthy animation professionals, able to buy. A regularly updated section
and more. You can also watch animated provides news from the cartoon world as
shorts, commercials, trailers, and clips well as information on upcoming DVD
on your computer through AWNtv; start releases of animated productions.
Surf the Web 185
Breaking In: Preparing for Your tions in the United States. Searches can
Career in Games be conducted by school name, state, pro-
http://www.igda.org/breakingin grams/majors offered (including film/
For those interested in a career in the video and visual and performing arts),
game industry, this section of the Inter¬ level of award, institution type, tuition,
national Game Developers Association housing availability, campus settings, per¬
site presents information broken down centage of applicants who are admitted,
into three areas: Career Paths, a list of test scores, availability of varsity athletic
different types of possible jobs in gam¬ teams, availability of extended learning
ing; Developer Profiles, interviews with opportunities, religious affiliation, and
industry professionals who discuss their specialized mission. Additionally, users
job descriptions and backgrounds and can export the results of their search into
offer career advice; and Resources, a a spreadsheet, save the results of their
guide to even more available information, session, and compare up to four colleges
including a list of schools offering train¬ in one view. This is an excellent starting
ing in game-related fields. This is a very place to conduct research about colleges
informative site. and universities.
FilmFestivals. com
Chuck Jones
http://www.filmfestivals.com
http://www.chuckjones.com
Ever dream of attending film festivals
Chuck Jones was one of the greatest and
all day, every day? It could be a reality,
most renowned animators of all time and
especially after visiting this site tagged
the man who brought characters such
as the premiere online resource for film
as Bugs Bunny and Daffy Duck to life
festivals worldwide. Large, well-known
in addition to creating many other clas¬
festivals such as Cannes, Sundance,
sic cartoon shorts, TV shows, and films.
and the Ottawa International Anima¬
This, the official site dedicated to the man
tion Festival (a biggie in the animation
and his work, contains a biography and
industry) are listed, as well as smaller
filmography, a detailed history of Chuck
festivals with limited focus. Examples
Jones Film Productions, and pictures of
include the Kalamazoo Animation Fes¬
artwork from the Chuck Jones Galleries,
tival International and CamboFest—a
some of which is available to buy.
Cambodian festival featuring video and
animation. You can search festivals by
College Navigator
location, size, calendar listing, keyword,
http://nces.ed.gov/collegenavigator
or by the event's director or ambassa¬
College Navigator is sponsored by the dor. If you want to do more than watch
National Center for Education Statistics, festival offerings, don't fret. Just click on
an agency of the U.S. Department of Edu¬ the Festival Jobs section for a complete
cation. Users can search for information listing of employment opportunities for
on nearly 7,000 postsecondary institu¬ each event.
filmmaking, net technology, and noteworthy produc¬

http://www.filmmaking.net tions, interviews with industry profes¬
sionals, and game, film, and software
Attention all new and independent film¬
reviews. You can also check out a list of
makers: This is the site for you! Articles
include how to write a script, a guide on schools that offer training in computer
how to distribute your short film, how to animation, browse job listings, and ask or
excel at 3D storyboarding, and current answer questions in an online forum.
world market movie trends. Additional
resources include a comprehensive film How Stuff Works
school database, a “toolshed” to download http://www.howstuffworks.com
free filmmaking software, a marketplace If you spend a lot of time wondering how
to buy or sell equipment, and a Q& A sec¬ stuff you use or see every day actually
tion that details the most common film- works, then this site should be on your
making inquiries. Don’t miss the forums short list of Web sites to explore, as it
where you can learn tricks of the trade covers how “stuff,” as varied and timely
(and have all your animation questions as tsunamis to identity theft to satellite
answered), join a Web community geared radio, works. Complex concepts are care¬
toward your favorite film genre, or simply fully broken down and examined, includ¬
offer your opinions along with others in a ing photos and links to current and past
newsgroup discussion forum. news items about the subject. Topics of
interest for those interested in animation
GameDev.Net careers include How Film Festivals Work,
http://www.gamedev.net How Film Composers Work, How Video
An online community for video game Game Systems Work, and How Becoming
developers at all levels of experience, this a Video Game Designer Works, among
site keeps on top of all the news in game others.
development as well as offering book and
game reviews, job listings, online forums, The Internet Movie Database
and game demo contests with substantial http://us.imdb.com
prizes. You can also sign up for GDNet You’ll need a moment to adjust to the
Direct, a bi-weekly email newsletter high¬ amount of information presented, sec¬
lighting all the updates to the site. tions to explore, or trailers to watch. Film,
television, movie premieres, and DVD
HighEnd3D
and Blu-ray—its all here. Interested in
http://www.highend3d.com
what animated feature is coming to the
If you are interested in digital 3D anima¬ big screen next Friday night? Just click on
tion, whether as a fan or because you’d the movie trailer of your choice. Missed
like to try it yourself, you will probably your favorite episode of The Simpsons?
want to bookmark this site. It is loaded No worries, chances are you can read a
with articles about 3D techniques, new recap of the episode—spoilers and all.
Surf the Web 187
The coolest feature of this site is its there are interviews with and “in-the-
search engine. Simply plug in a title studio" features on noted game music
(such as The Incredibles, Up, or South composers, reviews of new game music,
Park) and information on the television and information on upcoming releases.
show or movie and the animation profes¬ Also, the Music4Games directory allows
sionals who helped create it will pop up. composers with published works to
Click again and you can read a synopsis advertise their services to game produc¬
of a movie, trivia on the feature's direc¬ ers for a fee.
tor (such as Brad Bird in the case of The
Incredibles), or even the director's Star Peterson’s Summer Camps and
Meter Rating. You can also punch in key¬ Programs
words such as “Disney" or “Pixar" to locate http://www.petersons.com/
film matches and other information. summerop/code/ssector.asp
Synopsis sections are contributed by This Web site offers great information
“registered users," so beware that some about academic and career-focused sum¬
reviews may be biased. Nonetheless, this mer programs. Finding a camp that suits
site is among the most popular of its kind, your interests is easy enough at this site;
with 57 million visits each month by diehard just search Peterson’s database by activ¬
film and television followers worldwide. ity (Academics, Arts, Sports, Wilderness/
Outdoors, Special Interests), geographic
Jerry Beck’s Cartoon Research
region, category (Day Programs in the
http://www.cartoonresearch.com
U.S., Residential Programs in the U.S.,
Jerry Beck, an author, producer of cartoon Travel in the U.S. and to Other Coun¬
compilations, and expert on animation, tries, Special Needs Accommodations),
is behind this Web site devoted to pre¬ keyword, or alphabetically. By conduct¬
serving the memory of classic Hollywood ing a keyword search using a word or
cartoons and providing information on phrase (such as “animation," “game
every animated movie that has ever been design," or “film,") you'll find a list of links
released in the United States. The Cartoon to dozens of programs. Click on a specific
Brew blog, updated daily, highlights news program or camp for a quick overview
and reviews of animated films and books description. In some instances you'll get
about animation, as well as provides links a more in-depth description, along with
to dozens of other related sites. photographs, applications, and online
brochures.
Music4Games
http://www.music4games.net RogerEbert.com
http://rogerebert.suntimes.com
This site is the place to go for anything
you ever wanted to know about music Award-winning film critic and Chicago
for the video game industry. In addition Sun-Times columnist Roger Ebert is a
to coverage of news and industry events, well-respected, and sometimes feared,
figure in the movie industry. Read by a the many features of this useful site. The
wide following, his reviews can help make Script Swap section allows you to read
or break a movie. Consider this site as the and comment on other's work and vice
ultimate guide to movies—and more. versa. Any serious wannabe film and
A wide range of movie reviews are television writer should visit this Web
listed, including animated films such as site to gain a better perspective on what
Ratatouille and traditional films such is currently going on in the business.
as Night at the Museum: Battle of the
Smithsonian, that feature animation. All StopMotionAnimation.com
are listed with a synopsis, cast of char¬ http://www.stopmotionanimation.
acters, comprehensive review, and, most com
importantly, a star rating. Don't miss his
This site, devoted to the unique and
One-Minute Reviews, an alphabetical
unusual art form of stop-motion anima¬
listing of current movies all reviewed in
tion, is geared toward aspiring animators.
one paragraph.
The Handbook section is a detailed intro¬
Additional features include a festi¬
duction to the methods of stop-motion
val listing, movie glossary, and Answer
filming, and those wishing to learn even
Man—where Roger Ebert answers read¬
more can check out or post on the mes¬
ers' burning questions on topics ranging
from the merits of Blu-ray discs to dis¬ sage board, which has topics ranging
agreement on a bad movie review. from camera techniques and lighting tips
to discussions of animation schools and
Screenwriter’s Utopia how to go about finding jobs in the ani¬
http://www.screenwritersutopia.com mation industry.
Screenwriter’s Utopia is the go-to des¬

Toon Tracker
tination for aspiring and professional
http://www.toontracker.com
screenwriters on the Web. Along with
useful articles, news, forums, and con¬ Fans of animation history will want to
tests, this Web site offers surveys, visit this informative tribute to cartoons
reviews, and suggestions for scriptwrit¬ of the past, some of which appeared on
ers of all levels of experience. Want to TV for only a short time. Particularly
get creative feedback from your peers noteworthy are animated cartoons that
regarding the television or film script on were based on newspaper cartoons (The
which you've been working? This Web Dick Tracy Show) as well as animated ver¬
site offers workshops and consultations sions of movie stars (Abbott and Costello,
on how to improve your work and how the Three Stooges, Laurel and Hardy).
to better market it. Web site users will The site also contains audio files of many
need to register (free) to gain access to cartoon theme songs.
Ask for Money
By the time most students get around to Plan Ahead

thinking about applying for scholarships, The absolute worst thing you can do is
grants, and other financial aid, they have wait until the last minute. For one thing,
already extolled their personal, academic, obtaining recommendations or other
and creative virtues to such lengths in essays supporting data in time to meet an appli¬
and interviews for college applications that cation deadline is incredibly difficult. For
even their own grandmothers wouldn’t another, no one does his or her best think¬
recognize them. The thought of filling out ing, writing, or animating (some scholar¬
yet another application fills students with ships require you to submit a demo reel of
dread. And why bother? Won’t the same your best work) under the gun. So get off
five or six kids who have been competing to a good start by reviewing scholarship
for academic honors for years walk away applications as early as possible—months,
with all the really good scholarships? even a year, in advance. If the current
The truth is that most of the scholar¬ scholarship information isn’t available,
ships available to high school and college ask for a copy of last year’s version. Once
students are being offered because an you have the scholarship information or
organization wants to promote interest in application in hand, give it a thorough
a particular field, encourage more students read. Try to determine how your experi¬
to become qualified to enter it, and finally, ence or situation best fits into the schol¬
to help those students afford an education. arship, or if it even fits at all. Don’t waste
Certainly, having a great grade point aver¬ your time applying for a scholarship in
age is a valuable asset. More often than music if you can’t sing in tune or play an
not, however, grade point averages aren’t instrument.
even mentioned; the focus is on the area If possible, research the award or schol¬
of interest and what a student has done to
arship, including past recipients and,
distinguish himself or herself in that area.
where applicable, the person in whose
In fact, sometimes the only requirement
name the scholarship is offered. Often,
is that the scholarship applicant must be
scholarships are established to memori¬
studying in a particular area.
alize an individual who majored in ani¬
mation, film, computer science, music, or
□ GUIDELINES a related field, for example, but in other
When applying for scholarships there are cases the scholarship is to memorialize
a few simple guidelines that can help ease the work of an individual. In those cases,
the process considerably. try to get a feel for the spirit of the person’s
189
work. If you have any similar interests, time to something other than the schol¬
experiences, or abilities, don't hesitate to arship for which you are applying. Don't
mention them. make a nuisance of yourself by pestering
Talk to others who received the schol¬ them for information. Simply follow the
arship, or to students currently study¬ directions as they are presented to you. If
ing in the same area or field of interest the scholarship application specifies that
in which the scholarship is offered, and you should write for further information,
try to gain insight into possible applica¬ then write for it—don't call.
tions or work related to that field. When Pay close attention to whether you're
you're working on the essay asking why applying for a grant, a loan, an award, a
you want this scholarship, you'll have real prize, or a scholarship. Often these words
answers—“I would benefit from receiving are used interchangeably, but just as often
this scholarship because studying anima¬ they have different meanings. A loan is
tion will help me become a better anima¬ financial aid that must be paid back. A
tor and storyteller.'' grant is a type of financial aid that does
Take your time writing the essays. not require repayment. An award or prize
Make sure that you answer the question is usually given for something you have
or questions on the application; do not done: built a park or helped distribute
merely restate facts about yourself. Don't meals to the elderly; or something you
be afraid to get creative; try to imagine have created: a musical composition, a
what you would think of if you had to sift design, an essay, a short animated film, a
through hundreds of applications. What screenplay, an essay about animation, or
would you want to know about the can¬ an invention. On the other hand, a schol¬
didate? What would convince you that arship is frequently a renewable sum of
someone was deserving of the scholar¬ money that is given to a person to help
ship? Work through several drafts and defray the costs of college. Scholarships
have someone whose advice you respect— are given to candidates who meet the nec¬
a parent, teacher, or counselor—review essary criteria based on essays, eligibility,
the essay for grammar and content. grades, or creative work, or sometimes all
Finally, if you know in advance which four. They do not have to be paid back.
scholarships you want to apply for, there Supply all the necessary documents,
might still be time to stack the deck in information, and fees, and make the dead¬
your favor by getting an internship, vol¬ lines. You won't win any scholarships by
unteering, or working part time. Bottom forgetting to include a recommendation
line: The more you know about a schol¬ from a teacher or failing to postmark the
arship and the sooner you learn it, the application by the deadline. Bottom line:
better. Get it right the first time, on time.
Follow Directions Apply Early

Many of the organizations that offer Once you have the application in hand,
scholarships devote 99.9 percent of their don’t dawdle. If you’ve requested it far
Ask for Money 191
enough in advance, there shouldn't be yourself, what you want to study and
any reason for you not to turn it in well in why, and let them know what you would
advance of the deadline. You never know, be willing to do in exchange—volunteer
if it comes down to two candidates, your at their favorite charity, write up reports
timeliness just might be the deciding fac¬ on your progress in school, or work part
tor. Bottom line: Don't wait and don't time on school breaks, full time during the
hesitate. summer. Explain why you're a wise invest¬
ment. Bottom line: The sky's the limit.
Be Yourself
Don’t make promises you can't keep. One More Thing
There are plenty of hefty scholarships We have not listed financial aid that is
available, but if they all require you to available from individual colleges and
study something that you don’t enjoy, universities. Why? There are two rea¬
you'll be miserable in college. And the sons. First, because there are hundreds of
side effects from switching majors after schools that offer financial aid for students
you've accepted a scholarship could be who are interested in studying animation
even worse. Bottom line: Be yourself. or a related major, and we couldn't pos¬
sibly fit them all in this book. Second, list¬
Don't Limit Yourself ing just a few schools wouldn't be helpful
There are many sources for scholarships, to the vast majority of students who do
beginning with your school counselor not plan to attend these institutions. This
and ending with the Internet. All of the means it is up to you to check with the
search engines have education catego¬ college that you want to attend for details
ries. Start there and search by keywords, on available financial aid. College finan¬
such as “financial aid," “scholarship," and cial aid officers will be happy to tell you
“award." But don’t be limited to the schol¬ what types of resources are available.
arships listed in these pages.
If you know of an organization related
to or involved with the field of your choice, □ THE LIST
write a letter asking if they offer scholar¬ Academy of Interactive Arts and
ships. If they don’t offer scholarships, don’t
Sciences
23622 Calabasas Road, Suite 220
stop there. Write them another letter, or
Calabasas, CA 91302-4111
better yet, schedule a meeting with the
818-876-0826
executive director, education director, or
someone in the public relations depart¬
http://www.interactive.org
ment and ask them if they would be will¬ College students who are studying game
ing to sponsor a scholarship for you. Of design at an accredited college can apply
course, you'll need to prepare yourself well for one of four $2,500 scholarships from
for such a meeting because you're selling a the Dr. Randy Pausch Scholarship Fund.
priceless commodity—yourself. Don't be Contact the academy for information on
shy, and be confident. Tell them all about application requirements.
Academy of Television Arts and The ASCAP Foundation

Sciences One Lincoln Plaza
5220 Lankershim Boulevard New York, NY 10023-7142
North Hollywood, CA 91601-3109 http://www.ascapfoundation.org
818-754-2800 The foundation offers scholarships for
ctasupport@emmys.org high school students who plan to study
http://www.emmys.org/foundation/ music, songwriting, or musical composi¬
collegetvawards.php tion in college. Some require enrollment
The academy offers the College Televi¬ at a particular high school or college.
sion Awards and the Fred Rogers Memo¬
rial Scholarship. CollegeBoard: Scholarship
The College Television Awards compe¬ Search
tition rewards excellence in college (under¬ http://apps.collegeboard.com/
graduate and graduate) student film/video cbsearch_ss/welcome.jsp
productions in the following categories: This testing service (PSAT, SAT, etc.) also
animation (all forms), children's, com¬ offers a scholarship search engine at its
edy, comedy series, commercial, docu¬ Web site. It features scholarships worth
mentary, drama, drama series, magazine, nearly $3 billion. You can search by spe¬
music (best composition), music (best use cific major and a variety of other criteria.
of music), and newscast. The first entry is
free; subsequent entries are $25 per entry. CollegeNET: MACH 25-
All entries must have been “produced for Breaking the Tuition Barrier
school related classes, groups, or projects http://www.collegenet.com/mach25/
and, must be verified by a faculty member." app
First place winners receive $2,000; second
place winners, $1,000; and third place win¬ CollegeNET features 600,000 scholar¬
ners, $500. There is also a $1,000 direct¬ ships worth more than $1.6 billion. You
ing award, and a $4,000 Seymour Bricker can search by keyword (such as “anima¬
Family Humanitarian Award. tion") or by creating a personality profile
College students who are pursuing of your interests.
degrees in early childhood education,
Entertainment Software
child development/child psychology,
film/television production, music, or Association Foundation
animation may apply for one of three 575 7th Street, NW, Suite 300
$10,000 Fred Rogers Memorial Scholar¬ Washington, DC 20004-1611
ships. Applicants must have the ultimate esa@theesa.com
goal of working in the field of children's http://www.theesa.com/foundation
media. Special consideration will be given High school and college students who are
to applicants from inner city or rural pursuing degrees that will prepare them
communities. for a career in computer and video game
Ask for Money 193
arts can apply for scholarships from the Hawaii Community Foundation
association. Women and minority stu¬ 1164 Bishop Street, Suite 800
dents may apply. Thirty scholarships of Honolulu, HI 96813-2817
$3,000 each are awarded. The scholarship 888-731-3863
program is administered by International info@hcf-hawaii.org
Scholarship and Tuition Services Inc. http://www.hawasicommunity
(https://www.applyists.net). foundation.org/scholar/scholar.php
The foundation offers a variety of scholar¬
FastWeb ships for high school seniors and college
http://www1 .fastweb.com students planning to or currently studying
FastWeb is one of the best-known schol¬ a variety of majors (including visual com¬
arship search engines around. It features munication) in college. Applicants must
1.3 million scholarships worth more than be residents of Hawaii, demonstrate finan¬
$3 billion. To use this resource, you will cial need, and attend a two- or four-year
need to register (free). college. Visit the foundation's Web site for
more information and to apply online.
Foundation for the Carolinas
Office of Scholarships Hispanic College Fund (HCF)
217 South Tryon Street 1301 I< Street, NW, Suite 450-A
Charlotte, NC 28202-3201 West
704-973-4537 Washington, DC 20005-3317
tcapers@fftc.org 800-644-4223
http://www.fftc.org hcf-info@hispanicfund.org
http://www.hispanicfund.org
The foundation administers more than
105 scholarship programs that offer The Hispanic College Fund, in collabo¬
awards to high school seniors and under¬ ration with several major corporations,
graduate and graduate students who plan offers many scholarships for high school
to or who are currently pursuing study in seniors and college students planning to
a variety of disciplines. Visit its Web site or currently attending college. Applicants
for a list of awards. must live in the United States or Puerto
Rico and have a GPA of at least 3.0 on
GuaranteedScholarships.com a 4.0 scale. Contact the HCF for more
http://www.guaranteed-scholarships. information.
com
Illinois Career Resource
This Web site offers lists (by college) of
Network
scholarships, grants, and financial aid
http://www.ilworkinfo.com/icrn.htm
that “require no interview, essay, portfo¬
lio, audition, competition, or other sec¬ Created by the Illinois Department of
ondary requirement.” Employment Security, this useful site
offers a scholarship search engine, as can be used at more than 500 career col¬
well as detailed information on careers leges in the United States. These colleges
(including animation-related jobs such as offer a variety of fields of study, including
computer programmers, business profes¬ animation, business administration, cin¬
sionals, video game designers and testers, ematography and film/video production,
and animators and multimedia artists). computer graphics, computer program¬
You can search for scholarships based on ming, and computer software engineer¬
major (such as playwriting and screen¬ ing. Visit the foundation’s Web site for
writing; animation, video graphics, and more information.
special effects; computer graphics; etc.),
and other criterion. This site is available Mix Foundation for Excellence
to everyone, not just Illinois residents; in Audio
you can get a password by simply visit¬ 1547 Palos Verdes Mall, #294
ing the site. The Illinois Career Resource Walnut Creek, CA 94597-2228
Network is just one example of the type 925-939-6149
of sites created by state departments of http://www.mixfoundation.org
employment security (or departments of
College students who are currently pur¬
labor) to assist students with financial-
suing study in audio, music, or other
and career-related issues. After checking
media communications arts may apply
out this site, visit your state’s department
for scholarships from the foundation.
of labor Web site to see what it offers.
Applicants must have a GPA of at least
3.5 and be enrolled full time. Contact the
Imagine America Foundation foundation for more information.
1101 Connecticut Avenue, NW,
Suite 901 National Endowment for the
Washington, DC 20036-4303 Arts (NEA)
202-336-6800 1100 Pennsylvania Avenue, NW
scholarships@imagine-america.org Washington, DC 20506-0001
http://www.imagine-america.org/ 800-518-4726
scholarship/a-about-scholarship.asp support@grants.gov
The Imagine America Foundation (for¬ http://www.nea.gov/grants/apply/
merly the Career College Foundation) Artsed.html
is a nonprofit organization that helps The NEA was established by Congress in
students pay for college. It offers three 1965 to support excellence in the arts. It
$1,000 scholarships each year to high offers grants to those who are involved
school students or recent graduates. in the “media arts—film, radio, and tele¬
Applicants must have a GPA of at least vision-including the production, exhi¬
2.5 on a 4.0 scale, have financial need, and bition, distribution, and preservation
demonstrate voluntary community ser¬ of work; the provision of services to the
vice during their senior year. Scholarships field; and the training of artists.” Visit the
Ask for Money 195
NEA Web site for a detailed list of avail¬ Saint Peter, MN 56082-0297
able programs. 800-537-4180
http://www.scholarshipamerica.org
National Society of Professional
This organization works through its local
Engineers
Dollars for Scholars chapters throughout
1420 King Street
the United States. In 2008 it awarded
Alexandria, VA 22314-2750
more than $219 million in scholarships
703-684-2800
to students. Visit Scholarship America’s
http://www.nspe.org/Students/
Web site for more information.
Resources/scholarships.html
High school seniors from an ethnic Scholarships, com
minority who have been accepted into http://www.scholarships.com
an Accreditation Board for Engineering
Technology-accredited engineering pro¬ Scholarships.com offers a free college
gram at a four-year college or university scholarship and grant search engine
can apply for the $5,000 Maureen L. and (although you must register to use it) and
Howard N. Blitman, P.E. Scholarship to financial aid information. Its database of
Promote Diversity in Engineering. Appli¬ awards features 2.7 million listings worth
cants must be African American, His¬ more than $19 billion in aid.
panic, or Native American; U.S. citizens;
and demonstrate internship and commu¬ Scholastic
nity involvement. Visit the society's Web c/o Alliance For Young Artists &
site for more information and to print out Writers
an application. The society also offers a 557 Broadway
variety of scholarships to undergraduate New York, NY 10012-3962
and graduate students who are interested 212-343-6100
in pursuing careers in engineering. a&wgeneralinfo@scholastic.com
http://www.scholastic.com/artand
Sallie Mae writingawards
http://www.collegeanswer.com/ Student-artists and -writers in grades
paying/scholarship_search/pay_ seven through 12 are eligible to apply for
scholarship_search.jsp Scholastic Art and Writing Awards of up
Sallie Mae offers a scholarship database of to $10,000. Some of the categories for
more than 3 million awards worth more graduating high school seniors include
than $16 billion. You must register (free) animation, general writing portfolio,
to use the database. humor, and video and film. More than
$20 million in scholarships have been
Scholarship America awarded since the awards were founded
One Scholarship Way in 1923. Visit Scholastic’s Web site for a
PO Box 297 detailed overview of the various awards,
competition levels, and application wia@womeninanimation.org

instructions. http://wia.animationblogspot.com/
the-phyllis-craig-scholarship-fund
United Negro College Fund This nonprofit organization represents
(UNCF) the professional interests of women (and
8260 Willow Oaks Corporate Drive men) in animation. It offers the $1,000
PO Box 10444 Phyllis Craig Scholarship for college stu¬
Fairfax, VA 22031-8044 dents who are studying animation at an
800-331-2244 accredited institution. Applicants must be
http://www.uncf.org/forstudents/
full-time students, U.S. citizens, and be in
scholarship.asp financial need. They must submit an ani¬
Visitors to the UNCF Web site can search mation portfolio or reel, a 500-word essay
for information on thousands of schol¬ that details their career goals and financial
arships and grants, many of which are need, and a written recommendation from
administered by the UNCF. Its search a mentor or teacher. In addition to the
engine allows you to search by major cash award, scholarship recipients receive
(such as business, communications, gen¬ a one-year membership in Women in Ani¬
eral, music, performing arts, and televi¬ mation. Visit the organization’s Web site
sion production), state, scholarship title, to download an application.
grade level, and achievement score. High
school seniors and undergraduate and Worldstudio/American Institute
graduate students are eligible. of Graphic Arts Scholarships
c/o American Institute of Graphic
U.S. Department of Education Arts
Federal Student Aid 164 Fifth Avenue
800-433-3243 New York, NY 10010-5901
http://www.federalstudentaid.ed.gov scholarship@aiga.org
http://studentaid.ed.gov/students/ http://scholarships.worldstudioinc.
publications/student_guide/index. com
html High school seniors and college students
The U.S. government provides a wealth of planning to or currently pursuing under¬
financial aid in the form of grants, loans, graduate or graduate degrees are eligible
and work-study programs. Each year, to apply for scholarships in the follow¬
it publishes Funding Education Beyond ing areas: advertising (art direction only),
Ftigh School, a guide to these funds. Visit animation, architecture, cartooning,
the Web sites above for detailed informa¬ crafts, environmental graphics, fashion
tion on federal financial aid. design, film/theater design (including set,
costume, and lighting design), film/video
Women in Animation (direction or cinematography only), fine
PO Box 17706 arts, furniture design, graphic design,
Encino, CA 91416-7706 illustration, industrial/product design,
Ask for Money 197
interactive design, interior design, land¬ http://www.ymf.org/programs/

scape architecture, motion graphics, scholarship.php
photography, surface/textile design, and
The foundation provides music educa¬
urban planning. Applicants must have
tion scholarships to instrumentalists
a GPA of at least 2.0 and demonstrate through their senior year in high school
financial need. and to vocalists through age 25. Appli¬
cants must demonstrate exceptional tal¬
Young Musicians Foundation ent and financial need and be residents of
195 South Beverly Drive, Suite 414 Southern California. Awards range from
Beverly Hills, CA 90212-3044 $250 to $3,500. Visit the foundation’s
310-859-7668 Web site for details and to download an
info@ymf.org application.
Look to the Pros
The following professional organiza¬ □ THE SOURCES

tions offer a variety of materials, includ¬ Academy of Interactive Arts and
ing career information, lists of accredited Sciences
schools, and salary surveys. Many also 23622 Calabasas Road, Suite 220
publish journals and newsletters with Calabasas, CA 91302-4111
which you should become familiar. Some 818-876-0826
also have annual conferences that you http://www.interactive.org
might be able to attend.
Visit the academy’s Web site for informa¬
When contacting professional organi¬
tion on the Annual Interactive Achieve¬
zations, keep in mind that they all exist
ment Awards, “which showcase the best
primarily to serve their members, be it
interactive software titles.’’
through continuing education, profes¬
sional certification, political lobbying,
American Association for
or just “keeping up with the profession."
Public Opinion Research
While many are strongly interested in
promoting their profession and passing PO Box 14263
Lenexa, I<S 66285-4263
information about it to the general pub¬
913-895-4601
lic, these busy professional organizations
aapor-info@goamp.com
do not exist solely to provide you with
information. Whether you call or write,
http://www.aapor.org
be courteous, brief, and to the point. Visit the association’s Web site to learn
Know what you need and ask for it. If the more about survey research techniques,
organization has a Web site, check it out graduate programs, and membership for
first; what you’re looking for may be avail¬ college students.
able to download, or you may find a list
of prices or instructions, such as sending American Association of
a self-addressed stamped envelope with University Professors
your request. Finally, be aware that orga¬ 1133 19th Street, NW,
nizations, like people, move. To save time Suite 200
when writing, first confirm the address, Washington, DC 20036-3655
preferably with a quick phone call to the 202-737-5900
organization itself: “Hello, I’m calling to aaup@aaup.org
confirm your address....’’ http://www.aaup.org
198
Contact the association for information AFT is a professional membership orga¬

about earnings and union membership nization for teachers at all levels. In
for college professors. addition to membership benefits, the fed¬
eration offers information on important
American Cinema Editors (ACE) issues affecting educators, salary surveys,
100 Universal City Plaza and useful periodicals.
Building 2282, Room 190
Universal City, CA 91608-1002 American Film Institute (AFI)
818-777-2900 2021 North Western Avenue
amercinema@earthlink.net Los Angeles, CA 90027-1657
http://www.ace-filmeditors.org 323-856-7600
ACE offers career and education infor¬ http://www.afi.com
mation at its Web site, along with infor¬ Visit the institute's Web site for more
mation about internship opportunities information on workshops and member¬
for college graduates, competitions, ship and to view a movie on editing.
and sample articles from CinemaEditor
magazine.
American Screenwriters
Association
American Federation of
269 South Beverly Drive, Suite 2600
Musicians of the United States
and Canada Beverly Hills, CA 90212-3807
866-265-9091
1501 Broadway, Suite 600
asa@goasa.com
New York, NY 10036-5501
212-869-1330
http://www.asascreenwriters.com
info@afm.org This organization provides membership
http://www.afm.org and career development resources to
This union represents the interests of aspiring screenwriters. It offers informa¬
professional musicians. Its Web site tion on careers, competitions, its annual
provides a wealth of information on the conference, and screenplay development
music industry and careers, a search¬ at its Web site.
able database of U.S. and foreign music
schools, and links to scholarships. American Society of
Composers, Authors, and
American Federation of Teachers Publishers (ASCAP)
(AFT) One Lincoln Plaza
555 New Jersey Avenue, NW New York, NY 10023-7129
Washington, DC 20001-2029 212-621-6000
202-879-4400 info@ascap.com
http://www.aft.org http://www.ascap.com
ASCAP is a membership association of high school and college students, Cross¬

U.S. composers, songwriters, lyricists, roads (its student magazine), and special
and music publishers in all genres of interest groups in computer graphics
music. Visit its Web site for useful articles and interactive techniques, program¬
on the music industry and membership ming, software engineering, and other
information. fields.
Animators Guild Local 839 Audio Engineering Society

4729 Lankershim Boulevard 60 East 42nd Street, Room 2520
North Hollywood, CA 91602-1864 New York, NY 10165-2520
818-766-7151 212-661-8528
info@animationguild.org http://www.aes.org
http://www.animationguild.org Contact the society for information
The guild represents the interests of ani¬ on graduate-level scholarships, audio
mation professionals in California. Visit recording schools and courses in the
its Web site for information on training, United States and abroad, grants for
earnings, and the animation industry. graduate study, and membership for col¬
lege students.
Art Directors Guild 8c Scenic,
Title, and Graphic Artists Broadcast Film Critics
11969 Ventura Boulevard, Suite 200 Association
Studio City, CA 91604-2619 9220 Sunset Boulevard, Suite 220
818-762-9995 Los Angeles, CA 90069-3503
htt p://www.a rtd i rectors.org 310-860-2665
The guild’s members include art directors, info@bfca.org
matte artists, set designers, model mak¬ http://www.bfca.org
ers, illustrators, and digital artists. Visit The association represents nearly 200
its Web site for information on careers, television, radio, and online critics in the
to view a hall of fame, and to read sample United States and Canada. Visit its Web
articles from Perspective magazine. site for movie reviews and information on
scholarships for college students.
Association for Computing
Machinery Broadcast Music Inc. (BMI)
Two Penn Plaza, Suite 701 320 West 57th Street
New York, NY 10121-0701 New York, NY 10019-3790
800-342-6626 212-586-2000
sigs@acm.org newyork@bmi.com
http://www.acm.org http://www.bmi.com
Visit the association’s Web site for infor¬ BMI is a performing rights organization
mation on internships, membership for that represents songwriters, compos-
ers, and music publishers in all types of Entertainment Software

music. Visit the Creator’s section of its Association
Web site to learn more about perform¬ 575 7th Street, NW, Suite 300
ing rights, music publishing, copyright, Washington, DC 20004-1611
and the business of songwriting. esa@theesa.com
http://www.theesa.com
Council for Marketing and
The association serves the “business and
Opinion Research
public affairs needs of companies that
110 National Drive, 2nd Floor
publish computer and video games for
Glastonbury, CT 06033-1212
video game consoles, personal comput¬
860-682-1000
ers, and the Internet.” Visit its Web site
information@cmor.org
for industry statistics, press releases, and
http://www.cmor.org information on scholarships for high
Visit the council’s Web site for compre¬ school seniors and college students.
hensive information on market and opin¬
ion research and membership for college The Film Music Society
students. 1516 South Bundy Drive,
Suite 305
Council of American Survey Los Angeles, CA 90025-2683
Research Organizations 310-820-1909
170 North Country Road, info@filmmusicsociety.org
Suite 4 http://www.filmmusicsociety.org
Port Jefferson, NY 11777-2606 This organization “promotes the preser¬
631-928-6954
vation of film and television music.” Visit
casro@casro.org its Web site for more information.
http://www.casro.org
For information on careers and degree Game Audio Network Guild
programs in survey research, visit the 1611-A South Melrose Drive, #290
council’s Web site. Vista, CA 92081-5471
info@audiogang.org
Directors Guild of America http://www.audiogang.org
(DGA) This organization represents “compos¬
7920 Sunset Boulevard ers, sound designers, voice-over direc¬
Los Angeles, CA 90046-3300 tors, game designers, producers and
310-289-2000 other associates and executives within
http://www.dga.org the greater interactive entertainment
Visit the guild’s Web site to learn more industry.” Visit its Web site for informa¬
about the industry and DGA-sponsored tion on membership for high school and
training programs and to read selected college students, and industry awards for
articles from DGA Quarterly. sound workers.
IEEE Computer Society 410 Candler Park Drive, #B3

2001 L Street NW, Suite 700 Atlanta, GA 30307-2143
Washington, DC 20036-4910 http://asifa-atlanta.com
202-371-0101 ASIFA is a “worldwide organization of
help@computer.org professional animators and those involved
http://www.computer.org with the production of animated films
Visit the society's Web site for informa¬ (such as directors, producers, musicians,
tion on careers and education, member¬ and traditional artists)." This chapter rep¬
ship for college students, and to read resents animation professionals in Atlanta,
Careers in Computer Science and Com¬ Georgia, and neighboring areas. Visit its
puter Engineering. Web site for information on membership
for high school and college students, chap¬
Institute for Certification of ter events, and industry developments.
Computing Professionals
2400 East Devon Avenue, Suite 281 The International Animated
Des Plaines, IL 60018-4629 Film Society: ASIFA-Central
800-843-8227 http://www.asifa.org
http://www.iccp.org
This chapter represents animation pro¬
Visit the institute's Web site for informa¬ fessionals in the central part of the United
tion on certification. States—from Michigan to Texas. Visit its
Web site for information on workshops,
International Alliance of conferences, membership for high school
Theatrical Stage Employees, and college students, and links to anima¬
Moving Picture Technicians, tion schools and festivals.
Artists and Allied Crafts of the
United States, Its Territories The International Animated
and Canada Film Society: ASIFA-Colorado
1430 Broadway, 20th Floor 6585 West 62nd Place
New York, NY 10018-3348 Arvada, CO 80003-4919
212-730-1770 http://asifa-colorado.org
http://www.iatse-intl.org This chapter represents animation pro¬
This union counts film and television fessionals in Colorado. Visit its Web site
production workers (including those who for information on events, workshops,
specialize in animation) among its craft and membership for high school and col¬
members. Visit its Web site for informa¬ lege students.
tion on education and training.
The International Animated Film Society: ASIFA-Hollywood
Film Society: ASIFA-Atlanta 2114 Burbank Boulevard
Burbank, CA 91506-1232 on membership for high school and col¬

818-842-8330 lege students, animation links, and other
info@asifa-hollywood.org resources.
http://www.asifa-hollywood.org
Film Society: ASIFA-Seattle
fessionals in the Los Angeles area. Visit
PO Box 23063
its Web site for information on member¬
Seattle, WA 98102-0363
ship for high school and college students,
asifanews@asifaseattle.com
screenings, volunteer opportunities, and
http://asifaseattle.com
an animation half of fame.
The International Animated Film fessionals in Seattle, Washington, and
Society: ASIFA-Northeast/New nearby areas. Visit its Web site for infor¬
York Chapter mation on membership for high school
http://www.asifaeast.com and college students, school listings, and
This chapter represents animation pro¬ to read profiles of members and articles
fessionals on the East Coast. Visit its Web about the field.
site for information on membership for
high school and college students, anima¬ The International Animated
tion festivals, and industry news. Film Society: ASIFA-
Washington, DC
The International Animated Film PO Box 3115
Society: ASIFA-Portland Silver Spring, MD 20918-3115
http://asifaportland.org http://asifa.net/washington
This chapter represents animation pro¬ This chapter “has members from Penn¬
fessionals in Portland, Oregon, and sylvania to Florida, but most are in the
neighboring areas. Visit its Web site for Washington and Baltimore area.” Visit its
information on screenings, workshops, Web site for information on membership
guest lectures, and membership for high for high school and college students.
school and college students.
International Game Developers
The International Animated Film Association
Society: ASIFA-San Francisco 19 Mantua Road
PO Box 14516 Mt. Royal, NJ 08061-1006
San Francisco, CA 94114-0516 856-423-2990
http://www.asifa-sf.org contact@igda.org
http://www.igda.org
fessionals in San Francisco and nearby This membership organization repre¬
areas. Visit its Web site for information sents the professional interests of game
developers, designers, and other workers 800-336-3768

in the computer and video game industry. http://www.menc.org
Visit its Web site for a wealth of resources, Contact the association for information
including a list of colleges and universi¬ on music careers.
ties that offer training programs in game
design and development, industry sta¬
Motion Picture Association of
tistics, information on membership for
America
anyone with an interest in game develop¬
1600 Eye Street, NW
ment, and the online resource Breaking
Washington, DC 20006-4010
In: Preparing for Your Career in Games.
202-293-1966
http://www.mpaa.org
Junior Engineering Technical
Society (JETS) This is the trade association of the Amer¬
1420 King Street, Suite 405 ican film industry and home video and
Alexandria, VA 22314-2750 television industries. It operates the vol¬
703-548-5387 untary movie ratings system in coop¬
info@jets.org eration with the National Association of
http://www.jets.org Theater Owners.
Visit the JETS Web site for information

on starting a local student chapter in your National Association of Schools
high school, details on high school pro¬ of Music
grams that provide opportunities to learn 11250 Roger Bacon Drive, Suite 21
about engineering, and information on Reston, VA 20 190-5248
audio, software, and other engineering 703-437-0700
specialties. info@arts-accredit.org
http://nasm.arts-accredit.org
Marketing Research Contact the association for information
Association on accredited music programs. You can
110 National Drive, 2nd Floor search a free online version of its list of
Glastonbury, CT 06033-1212 accredited institutions by name, city, and/
860-682-1000 or state. (For a small fee, you can search a
http://www.mra-net.org more extensive version of the list.) Addi¬
Visit the association’s Web site for infor¬ tionally, visit the FAQ: Students, Parents,
mation on certification, education, and Public section for useful information on
training. preparing to study music in college, apply¬
ing for financial aid, and accreditation.
MENC:The National
Association for Music Online Film Critics Society
Education (OFCS)
1806 Robert Fulton Drive admissions@ofcs.org
Reston, VA 20191-4348 http://ofcs.rottentomatoes.com
The OFCS is an international associa¬ membership for college students and The
tion of Internet-based film critics and SCORE, its quarterly publication.
journalists.
Society of Motion Picture and
Online News Association Television Engineers
http://www.onlinenewsassociation.org Three Barker Avenue, 5th Floor
Visit the association’s Web site for infor¬ White Plains, NY 10601-1509
mation regarding online writing and 914-761-1100
journalism. http://www.smpte.org
This organization bills itself as the “lead¬
Producers Guild of America ing technical society for the motion imag¬
http://www.producersguild.org ing industry.” Members include engineers,
This is the leading professional organi¬ film editors, technicians, production and
zation for film and television producers postproduction studio professionals, col¬
(including those who work with visual lege professors, consultants, and college
effects). Visit its Web site for information students. Visit its Web site for links to
about career options and to view profiles useful resources.
of producers.
Society of Professional Audio
QAI Global Institute Recording Services
2101 Park Center Drive, Suite 200 PO Box 822643
Orlando, FL 32835-7614 Dallas, TX 75382-2643
407-363-1111 800-771-7727
http://www.qaiworldwide.org/qai. info@spars.com
html http://www.spars.com
Contact the institute for information This organization represents the pro¬
on certification for game and software fessional interests of audio recording
testers. professionals.
Society of Composers & Software & Information

Lyricists Industry Association
8447 Wilshire Boulevard, Suite 401 1090 Vermont Avenue, NW, 6th
Beverly Hills CA 90211-3209 Floor
310-281-2812 Washington, DC 20005-4095
http://www.thescl.com/site/scl 202-289-7442
h tt p ://w w w.s i ia.net
This is a membership organization for
“professional film/TV/multi-media music The association is the primary trade orga¬
composers, songwriters, and lyricists.” nization for the software and digital con¬
Visit its Web site for career resources, an tent industry. Visit its Web site for press
online hall of fame, and information on releases and industry information.
Songwriters Guild of America info@VisualEffectsSociety.com

209 10th Avenue South, Suite 321 http://www.visualeffectssociety.com
Nashville, TN 37203-0743 This nonprofit organization represents
http://www.songwritersguild.com “visual effects practitioners including art¬
The guild represents the professional ists, technologists, model makers, educa¬
interests of songwriters. It offers a mem¬ tors, studio leaders, supervisors, public
bership option for beginning songwriters. relations/marketing specialists, and pro¬
Visit its Web site for more information. ducers in all areas of entertainment from
film, television and commercials, to music
Special Interest Group videos and games." Visit its Web site for
on Computer Graphics information about festivals and presenta¬
(SIGGRAPH) tions and news about the industry.
Association for Computing Machinery
Two Penn Plaza, Suite 701 Women in Animation
New York, NY 10121-0701 PO Box 17706
800-342-6626 Encino, CA 91416-7706
sigs@acm.org wia@womeninanimation.org
http://www.siggraph.org http://www.womeninanimation.org
Visit this organization's Web site for infor¬ This nonprofit organization represents
mation on conferences and publications. the professional interests of women (and
men) in animation. Visit its Web site for
United Scenic Artists Local 829 industry information, links to animation
29 West 38th Street, 15th Floor blogs, and details on membership for high
New York, NY 10018-5504 school and college students, the Phyllis
212-581-0300 Craig Scholarship for college students,
http://www.usa829.org and its quarterly newsletter.
This union represents scenic artists,
scenic and production designers, art Women in Film
directors, costume designers, lighting 6100 Wilshire Boulevard, Suite 710
designers, sound designers, projection Los Angeles, CA 90048-5107
designers, computer artists, industrial 323-935-2211
workers, and art department coordina¬ info@wif.org
tors working in film, television, industrial http://www.wif.org
shows, theater, opera, ballet, commer¬ Women in Film’s mission is to “empower,
cials, and exhibitions. promote, and mentor women in the enter¬
tainment and media industries." Visit
Visual Effects Society its Web site to learn about membership
5535 Balboa Boulevard, Suite 205 (which is also open to men), internships,
Encino, CA 91316-1544 competitions, and financial aid for college
818-981-7861 students.
Women in Games International access screenwriter tools and resources,

info@womeningamesinternational.org read copies of On Writing, and find links
http://www.womeningamesinter to many other screenwriting-related
national.org Web sites.
This organization seeks to “promote the
inclusion and advancement of women Writers Guild of America-
in the global games industry.” Visit its West Chapter
Web site for information on conferences, Animation Writers Caucus
workshops, and mixers. 7000 West Third Street
Los Angeles, CA 90048-4329
Writers Guild of America- 800-548-4532
East Chapter http://www.wga.org
555 West 57th Street
Visit the guild’s Web site to access screen¬
New York, NY 10019-2925
writer resources and tools, read articles
212-767-7800
such as “What Every Toon Writer Needs
http://www.wgaeast.org
to Know,” and find links to many other
Visit the guild’s Web site to read inter¬ screenwriting- and animation-related
views and articles by noted screenwriters, Web sites.
Index
Entries and page numbers in bold indicate American Society of Composers, Authors,
major treatment of a topic. and Publishers (ASCAP) 146-147,
199-200
A American University 145
ACA. See American Collegiate Adventures animation
Academy Awards 71,93 history of 6-13
Academy of Interactive Arts and Sciences major employers in 18
191, 198 outlook of industry 18-19, 25
Academy of Motion Picture Arts and overview of opportunities in 13-18
Sciences 183 steps in creating 28-29
Academy of Television Arts and Sciences structure of industry 13
192 animation directors 50, 65
ACE. See America Cinema Editors animation editors 14, 73-85
actors 98, 101 Animation Industry Database 184
adjunct faculty 35, 40 Animation Journal 80
AFI. See American Film Institute AnimationMentor.com 183-184
AFT. See American Federation of animation producers 87-95
Teachers animation supervisors 65, 67
America Cinema Editors (ACE) 199 Animation World Network 184
American Association for Public Opinion animation writers 17,116,121
Research 198 animators 22-33. See also game artists
American Association of University and animators
Professors 198-199 advancement 30
American Collegiate Adventures (ACA) definition of 13, 22
145-146 earnings 30
American Federation of Musicians of the educational requirements 27-28
United States and Canada 104, 199 employers 30
American Federation of Teachers (AFT) employment outlook 32-33
199 high school requirements 27
American Film Institute (AFI) 146, 199 job, described 22-26
American Institute of Graphic Arts postsecondary training 27-28
Scholarships 196-197 requirements 26-30
American Screenwriters Association starting out 30
(ASA) 146,199 Animators Guild Focal 839 113,200
209
anime 9 BMI. See Broadcast Music Inc.

Annie Awards 16, 71 books 2, 132, 170-177
applications 142, 189-191 Boston University 152-153
Arizona State University 149-150 Bray, John R. 6
art directors 50, 63-64, 66-67, 71 Bray Studios 6
Art Directors Guild 200 Broadcast Film Critics Association 200
artists. See specific types Broadcast Music Inc. (BMI) 200-201
art museums 134 Brothers Chaps 30
Artwick, Bruce 10 Brown University 159-160
ASA. See American Screenwriters Bushnell, Nolan 10
Association business managers 13-14
ASCAP. See American Society of
Composers, Authors, and Publishers c
ASIFA. See International Animated Film cable television 9
Society camps, directory of 140, 145-169
asset managers 54 Card, Orson Scott 132
assistant producers 88, 94 Carnegie-Mellon University 157-158
assistant professors 34-35, 36, 40-41 Cartoon Art Museum 134
associate producers 88, 94 cartoons, history of 6-8
associate professors 34-35, 36, 40-41 casting directors 64
Association for Computing Machinery casual games 11
147-148, 200, 206 cel 11
Association of Film Commissioners cel animation 6, 9, 23, 64
International 184 CG. See computer-generated
Atari 10 CGI. See computer-generated imagery
audience, game 43, 53 character(s)
audio directors 104 development of 28, 44-45, 106
Audio Engineering Society 200 voices of 97
audio recording engineers 16, 98, 100, character animation 11
102 character artists 44
awards 16, 71, 93, 190 character concept artists 106, 109-110
Chen, Sande 117-118, 121, 129
B Cinemascope 8
background 11 classes
background artists 44, 107-108, 110, 113 benefits of 133-134, 136
Bad Alien Productions (BAP) 24-26 directory of 140-141, 145-169
Baldwin, Jason 105, 109, 110-111, 114 Claxton, Jo 42, 47, 48-49, 51
Bay Street Animation Festival 137-138 claymation 11,23
Beck, Jerry 187 Coffey, Kevin 31-32
The Big Cartoon Database 184 Colcord, Webster 65, 67
Blackton, J. Stuart 6 CollegeBoard 192
Blanc, Mel 101 college classes, directory of 140-141,
Bluth, Don 9 145-169
Index 211
College Navigator 185 earnings 60

CollegeNET 192 educational requirements 57-58
college professors, animation 34-41 employers 58-59
advancement 34-35, 40-41 employment outlook 60-61
definition of 13, 34 high school requirements 57
earnings 41 job, described 52-57
educational requirements 38-39 postsecondary training 58
employers 39-40 requirements 57-58
employment outlook 41 and sound designers 98
high school requirements 38 starting out 59
job, described 34-38 computer animation, definition of 11
postsecondary training 39 computer games. See games
requirements 38-39 computer-generated (CG) animation
starting out 39-40 directors of 64-65
Columbia College Chicago 153 at Pixar 111
Columbia University 164 computer-generated imagery (CGI)
columnists 116, 124 definition of 11
commentators 116 history of 9, 64
commercials computer programmers 14, 43, 97, 104
directors of 64-65, 72 conceptual artists 43
editors of 73-74 conferences, directory of 141, 145-169
commuter opportunities 144 copywriters 117
competitions, directory of 141, Cornell University 162
145-169 Cosby, Bill 8
composers 16, 96, 98-104 Council for Marketing and Opinion
compositing 11,24 Research 201
computer and video game artists and Council of American Survey Research
animators 42-51 Organizations 201
advancement 50 Courtet, Emile 6
definition of 14, 42 Crawford, Chris 10
earnings 50-51 creative directors 64, 71
educational requirements 48-49 credit, school 143
employers 49-50 credits 29
employment outlook 51 Cricket Moon Media 47
high school requirements 48 critics 116-117, 124
job, described 42-47 crunch time 123
postsecondary training 48-49
requirements 47-49 D
starting out 49-50 demo reels 12, 50, 70
computer and video game designers department chairs 36
52-61 designers
advancement 59-60 film 23
definition of 14, 43, 52 game {See game designers)
production 64 high school requirements 79

sound 15-16, 96-104 job, described 73-77
developers, game 12 postsecondary training 79
DGA. See Directors Guild of America requirements 77-80
DigiPen Institute of Technology 160-161 starting out 80-81
digital effects artists 108-109 types of 14, 73-75
directors 62-72. See also specific types Education, U.S. Department of 196
advancement 70-71 Electronic Arts 10, 12
definition of 14, 62 Ender’s Game (Card) 132
earnings 71-72 engineers
educational requirements 68-69 audio recording 16, 98, 100, 102
employers 69-70 software 15
employment outlook 72 Entertainment Software Association 60,
high school requirements 68 61, 192-193, 201
job, described 62-67 environmental modelers 44
postsecondary training 68-69 Epicenter Studios 62, 66
requirements 67-69 executive producers 88, 94
starting out 69-70 Exploration Summer Programs (ESP)
types of 63-65 150-151
Directors Guild of America (DGA) 71, 201
directory F
ofbooks 170-177 Fabianek, Scott 62, 66-68
of financial aid 189-197 FastWeb 193
of opportunities 140-169 festivals 137-138
of organizations 142,145-169,198-207 field experience, directory of 141,
of periodicals 177-182 145-169
of Web sites 2, 113, 183-188 film(s)
Disney, Roy 7 future of 18
Disney, Walt 7 history of 6-9
Dowlatabadi, Zahra 90-91, 92 recommended list of 132-133
DreamWorks Animation SKG 90 film composers 99-100
film critics 116
£ film designers 23
Ebert, Roger 187-188 film directors 64-72
Edison, Thomas 6 film editors 73-74
editing, in animation steps 29 FilmFestivals.com 185
editors 73-85 Filmmaking.net 186
advancement 81-83 Film Music Society 151, 201
definition of 14, 73 film producers 86-95
earnings 83 film sound designers 98-104
educational requirements 79 financial aid 2, 189-197
employers 80-81 flash animation 17
employment outlook 83-85 Flash platform 9, 12, 17
Index 213
Fleischer Brothers 7 Geisel, Theodor 70

flipbooks 133 graduate assistants 36
Foley 29 grants 190
Foundation for the Carolinas 193 graphics programmers 14-15
frame(s) 12, 107 GuaranteedScholarships.com 193
frame-by-frame-drawn animation 6
Freeman, Bob 24-26, 27, 28, 32-33 H
Freeman, Shawna 25-26 Hanna-Barbera studio 8
Frontiers program 151-152 hardware editors 75
full professors 34-35, 36, 40-41 Harvard University 161
Furman University 165 Hawaii Community Foundation 193
Furniss, Maureen 34, 35, 37-38, 40, 41, 80 HighEnd3D 186
high school classes 133-134
G Hispanic College Fund (HCF) 193
Galatas, Jamie 22, 24, 25, 26, 27, 30 historians, animation 35
game(s), computer and video How Stuff Works 186
audience of 43, 53 Hurd, Earl 6
categories of 42
future of 13, 18 I
history of 9-13 iD Film Academy 136
steps in creating 53, 56, 63-64 iD Tech Camps 153-154
game animation editors 74 Idyllwild Arts Academy 154
Game Audio Network Guild (GANG) IEEE Computer Society 202
152, 201 IGDA. See International Game Developers
game critics 116-117 Association
Game Developer magazine 60, 94 Illinois Career Resource Network
game developers 12 193-194
GameDev.Net 186 Imagine America Foundation 194
game directors 63-72 ImaginOn Studio 135-136
game editors 73-78 inbetweeners 107, 113
Game Informer magazine 73, 75, 76-77, informational interviews 135
78 in-game art 43-44
game producers 86-95,132 inkers 108,113
game review editors 75 Institute for Certification of Computing
gamers 12, 58 Professionals 202
game sound designers 97-104 instructors 40
game testers 16-17, 43, 132 intellectual property lawyers 15
game writers 117-129 Intellivision 10
GANG. See Game Audio Network Guild interactive line producers 87
Garriott, Richard 10 Interlochen Arts Camp 154
Gaumont, Leon 6 International Alliance of Theatrical Stage
Gazzillion Entertainment 123 Employees, Moving Picture Technicians,
Geffen, David 90 Artists and Allied Crafts 202
International Animated Film lawyers, intellectual property 15

Society-ASIFA 16, 71, 133, 155, layout artists 106-107
202- 203 lead artists and animators 50
International Game Developers Learning for Life Exploring Program
Association (IGDA) 155-156, 185, 157
203- 204 Ledger, Peter 122
Internet. See Web sites Leeper, Justin 52, 54-57
Internet Movie Database 186-187 Levy, David B. 37
internship(s) 135-136 lighting 29
animators 28-30 line producers 87, 88, 94
college professors 39 lingo 11-12
directors 69 loans 190
directory of 141, 145-169
editors 79-80 M
game artists and animators 49 Macromedia 17
game designers 58, 59 managers
producers 92 asset 54
sound workers 102 business 13-14
supporting artists 112 Marist College 162-163
writers 125 marketing research analysts 15
Internship Connection 156 Marketing Research Association 204
interviews, informational 135 Marx, Christy 115, 121-124
matte painters 107
J McCay, Winsor 6
JETS. See Junior Engineering Technical MENC 204
Society mentors 82
Jobs, Steve 10 Michigan Technological University
job shadowing 135 168-169
Johns Hopkins University 167-168 Mickey Mouse 7
Johnston, Ollie 46 Mix Foundation for Excellence in Audio
Jones, Chuck 13, 70, 185 194
Junior Engineering Technical Society modelers 44, 107, 109, 110, 114
(JETS) 156,204 models 28
Moraine Valley Community College
K 136
Katzenberg, Jeff 90 motion capture 45
Kay, Alan 10 Motion Picture Association of America
keyframes 107 204
multiplayer games 12
L museums 134
Lai, Brandon 106, 108, 109-110, 112 music, in animation steps 29
Launch program 151-152 music directors 104
Index 215
Music4Games 187 Petersons Summer Camps and Programs 187

musicians 16, 98-104 Pixar 28-29, 111, 134-135
music licensors 98 platform(s) 12
music videos platform/console editors 75
directors of 64-65 portfolios 49, 50, 70
editors of 73-74 postproduction 65, 74
history of 9 Prachett, Rhianna 119-120
praxinoscopes 6
N prizes 190. See also awards
National Association of Schools of Music producers 86-95. See also specific types
204 advancement 94
National Endowment for the Arts (NEA) definition of 15, 86
194-195 earnings 94
National Society of Professional Engineers educational requirements 91-92
195 employers 92-94
NBC Comics 8 employment outlook 94-95
Neil, Milt 46 high school requirements 91-92
Newman, Randy 98 job, described 86-91
news editors 75 postsecondary training 92
New York Film Academy 159 requirements 91-92
New York University 164-165 starting out 93-94
Northwestern University 158-159 Producers Guild of America 205
production artists 108
o production assistants 88, 94
object builders 44 production designers 64
Online Film Critics Society (OFCS) production teams 54
204-205 professional organizations 2
Online News Association 205 directory of 142, 145-169, 198-207
online writers 116 membership in 133, 142
opportunities, directory of 140-169 professors. See college professors
organizations. See professional program(s), directory of 140-169
organizations programmers
Orkin, Haris 118, 121, 124, 125 computer 14, 43, 97, 104
Oscars 71, 93 graphics 14-15
Ottawa International Animation Festival
137 o
outsourcing 19, 51 QAI Global Institute 205
P R
painters 107, 108, 113 radio plays 84
Pennsylvania State University 166-167 rapid-drawing cartoons 6
periodicals 177-182 recording mixers 16, 98, 102
Red Stick Animation Festival 137 Software & Information Industry

residential opportunities 144 Association 205
Reynaud, Emile 6 software engineers 15
riggers 107 Songwriters Guild of America 206
Rochester Institute of Technology (RIT) Sony Online Entertainment 46
148 sound designers 15-16, 96-104
Rocky Mountain College of Art + Design sound directors 16, 98
147 sound effects 29
Roomes, David 25-26 sound effects designers 98
rotoscoping 7 sound workers 96-104
Rowland High School 134 advancement 103-104
Russell, Steve 10 definition of 15, 96
earnings 104
s educational requirements 102
employers 103
Sallie Mae 195
employment outlook 104
scholarship(s) 2, 189-197
high school requirements 102
Scholarship America 195
job, described 96-100
Scholarships.com 195
postsecondary training 102
Scholastic 195-196
requirements 100-102
Scott, Cal 99, 101, 103
starting out 103
screenwriters 23, 116
Southern Methodist University 148-149
Screenwriter s Utopia 188
Spielberg, Steven 90
scriptwriters 15, 115-116, 128,129
spotting sessions 99
Selick, Henry 31-32
Spy Kids (film) 132-133
seminars, directory of 142, 145-169 staffwriters 116,127-128
senior producers 88 stop-motion animation 6, 9, 12, 23
senior writers 128 StopMotionAnimation.com 188
set creation 28 storyboard(s) 12, 28, 106
shorts storyboard artists 23, 106, 110
creating 136-137 story lines 28, 53
future of 18 studios. See also specific studios
history of 9 visiting 134-135
Sierra On-Line 115,122 Web sites for 113
SkillsUSA 161-162 stylized animation 70
Snow, Blake 127 summer programs
Snow White and the Seven Dwarfs (film) 7 benefits of 136
Society of Composers & Lyricists 205 directory of 140-141, 145-169
Society of Motion Picture and Television supervisors, animation 65, 67
Engineers 205 supporting artists 105-114
Society of Professional Audio Recording advancement 112
Services 205 definition of 16, 105
Index 217
earnings 112-113 University of California—Santa Barbara

educational requirements 111 150
employers 112 University of Maryland 167
employment outlook 113-114 University of Southern California
high school requirements 111 165-166
job, described 105-110 University of Wisconsin 145-146
postsecondary training 111 university professors. See college
requirements 110-112 professors
starting out 112 U.S. Department of Education 196
types of 105-109
V
T VanBurkleo, Meagan 73, 75, 76-79
technical editors 75, 83 video games. See games
technical writers 117,128 videos. See music videos
Technicolor 7 Virginia Commonwealth University 163
television virtual reality 12
future of 18 visual development artists 106
history of 8, 9 visual effects 29
television directors 64-65, 69-70 Visual Effects Society 206
television editors 73-74, 84 voice actors 101
testers, game 16-17, 43, 132 voice recording 29
text editors 14, 74-85 volunteerships
texture artists 44, 108, 109-110, 113 animators 30
thaumatropes 133 college professors 39
Theyer, Martin 55-56 directors 69
Thomas, Frank 46 directory of 145-169
THQ 54, 55 editors 80
3D animation 8, 11, 18 game artists and animators 49
3D object specialists 44 game designers 58
timelines 12 producers 92
titles, in animation steps 29 sound workers 102
Tobey, Tom 46-47, 51 supporting artists 112
Toon Tracker 188 writers 125
2D animation 11
w
u Walt Disney Studio 7, 9
United Negro College Fund (UNCF) 196 Web sites
United Productions of America 7 directory of 2, 113, 183-188
United Scenic Artists Local 829 206 Flash in 17
universal elements 12 history of 9
University of California—Los Angeles Weiser, Mike 96, 100, 101-102
157 WGA. See Writers Guild of America
WIA. See Women in Animation employers 126

Williams, Ken 122 employment outlook 129
Williams, Richard 31, 46 high school requirements 124-125
Williams, Roberta 122 job, described 115-121
Winder, Catherine 86, 89-90, 91, 95 postsecondary training 125
women game writers 118 requirements 121-125
Women in Animation (WIA) 169,196, 206 starting out 126
Women in Film 206 types of 115-117
Women in Games International 207 Writers Guild of America (WGA) 125,
Worcester Polytechnic Institute 151-152 128, 129, 207
Worldstudio 196-197
Wright State University 162 Y
writers 115-129. See also specific types Yale University 150-151
advancement 126-128 Young Musicians Foundation 197
definition of 115
earnings 128-129 z
educational requirements 124-125 Zimmerman, Brad Lee 75-76, 82, 83, 84
FERGUSO
380050401 9'401 6
^VlAT CAN I Dq
NOW?
Animation
This innovative series will get kids involved in career exploration NOW!
What Can I Do Now? gives students the information and advice they need to take a hands-
on approach to career exploration and preparation. With the do-it-yourself resources provided
in each volume, students can discover the many ways to test-drive a career while they are still
in school. Listed in each volume are summer camps, school clubs, and after-school programs;
books, periodicals, and Internet resources; scholarship programs and study opportunities;
volunteer opportunities, internships, and part-time jobs; professional associations and
mentors; and much more. An industry overview provides a broad introduction to the field.
Each book profiles 10 popular careers, with information on work settings, job outlook,
education and training, skill requirements, earnings, and advancement opportunities.
JOBS FEATURED IN WHAT CAN I DO NOW? ANIMATION INCLUDE

• Animators • Computer and Video • Producers
Computer and Video Game Designers • Sound Workers
Game Artists and • Directors • Supporting Artists
Animators • Editors • Writers
BOOKS IN THE WHAT CAN I DO NOW? SERIES
Animal Careers Engineering, Journalism, Safety and Security,

Second Edition Second Edition Second Edition
Animation BA-320-326
Environment, Law Science
Art Second Edition
Music Sports,
Business and Finance Fashion Second Edition
Nursing,
Second Edition Travel and Tourism,
Computers Film
Second Edition
Education Health Care Radio and Television,
Second Edition
Ferguson
An imprint of Infob as e Publishing
i .j
Cover images, center: DreamPictures/VStock/Getty Images; others: © iStockphoto. / Cover design: Takeshi Takahashi
Printed in the United States of America

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FERGUSON

Exploring Careers for Your Future

Yolo County Library

Copyright © 2010 by Infobase Publishing

Library of Congress Cataloging-in-Publication Data

What can I do now? Animation. — 1st ed.

You can find Ferguson on the World Wide Web at http://www.fergpubco.com

Text design by Kerry Casey

This book is printed on acid-free paper.

Animation is everywhere these days— Leon Gaumont held a French patent

mators who found success on television

(continued from previous page)

HyperCard. By 1994 designers began to

company, a geographical territory of stands and that tells computers what to

particularly helpful. Musicians perform,

Flash is a multimedia platform (incorpo¬ devoted to superhero episodes done in

Definition Educational Requirements High School Subjects

“One of my most rewarding experiences WHAT DOES AN

may be involved in many different aspects

comfortable environments. Staff anima¬ an intense interest in cinema. Always hav¬

The Future of Animation

as possible, including Maya, Photoshop, Internships and Volunteerships

G. Lighting K. Sound Effects/Foley

their junior year of college, be a current through the application of traditional

“While I found school to be an incred¬ One new way up-and-coming anima¬

Animator Profile: Kevin Coffey

WHAT IS THE JOB Lurthermore, growing processor and

Definition level design, and other Certification or Licensing

“I would recommend teaching as a career,” WHAT DOES AN

manent professor); they seek to advance

fessors have the respect of students, col¬

or gaming industry, creating animated

Most colleges have clearly defined WHAT IS THE JOB

Definition Alternative Job Titles Educational Requirements

“One project that I worked on that I really WHAT DOES A COMPUTER

are typically created to appeal to a cer¬

may specialize on a particular aspect of • be willing to continue to learn

attending Penn State, there were really

a game artist or animator. Math classes,

Certification or Licensing Creating a Portfolio

www.dice.com) offer information on jobs

Definition sound effects, characters, Educational Requirements

‘Til never forget the first review I read WHAT DOES A

plan and guidelines (How will designers

Profile: Martin Theyer

(continued from previous page) 2 on the GameBoy Advance; help¬

Postsecondary Training Recommended college courses include

Source: Essential Facts About the Computer

located in California, New York, Wash¬ the Game Developers Conference,

age salaries of approximately $67,379 in

Definition may give additional guid¬ Certification or Licensing

Scott Fabianek, an art director at Epi¬ WHAT DOES A

Computer and Video Game

This storyboard is presented to the cli¬ Production designers are responsible

work meets design and thematic stan¬

WHAT IS IT LIKE TO BE A to help fill in the cracks that may occur

Profile: Chuck Jones (1912-2002)

by industry: advertising, $107,520; motion WHAT IS THE JOB

Definition Salary Range Employment Outlook