MAKING DIGITS DANCE

Visual Effects and Animation Careers in the Entertainment Industry

Prepared forCity of Los Angeles Private Industry Council

NOVA Private Industry Council serving Silicon Valleyby

The Public Affairs Coalition of the Alliance of Motion Picture and Television Producers

andThe PMR Group, Inc.

March 1997

NOVA Private Industry Council serving Silicon Valley505 West Olive Avenue, Suite 600Sunnyvale, CA94086Rob Gamble 408-730-7232www.novapic.org

City of Los Angeles Private IndustryCouncil215 W. Sixth Street, 10th FloorLos Angeles, CA90014Susan Cleere-Flores213-485-5019

Bay Area Multimedia Partnership2201 Broadway, Suite 303Oakland, CA94612Brady Bevis510-628-8330www.bamp.com

Public Affairs Coalition ofthe Alliance of Motion Picture andTelevision Producers15503 Ventura Blvd.Encino, CA91436Kathleen Milnes818-382-1764amptpkm@aol.com

State of California Employment TrainingPanel1100 J Street, 4th FloorSacramento, CA95814Charles Lundberg916-327-5261www.etp.cahwnet.govCharles_Lundberg@tpg.sce.com

The PMR Group, Inc.3119 Kelton Ave.Los Angeles, CA90034310-475-6388PMRGroup@aol.com

Cover Design by: Omar Cano, Jr.Graphx Studio23975 Arroyo Parkway Valencia, CA91355805-288-2942quadman2@aol.com

Layout Design by:Mike Woodward City Graphics5225 Wilshire BlvdLos Angeles, CA90036213-938-3744citygfx@aol.com

Contact Information

ABOUT THIS HISTORIC PARTNERSHIP

California is the global leader in multime-dia and entertainment. In SouthernCalifornia, the well established and huge-

ly successful film and entertainment indus-try, centered around Los Angeles, has stim-ulated our senses and ignited our imagina-tion by their recent ventures into digital cre-ation. In Northern California, the multime-dia industry has burst onto the scene to leadthe world in cutting edge new digital mediatechnology that interacts, amazes, and edu-cates. Centered in the Bay Area, this excitingnew industry emerged from the synergybetween the Silicon Valley technical innovationsand the creative talent that thrives in the BayArea.

Created by the presence of a skilled and tal-ented workforce, and linked by their leadershipin digital technology, jointly these regions andindustries have been the driving force inCalifornia’s economic recovery. To ensure con-tinued growth and vitality, an adequatesupply of workers with the necessary skillsto meet the growing demand is critical.

NOVA Private Industry Council (NOVA PIC)serving Silicon Valley, the Public AffairsCoalition of the Alliance of the MotionPicture and Television Producers (AMPTP),and the Bay Area Multimedia Partnership(BAMP), have created this historic partner-ship between the public and private sectors,and between the Bay Area and the Los Angelesregions, to respond to these industries andtheir critical workforce development needs.

This multimedia and entertainment indus-try workforce study, published in two volumes,will provide the basis for the larger, long-termpartnership project with the State of CaliforniaEmployment Training Panel (ETP) to create“SkillsNet” - the workforce development con-sortium linking industry directly with edu-cators and trainers.

SkillsNet, driven by industry leaders fromthe multimedia and entertainment indus-tries, is focused on identifying common

needs, developing strategies, setting priori-ties, and building support for action. AnIndustry Skills Council, composed of indus-try leaders from Northern and SouthernCalifornia, is guiding the implementation ofSkillsNet. This unique collaboration betweenindustry, education, and government willensure that SkillsNet accelerates the growthof the industry and the economy by work-ing together to meet critical workforceneeds.

We want gratefully to acknowledge the contribution andinvolvement of the following:

The SkillsNet Industry Skills Council:Nick DiMartino, American Film InstituteSusan Jordan, American Graphic SolutionsMickey Mantle, BroderbundMikel Pippi, The Walt Disney CompanyJeff Vargas, Hewlett PackardJim Topping, KGO-TVAmy McCombs / Janette Gitler, KRON-TVRalph O’Rear, Lucas DigitalBrian Conrad / Robert Roden, MAXISMark Steeves, 7th LevelYvette del Prado, Silicon Graphics

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Sande Scoredos, Sony Pictures ImageworksDave Master, Warner Bros.

And for their vision and leadership: Ed McCracken(Silicon Graphics); George Vradenburg, III(Latham & Watkins); Gini Barrett (AMPTP);Sunne Wright McPeak (Bay Area Council); and LarryBaack ( Bay Area Economic Forum); Gerald Geismar(ETP); and Rebecca Morgan (Joint VentureSilicon Valley Network).

And to the industry and educational participantswho gave generously of their time and informationin order to develop the dialogue from which weall benefit.

Michael CurranDirectorNOVA Private Industry Councilserving Silicon Valley

Brady BevisProgram DirectorBay Area Multimedia Partnership

Kathleen MilnesVice PresidentPublic Affairs Coalition of the Alliance of MotionPicture and Television Producers

Susan Cleere-FloresDirector City of Los AngelesPrivate Industry Council

ABOUT THE PARTNERS:Public Affairs Coalition of the Alliance of MotionPicture and Television ProducersThe Public Affairs Coalition of the Alliance ofMotion Picture and Television Producers (AMPTP) was

established in 1991 to promote and enhance the abil-ity of member companies to effectively conduct theirmotion picture and television businesses in California.The Coalition serves as the collective voice for thesecompanies on legislative and regulatory issues;establishes mutually supportive relationships with alllevels of government; and advocates effective policiesto meet the common needs of Coalition members.

Bay Area Multimedia PartnershipThe Bay Area Multimedia Partnership (BAMP) is a pub-lic-private partnership between industry leaders, gov-ernment, research and education and other collab-orative organizations. This consortium was createdin 1994 by the Bay Area Economic Forum as a strate-gic approach to build on the region’s global advan-tage in digital new media and to further promote thegrowth and vitality of this burgeoning industry by col-lectively meeting their challenges.

City of Los Angeles Private Industry CouncilThe City of Los Angeles Private Industry Council is anon-profit governing body appointed by the Mayorto create a public/private partnership between busi-ness, labor, and education. PIC board members haveworked closely with the Los Angeles City Council andCommunity Development Department. Throughinnovative job training and placement programs fund-ed by the federal Job Training Partnership Act (JTPA),the PIC has contributed to the economic health of theLos Angeles business and residential community forover 14 years.

NOVA Private Industry Council serving SiliconValley NOVA Private Industry Council serving Silicon Valley(NOVA PIC) includes representatives of local business,industry, education and service agencies. It was formedin 1983 to implement the federal Job TrainingPartnership Act (JTPA) for North Santa Clara County.NOVA has been an innovative leader in addressing work-force needs in a variety of industries. The services pro-vided by the NOVA PIC are administered by the Cityof Sunnyvale.

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THE DIGITAL CONNECTION

This historic partnership between industry,education, and government has cometogether to address the common workforce

issues affecting the multimedia and entertain-ment industries. The NOVA Private IndustryCouncil (NOVA) has led this exciting team effortto study these workforce issues, which are doc-umented in two companion reports:

“Making Digits Dance: Visual Effects andAnimation Careers in the EntertainmentIndustry” Alliance of Motion Picture andTelevision Producers (AMPTP)

“A Labor Market Analysis of the InteractiveDigital Media Industry: Opportunities inMultimedia” Bay Area Multimedia Partnership(BAMP)

The digital visual effects and animation segmentof the entertainment industry and the interac-tive digital media segment of the multimediaindustry draw upon a common base of talentand technology. Both these areas require a high-ly skilled and trained workforce that merges tech-nical and artistic capabilities.

In order to conduct a comprehensive study ofthe labor market, a methodology was developedto assess the needs and requirements of thesestrongly related and connected industries.Since both these industries are located through-out the state, rather than using geography to estab-lish the scope of the studies, it was decided themost effective approach would be to investigatethe distinct needs of the entertainment and mul-timedia industries.

These two teams found that while there are dis-tinct requirements for each industry, there arealso common needs. Both industries needprofessionals who have an underlying foundationin artistic and technical theory and tech-

niques. Also, both industries require many ofthe same core competencies in their workers,such as understanding of the productionprocess, communications, creativity, team-work, and problem solving.

These reports are a vital step in communicat-ing these industries needs to the educationaland training resources who are preparingworkers to enter this growing labor market. Inorder to keep this information current and tocoordinate the exchange of information betweenthese two groups, the Bay Area MultimediaPartnership (BAMP) and the Alliance of MotionPicture and Television Producers (AMPTP) aredeveloping SkillsNet.

Building on these labor markets analyses,SkillsNet will develop regional employ-er/training consortia around both short-

term occupational needs and longer termcapacity building. SkillsNet will enable effectiveinteraction between industry and educators byaggregating industry information and com-municating it to the educational community. Sincethis information changes rapidly, the partnersare developing a website to ensure that the lat-est information is readily available. The SkillsNetpartners are working with industry and educatorsin designing this website, which will have fea-tures that take advantage of the capabilities ofthe Internet for discussing and exchanging ideasand information.

The State of California Employment Training Panel(ETP) and industry leaders have fundedSkillsNet. ETP is a joint business-labor supportedState agency that provides training funds toempower workers, promote business and pro-pel the economy. By focusing funds on train-ing that leads directly to employment and high-er wages, and strengthening the developmentof new and emerging industries, ETP plays a strate-gic role in California’s economy.

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ACKNOWLEDGMENTS ...........................................................................................................viii

EXECUTIVE SUMMARY ...........................................................................................................ix

INTRODUCTION .......................................................................................................................1

INDUSTRY ..................................................................................................................................3The Development of Animation and Digital Effects ........................................................3Segmentation and Employment......................................................................................5Industry Structure and Organization of Production ........................................................7

OCCUPATIONAL OUTLOOK...................................................................................................11Production Processes ...................................................................................................11Occupational Structure .................................................................................................13Career Paths .................................................................................................................14Demand.........................................................................................................................14

SKILLS......................................................................................................................................16Organization of Skills and Focus ..................................................................................16Shared Skills..................................................................................................................17Specific Skills ................................................................................................................18

EDUCATION AND TRAINING..................................................................................................24Industry Needs ..............................................................................................................24Education and Training Institutions...............................................................................25New Program Initiatives ...............................................................................................30Issues ...........................................................................................................................31

PLACEMENT AND CAREER FACILITATION..........................................................................33Private Sector Facilitators .............................................................................................34Industry Affiliated ..........................................................................................................34Studios ..........................................................................................................................34Education and Training Institutions...............................................................................35

ISSUES AND NEXT STEPS .....................................................................................................36Industry Issues ..............................................................................................................36Occupations and Skills .................................................................................................36Education and Training..................................................................................................36Career Facilitation .........................................................................................................37

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CONTENTS

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REFERENCES ..........................................................................................................................38

APPENDIX A: Interviews ........................................................................................................A-1

APPENDIX B: Training Provider Profiles ................................................................................B-1

APPENDIX C: Industry Association Profiles ..........................................................................C-1

1.1 Labor Market . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

2.1 Industry Segmentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

3.1 Family Framework of Occupations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

4.1 Framework of Artistic Occupations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

4.2 List of Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

4.3 Visual Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

4.4 Storyboard Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

4.5 Layout Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

4.6 Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

4.7 Traditional Animation - Character/Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

4.8 Traditional Animation - Clean-up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

4.9 Computer Artist - 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

4.10 Computer Artist - 2D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

4.11 Computer Artist - Technical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

5.1 Education and Training Institutions Interviewed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

5.2 Characteristics of Education and Training Institution Types . . . . . . . . . . . . . . . . . . . . . 27

5.3 Animation and Visual Effects Software Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

6.1 Placement and Career Facilitators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

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LIST OF FIGURES

Figure

I n the preparation of this report many people gave of their time, talent and knowledge.Unfortunately, there are too many to list here, but in Appendix A we identify the produc-tion and service firms, schools, colleges and agencies who participated in our research. We

appreciate the generosity of the people and their organizations. The City of Los Angeles PICand the State of California for financing this report. NOVA and Ron Gamble for program man-agement and for helping to link the project to the U.S. Department of Labor/California EmploymentDevelopment Department O-Net project.

We want to acknowledge with thanks Brady Bevis of the Bay Area Multimedia Partnership, andMaureen Regan and Peri Drucker of Regan & Associates, who are doing the parallel study inthe Bay Area, for their friendly and helpful cooperation.

Finally, the staff members of The PMR Group, Inc. and the Public Affairs Coalition of the Allianceof Motion Picture and Television Producers (AMPTP) have been invaluable in doing research,interviewing and drafting material. Without their help, the report would have been impossible.

In the end, the report is the responsibility of the following:

David A. Wilson, President. The PMR Group, Inc.

Belle Cole, Vice President, The PMR Group, Inc.

Kathleen A. Milnes, Vice President, Public Affairs Coalition, AMPTP

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ACKNOWLEDGMENTS

SkillsNet seeks a report on the labor mar-ket of skilled workers in animation and visu-al digital effects in the production of film,

television and web material. The labor mar-ket as defined in the report consists of threefundamental elements – employers, jobseekers (employed or unemployed) andtraining institutions. The market also includessegments committed to facilitating employ-ment such as recruiters, search firms, careerdevelopment specialists, placement firms andagents. All elements share an interest in occu-

pations and skills.

INDUSTRYResearch for the study has identified morethan 300 firms in California producing ani-mation and digital visual effects. About 30in person interviews have been conductedand another sample of approximately 30 havebeen interviewed more briefly by phone. Theseinterviews covered such information aboutfirms as products, employment, intra-indus-try affiliations, key occupations, recruiting andtraining activities.

The industry is characterized by a variety of“firms” that include divisions of major stu-dios. They produce different products for dif-ferent segments because of the range of tech-niques, production values and marketing sys-tems. Independents of middle size areabout the same size as studio divisions andservice more segments. Small independentsspecialize in a particular market segment. Rightnow, there is much turbulence caused by merg-ers, acquisitions and alliances driven by thequest for talent and also a drive for horizontaland vertical integration.

At the same time, the industry as a wholeis still characterized by vertical disinte-gration. There are many small performers,

temporary project-related “firms” and free-lance talent that prosper in the present con-ditions of rapid growth, particularly as thegrowth affects demand for animation and dig-ital visual effects. Thus, there is much useof freelancers and temporary employment aswell as contracting out to small companies.This sustains a range of opportunities for avariety of talents and skills.

The high growth in these production areassupports full employment and competitionfor experienced and new talent. The num-ber of people employed in animation in theLos Angeles area is estimated at between 3,500and 4,000, about twice as many as a decadeor so ago. In digital visual effects, a varietyof estimates suggest there are about 6,000 peo-ple employed compared to virtually none adecade ago. There is a common pool of fun-damental artistic skills drawn upon at leastat entry level. Because to a significant degreethe fundamental common skills also serve othersegments such as games or CD ROMs,demand will probably be sustained for at leastfive years.

OCCUPATIONSThe report identifies 30 selected occupationsin the two production areas. We grouped theminto six families. Family relationships are acombination of shared skills and common typeof work. Two categories of families are: 1) thosewhere common skills lead to a progressionof occupations that relates substantially toincreased proficiency and 2) those where dif-

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EXECUTIVE SUMMARY

ferent skills are applied to the same work. Theselack the progression characteristic. There issignificant overlap of artistic occupationsbetween animation and visual effects. Careerpaths are loose and difficult to categorizebecause of the fluidity of employment andthe changes related to technology.

The six families are:

R visual development which explores literaryor musical property for the visual content.

R story which visualizes a script in a sto-ryboard consisting of a series of image pan-els.

R layout which breaks a storyboard intoscenes, camera set-up, lighting, etc.

R painting, which paints in variety ofmedia, background for animation ormattes for live action.

R traditional animation which does celanimation comprising character, effectsand clean up.

R computer artist comprising 2D/3D/tech-nical artists who create images using com-puters and special software.

The occupations are analyzed by tasks andskills from a list of skills developed from inter-views with production firms and skilled artists.The report presents these analyses in a seriesof charts.

EDUCATION AND TRAINING

Though some firms invest substantially inemployee training, the principal burdenfor educated and trained people in this

industry rests with the education and train-ing institutions. What does the industry wantfrom education and training institutions? Howare these institutions responding?

Programs in education and training institu-tions that offer animation and/or visual dig-ital effects have been identified and includ-ed in an Inventory of Education and TrainingInstitutions which includes both foreign anddomestic institutions from which industryrecruits.

The inquiry focused on the Los Angeles regionbecause of the industry clustering and iden-tified programs for professional, practical, tech-nical and basic training, both traditional andshort courses. Training that meets theneeds of animation and digital visual effectstakes place in different kinds of schools — artand design, film/T.V. and engineering. Withinthis framework, the hardware and softwareneeds were identified by trainers. Specialschools, both in extension divisions of four-year institutions and private institutions, offershort courses in art and digital graphics pri-marily for industry professionals.

A variety of new program initiatives are beingdeveloped, often in cooperation with pro-duction firms. These are special examplesof expanded interactions with industry, rel-evant to recruitment, internships, financialsupport, equipment, curricular develop-ment, management and source of instructors.A number of problems facing education andtraining have been identified, including theneed for improved communication with indus-try, keeping up with the technology, findingfaculty and competition among trainers forindustry attention.

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Profiles of institutions interviewed are includ-ed as an appendix.

FACILITATORS AND RECRUITMENTThe report identifies several categories of jobplacement facilitators whose function is toassist job seekers in finding employment.Private sector agencies work with bothemployers and job seekers. One of the prin-cipal industry associations, SigGraph, has anannual conference with events for industry,trainers and students. LAwNMoweR (LosAngeles New Media Roundtable) is a loosenetwork of individuals and companies, cre-ated and facilitated by a recruitment firm, that

provides career development seminars andcreates opportunities for networking and socialinteraction. Education and training institu-tions offer a variety of placement and careercounseling services. There is little special-ization in animation and digital visual effectsfacilitation services. Some production firms,especially the major studios and larger inde-pendents, invest substantially in recruitment.

SUGGESTIONSFinally, a number of suggestions for consid-eration by SkillsNet are proposed as a con-clusion.

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As it grows, the California entertainmentindustry is experiencing difficulty in match-ing demand for skilled workers with avail-

able supply. The Alliance of Motion Pictureand Television Producers (AMPTP) PublicAffairs Coalition, working with The PMR Group,Inc., has undertaken research into labor mar-ket issues in the production areas of animation,both traditional and digital techniques, anddigital visual effects. The study’s goal is toclarify the scope and dynamics of the effectsof digital technology within the labor mar-ket.

Animation and digital visual effects were select-ed to focus attention on production activi-ties that clearly are changing rapidly becauseof new media capability. The present reportaddresses findings about these segmentsderived from research sponsored by the NOVAPIC. A deliberate decision was made to post-

pone investigation of other productionareas, notably directors and producers of dig-ital sound, digital editing, and other digitalpost production. These areas may be under-taken subsequently.

The study is structured by a concept of thelabor market, widely shared by the United StatesDepartment of Labor Market InformationDivis ion, Cal i for nia’s EmploymentDevelopment Department, and many PrivateIndustry Councils, as well as scholars and stu-dents. It conceives of the labor market asincluding three interactive segments –employers, job seekers (whether employedor not), and education/training institutions– linked by a common interest in skills andin sharing, however imperfectly, pertinent infor-mation.

1

I. INTRODUCTION

Figure 1.1 Labor Market

EMPLOYERS

TRAININGPROVIDERS

OCCUPATIONSAND

SKILLS

JOB SEEKERS

Each segment affects the market as its char-acteristics change. As more jobs becomeavailable or new or modified occupations

are required, employers change market con-ditions by increasing or decreasing demand.As search firms, professional recruiters andthe like are deployed, information is improved.As job seekers become increasingly numer-ous, skilled or mobile, supply is changed. Asjob seekers are assisted by facilitators (agents,placement counselors, employment ser-vices, etc.), information about supply isimproved. As schools, colleges and other insti-tutions change access to knowledge and skills,supply is affected. Thus, collectively, the actionsof these players continually shape and mod-ify the market.

These segments are singled out because theirdecisions can to a degree be influenced bydeliberate effort in ways that other forces –economic conditions, demographic change– cannot. The present report and related

reports provide information that should beof substantial use in improving the labor mar-ket for skilled performers in these industrysegments.

This is a part of a larger effort within theframework of SkillsNet, a joint activity ofAMPTP and Bay Area Multimedia

Partnership (BAMP) sponsored by theCalifornia Employment Training Panel (ETP)and the industry. SkillsNet is developing areadily accessible labor market informationservice and also consortia among productionfirms and training institutions. BAMP, work-ing with Regan & Associates, is also doing astudy of the use of digital media to producegames, business applications and educationalmaterials. Both of the labor market studiesare coordinated by NOVA PIC, an active par-ticipant in the project.

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California continues to play the preeminentrole in producing entertainment. The syn-ergy between the software and hardware

“tool makers” of Silicon Valley and the con-tent providers of Southern California bodeswell for the new media industries in California.In Southern California, entertainment firmsare strongly clustered along a geographicalaxis that runs roughly from Glendale to SantaMonica Bay, with many firms in the SanFernando Valley. Because entertainment isnot only an information-based industry butalso talent-based, it appears that the impor-tance of informal networking between firmsand individuals provides competitive advan-tage to those located in core areas.

Even as California’s lead appears to grow, otherregional production centers are emergingdomestically and internationally. NorthAmerica, Florida and Vancouver have devel-oped their physical production capability andsuccessfully captured some entertainmentactivity. Other burgeoning centers worldwide,such as Paris, London, and Tokyo, are likelyto contribute more material to growingmarkets. Overseas centers for animation out-sourcing, such as Seoul and Shanghai, mayemerge as competitive sources of animationproductions in their own right. California firmsparticipate in foreign production often seek-ing talent in these locations. At the same time,the power of the Southern California distri-bution capacity draws revenue from emerg-ing markets world wide.

THE DEVELOPMENT OF ANIMATION ANDDIGITAL EFFECTSFilm, television, and commercial productionis a major, rapidly growing industry inCalifornia. According to the most compre-hensive study to date, the industry account-ed for direct employment of 164,000 in1992.1 Revenues have grown at a compoundannual rate of 5.7% over the last five years,and the current $31.4 billion market for filmedentertainment is projected to increase 5.5%annually for the rest of the decade.2 The mar-ket channels are also growing with 95 mil-lion TV households in the United States (76million with VCRs and 63 million with cable)and 925 million in the world.3

As subsectors of the entertainment indus-try, animation and digital visual effectsare difficult to measure in size and growth

because data collection is not systematic.Nonetheless, a preponderance of indicatorssuggests these subsectors are growing at aneven faster rate than entertainment as a whole.The three top-grossing films in history, forexample, are Jurassic Park, The Lion King, andIndependence Day. Animation and/or dig-ital visual effects were used extensively in theproduction of all three.

In the television medium, nearly 200 cartoonshows, not including specials, were aired inthe Fall 1996 season.4 The market is domi-nated by cable, although broadcast channelscontinue to compete. The adult market is grow-

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II. INDUSTRY

ing on the heels of The Simpsons success. Atthe same time, international distribution isexpanding rapidly.

Animation has been used for entertain-ment, communication, and artisticexpression for about three quarters of a

century. In the past decade, there has beenan explosion in the use of digital visual effectsand animation in film and television.

In the late 1980s Who Framed Roger Rabbitwas a landmark film, exposing a large audi-ence to sophisticated compositing of live actionand animation aimed at an adult audience.Little Mermaid’s financial success set off a newenthusiasm for animated feature films thataccelerated demand for new products andtechniques. Toy Story was 1995’s highest-gross-ing film, also making history as the first fea-ture film entirely created by computer.Because it was conceived not by a movie stu-dio but by Pixar, a computer software com-pany, it is emblematic of the impact of dig-ital technique.

The continuing enthusiasm for animated fea-ture films has been matched by films whosepopularity was substantially enhanced by elab-orate visual effects. While not a novelty byany means, Jurassic Park, Independence Day,and Terminator, for example, demonstratedthe power of digital techniques to produceeffects of a quality never seen before. The rev-enues of many such films have been a stim-ulus to the increasing use of digital specialeffects. Effects often account for 15% of thetotal production budget in contemporary fea-tures, and this proportion is probably grow-

ing. On large features, as much as $20 mil-lion to $30 million may be spent on effects5

which are employed in a growing number ofshots. Animation and special effects mergespectacularly in Space Jam, which, like RogerRabbit mixed media technique with a cast ofactors and cartoon characters that requiredover 1,100 digitally composited shots. Twisterdrew audiences largely because of its high-quality computer simulations of tornadoes.Babe, which portrays a talking pig realisticallyusing digital techniques, won an Oscar.

As digital visual effects become more sophis-ticated, they generally become in the wordsof Pacific Title Digital’s advertisement,

“transparent!” They are increasingly beingused to modify film in ways that are not seenas special. Natural objects are added,removed or modified for aesthetic or economicreasons and the work cannot be detected.Visionaries foresee films not only with real-istic effects, but cyber thespians as well.

In television, the popularity of these techniquesalso is strong. Digital effects continuouslyget more sophisticated and find new uses, espe-cially in commercials where eye-catching effectscan add valuable impact to a very brief spot.The rapidly growing demand for animation,both traditional and digital, reflects theproliferation of cartoons on an ever-increas-ing number of channels. The demand alsohas opened opportunity for cartoons for ado-lescent and adult audiences (The Simpsons,Beavis and Butt-head, Dr. Katz, etc.), thusexpanding the market into new time segmentsand outlets.

4

Advances in computer and telecommu-nications technology have much to dowith the rapidly increasing demand for

animation and digital visual effects. It is pos-sible to foresee communications technolo-gy pushing demand for blending art and dig-its. High-resolution visual images contain alarge amount of information, so manipulat-ing them by computer requires fast proces-sors and large amounts of memory.

Accessibility to production technology is open-ing. Conventionally, it is known that the price-performance ratio of computers has fallenexponentially. Current mid-level personal com-puters are sufficiently powerful to create andedit broadcast-quality video with appropri-ate software and hardware. While produc-tion for big-screen films is generally done onhigh-speed workstation computers rather thanPCs, new high-end PCs using Macintosh andWindows NT operating systems are attain-ing the necessary speed and flexibility.Concurrent with advances in hardware,software packages have become more pow-erful. Comparable capabilities for tasks suchas image editing and 3D modeling are nowavailable in less expensive packages, and high-end packages, while not necessarily cheap-er, have much greater depth and scope of fea-tures.

Advances in telecommunications technolo-gy also continue to open new markets andcreate new distribution channels. Many house-holds around the world now have access todozens of cable channels or direct-broadcastsatellite channels. Access to foreign audiencesis easier than ever before via video, satellitetransponders, and the emergence of “glob-al” channels such as CNN and MTV.

The recent explosion of interest in the WorldWide Web portion of the Internet representsthe emergence of an entirely new medium.Because it is so different from traditional mediaand its bandwidth still quite limited, theInternet has yet to achieve substantial util-ity for entertainment. Nonetheless, it hasbecome a significant advertising medium –notably for the promotion of feature films –and some research suggests that it is com-peting with television for “viewers.”

The real possibilities in increasing costeffectiveness of digital production tech-niques as well as new channels and media,support an expectation of expansion inthese industry areas. In turn, the demand forworkers skilled in the artistic and comput-er techniques is expected to be high.

SEGMENTATION AND EMPLOYMENT

The industry where animation and digitalvisual effects are utilized is multi-seg-mented. Each segment experiences dif-

ferent economics and thus will be in its ownparticular state. (See Figure 2.1.) The mul-tiplicity of segments should give a degree ofstability to the industry collectively becauseof its diversity. Since all segments provide occu-pational opportunity for artists of brush orcomputer, the market for these skills can beexpected to share the overall strength of thesegments. It is reasonable to see this as a newcharacteristic of the labor market that has his-torically been volatile and unpredictable. Thisinstability has doubtless discouraged possi-ble candidates from entering these occupa-tional areas.

5

Available employment and wage data for thesesubsectors is limited, but clearly indicates dis-proportionate growth. Animation professionalsnumber from 3,500 to 4,000 in the Los Angelesarea, at least twice the number of 10 to 15 yearsago.6 The visual effects industry employsapproximately 6,000 digital artists in California– 10 times as many as in 1991.7 Typical salariesfor computer animation-related positions haverisen 33% in the past two to three years accord-

ing to industry estimates.8 Some have risenas much as 500%.9 Rapid hiring by the largestudios to staff expanded in-house digital effectsand animation facilities has escalated com-petition for talent.

The perspectives of the industry, unions, train-ing providers, and press strongly corroboratethese indications of growth. In the interviewsconducted for this study, most animation firms

6

Figure 2.1 Industry Segmentation

Process

Medium

AnimationR Traditional

R Digital

Visual EffectsR Digital

FilmR Features

r live actionr animatedr hybrid

R Shorts

TelevisionR Shows

r live actionr cartoonsr hybrid

R Commercials

Online/InteractiveR Commercials & Trailers

R “Websodics”

confirmed the expansion of demand for ani-mation since 1990 and explosion of calls fordigital visual effects in the last three years.Many industry leaders also expressed uncer-tainty about how long this growth rate couldbe sustained. Clearly, however, demand forproduct translates into demand for skilledworkers.

INDUSTRY STRUCTURE AND ORGANIZATION OF PRODUCTIONThe structure of the entertainment industryis extraordinarily complex. Some experts con-sider it a model for the way other industrieswill increasingly operate in the 21st-centu-ry global economy.10 Some key characteris-tics of the industry are summarized below:

R comprised of diverse companies includ-ing many small and medium sized firms— independents, subsidiaries and corporatedivisions

R information- talent- and skill-based

R many organizations determined by pro-ject production

R highly “networked,” i.e. production per-formed by combinations of contract or pro-ject-based employees and large, mediumand small contractors.

Firm SizeThere are seven major studios, three majornetworks, and dozens of independent com-panies involved in production for theaters,television, and the World Wide Web. Despite

the high visibility and central role of the majorcorporations, the vast majority of productioncompanies are extremely small. In 1992, therewere more than 1,000 companies devoted tomotion picture, television, and commercialproduction; 85% employed fewer than 10 peo-ple. There are also numerous companies thatprovide specialized services to the produc-ers; more than 80% of these employ fewer than10 people.11 The quantity of small firms isexceeded only by the number of freelanceworkers. Of the 164,000 industry workers iden-tified in the AMPTP Public Affairs Coalition,“The Impact of Motion Picture, Television &Commercial Production in California: MonitorCompany Report,” 1994, 95,000 were freelanceworkers, 52,000 were on the staff of produc-tion companies, and the remaining 17,000 wereon the staff of specialized suppliers.

There has been a wave of mergers and acqui-sitions over the past few years, driven bythe desire for greater vertical and horizontal

integration. Electronics companies in searchof content are being followed by substantialinvestments from computer and telecom-munications firms in entertainment and media,reflecting the convergence of technology amongthese industries. A striking example of thistrend is Microsoft positioning itself aggres-sively to become a major content providerwith the formation of MS/NBC, the estab-lishment of Microsoft Multimedia Productions(with offices in Redmond, Santa Monica, andNew York), and the company’s re-commitmentto the Microsoft Network.

The major studios are part of media giantsthat combine a variety of production and mar-keting capacities. They all have complex struc-tures in which entertainment production is

7

but a part. Economies of scale and strongcapitalization enable the major studios toundertake highly expensive and complex pro-ductions and to invest heavily in state-of-the-art equipment, full-time workers and train-ing.

At the other end of the spectrum, entre-preneurs and freelancers face barriers toentry that vary according to industry seg-

ment. Many individuals and small firms com-pete primarily on the basis of talent and expe-rience and have minimal capital requirements.New entrants must, of course, initially over-come obstacles based on lack of productionexperience and contacts. Traditional animationis labor-intensive rather than capital-inten-sive. Digital animation and digital visual effects,however, require continuous investment instate-of-the-art hardware and software. Butthe “desktop video” capabilities of average per-sonal computers are rapidly advancing.Online and interactive productions can eas-ily be created on typical PCs. Film work cur-rently requires very high-end PCs or work sta-tion computers. The proliferation of graph-ics-capable PCs creates opportunities for peo-ple interested in the industry to acquire hands-on training and part-time employment thatcan provide a valuable entry point to the indus-try.

The labor market for talent in animation anddigital visual effects has been modified by var-ious trends of change in the industry. WaltDisney Pictures has long dominated featureanimation production. In the past two to fouryears, however, other major studios haveaggressively entered or reentered the animationbusiness by rapidly developing in-house facil-ities. The major studios are also engaged in

efforts to capture digital effects productionthrough acquisitions of smaller independentsand development of new corporate divisions.These changes exacerbated competition fortalented workers, already intense due to explod-ing demand for product. Some observers inthe industry believe that mid-size companiesare getting squeezed out. Small companiesare very cost-competitive due to low overhead,while the large companies have capital andthe capacity to handle complex projects involv-ing large numbers of shots. Still other mid-size companies will emerge as a new type of“mini major” such as Digital Domain and Pixar.

In T.V. production and broadcasting, there hasbeen a consolidation affecting indepen-dent stations with the appearance of threenew networks (Fox, UPN, WB). The preciseimpact of all these changes on the labor mar-ket is unclear, but it can already be seen assignificant. Will the total number of jobsincrease or decrease? Will the impact on salariesbe temporary or permanent?

These structural characteristics haveimportant implications for the labormarket. Large companies are more like-

ly to seek a long-term staff and invest in exten-sive recruiting and training of employees.Smaller companies typically depend onfreelancers and contractors. They invest onlyin a limited way in training and recruitment.Short-term production aggregations have nointerest in training, but given the tight labormarket, may give support to new roles in facil-itating the employment of labor such as agents,placement specialists and possibly “temp” orga-nizations. Surely the project-related structuringstrengthens the place of small production hous-es and specialized suppliers.

8

As a result of the uneven workload associatedwith project-oriented production, subcon-tracting and hiring of freelance workers haslong been common practice in the enter-tainment industry. Effects and animation jobsare increasingly being split among several sub-contractors because of the growing numberof digital effects or animation shots in a typ-ical production. Clearly some large anima-tion and digital effects companies rely moreon permanent staff than in the past, appar-ently due to high demand for work and intensecompetition for talented workers. Disney, withits multiple production capacity, is a modelfor stability that others emulate.

The T.V. animation industry has a long-estab-lished practice of sending most of its high-ly labor-intensive production steps overseas,particularly to the less-developed countriesin Asia, where wages are relatively low andthere is an adequate supply of artistic talent.This practice continues strong: the highly cre-ative and critical pre-production work suchas storyboarding and character developmentis done domestically, as is post-production.It is unclear if digital technology in anima-tion will increase productivity to the pointwhere more production will be done in theU.S.

Labor UnionsThe labor organization of the entertainmentindustry is an important part of the structure.In animation, the Motion Picture ScreenCartoonists, Local 839 of the I.A.T.S.E., hasagreements with major studios and other hous-es that seem to cover about two thirds of themotion picture workforce. Their coverage of

the television cartoon industry is muchless. The area of digital visual effects is large-ly non-union. Individual digital occupationsinclude work covered by a number of distinctunions (such as Editors, Illustrators, MattePainters). These unions are seeking agree-ments with the studios while they continueto discuss among themselves the question ofwho should represent these workers.

Because of the fluidity of labor which is char-acteristic of the project-focused organizationof production, the unions have developed flex-ible approaches to members that adjust toemployed and unemployed status and alsoprovide services such as pre-tax retirementfunds, both employer and employee-fund-ed, health insurance and the like. The unionsalso try to establish a standard of pay, ben-efits and conditions on an industry-wide basisthat maintains some degree of stability in anoften turbulent labor market.

Note: The Industry DatabaseThe PMR Group developed a relationaldatabase system for internal use to supportthe industry research and analysis. This data-base contains detailed information about firmsin the industry including location, industrysegment(s), and products/services. It cur-rently contains approximately 312 Californiafirms involved in some way in digital visualeffects, animation, or other new media.Because no comprehensive directory ofsuch firms exists, firms were identified, withthe assistance of the AMPTP, from a wide vari-ety of sources including entertainmentindustry directories, industry trade journals,the general press, seminars, conferences, per-

9

sonal contacts and word of mouth.

For a subset of firms, including those that wereinterviewed, more detailed information rel-evant to the industry and the labor marketwas collected. This information includes thefounding date and recent growth of the firm;number of employees in relevant categoriesand key occupations; extent to which laborshortages are an observed problem; recruit-ing process, techniques and problems;approaches to training; management’s per-

spectives on labor shortages and otherindustry challenges and what can be doneabout them; management’s opinion about theneed for more coordination and informationsharing among firms, training providersand workers; and interest in and suggestionsfor a SkillsNet website focusing on labor mar-ket issues.

10

Animation is no longer a two or three player game—

demand has created room for anyone who’s willing to play.BARBARA FISHER, PRESIDENT, MCA TELEVISION ENTERTAINMENT

In the Land of the Giants, if you’re not a giant, you better

be fast and clever. Or else, be dinner. ROBBY LONDON, SENIOR VICE PRESIDENT, DIC ENTERTAINMENT

The structure of production, occupations anddemand in these areas of animation and dig-ital effects is very dynamic and changing. Thefollowing snap shot will give a picture, per-haps somewhat blurred, of the key elementsof the structure and some estimate of the direc-tions of change.

PRODUCTION PROCESSESThe production and filming for motion pic-tures of images that are not photographs ofpeople or objects in the natural world (liveaction) is what animation and digital visualeffects are about. The fundamental require-ments seem to be largely the same, even thoughthere are a variety of techniques in use. Thus,ink and paint drawing, clay animation andother puppets, and computer-generatedimages all are the result of artistic ability usedto generate pictures that can be transferredto film (or video) in a sequence of frames tosimulate motion. Because of this, there area number of steps that must be accomplishedto make a product.

An overall visualization of the project is nec-essary. A storyboard must be created that showshow the images develop though the sequenceof frames representing time and motion. Thecharacters, whether living or inanimateobjects, that will carry the action forward needto be designed. The layout of characters inscenes and from scene to scene must be visu-alized. Backgrounds or mattes must bedesigned and rendered. Finally, the variouselements must be composited into a com-plete scene. Ultimately, the sound, titles and

other parts of “post production” are accom-plished.

Animation

The production of an animated film has dis-tinct steps. It is “... very much like mak-ing a flip book, where you flip the pages

and the figures on them seem to move.”12

According to written sources, which was ver-ified by current interviews, these are the steps:The story (script) is written and essential sketch-es for the visual interpretation of the storyare put onto a storyboard. Key movementsof a given action are drawn by an animatorwho numbers the drawings and annotatesthem on an exposure sheet. The assistant ani-mator follows the instructions on the expo-sure sheet, adding more drawings. An inbe-tweener fills in drawings between frames.Drawings are photographed under an ani-mation camera (pencil test) and the result-ing film is reviewed for corrections. Drawingsare transferred to acetate sheets (calledcels) which are then colored. Simultaneously,backgrounds are made for every sceneaccording to the sketches of the layoutartist. Cels are placed on the backgroundsand photographed.

With computer animation, approved andcleaned drawings are scanned onto electronicink and paint systems which then begin thefinal color applications. The color materialis also integrated with the backgroundselectronically. For fully 3D animated films,virtually all the steps are done on comput-

11

III. OCCUPATIONAL OUTLOOK

er. Imagery and scenes are created with ani-mation and rendering software with empha-sis on modeling, lighting, shading and ren-dering. Thus, it is in many ways convergentwith digital visual effects.

Summary of traditional animation process:

R script written

R storyboard created

R scene layouts developed

R key frames animated

R intermediate frames animated

R in-between frames animated

R backgrounds painted

R cels painted

R cels and background assembled for pho-tography

R with computers painting and color inte-gration is done electronically.

Digital Visual EffectsThe process in digital visual effects also entailsvarious steps. The process outlined is basedon interviews with companies. There are fourbasic steps to the overall process whichincludes: storyboard, conceptual design,modeling, animation, lighting, rendering, com-positing of files, transferring to film or video.These can summarized as visualization,research and design, production, and film-ing. The length and difficulty of the projectis strongly related to whether the work is 3D

or 2D. 3D projects are more complicated, dif-ficult, and time consuming since they require3D graphics to be created and animated. 3D,by nature, is more intense and prone to prob-lems then equivalent 2D work.

The storyboard phase is analogous to sto-ryboarding for T.V. or feature animation. Anartist will visually plan out shots in a seriesof panels. Following these, conceptualdrawings are made to detail the effects andthe desired look. For 3D work, this will requiremodeling the figures and objects.

The research and design (R&D) phase is when2D, 3D, and technical artists develop the dig-ital effects. Once the shot design is determined,models are built by the modeler, animatedand finally inserted into the plate. The phaseof inserting the modeling contains several com-ponents as well: lighting, refining texture,adjusting color/shading and compositing ofall elements (coordination of multiple elementsin preparation for render processing). Finally,the effects go to film or video.

Summary of the digital visual effects process:

R Visual Development

R Storyboard

R R & D (Research and Design)

R Modeling

R Animation

R Lighting

R Compositing

R Film/Video

12

OCCUPATIONAL STRUCTUREKey occupations in the production of animatedfilms and digital visual effects can be com-prised in six families of occupations (See Figure3.1 Family Framework of Occupations).

Families are defined by shared type of workand shared skills. Families may include fromthree to five occupations. Altogether the studyhas identified 30 occupations.

13

Figure 3.1 Family Framework of Occupations

Digital Visual Effects,Traditional and

Computer Animation

Visual Development

Story

Layout

Painting

Traditional Animation

Computer Artists

In the production of animated films, def-initions of families are strongly influencedby the traditional process of animation that,

until the introduction of digital technique,has been substantially unchanged for 60 years.Such a strong continuity is strengthened bycollective bargaining and the influence of thelarge studio animation houses that have agree-ments with the Motion Picture ScreenCartoonists union. In digital visual effectsoccupations, however, the strongest influencein defining occupations is the digital tech-nology. The nature of the digital effects pro-duction bears little relationship to occupa-tions in the optical and physical special effectsprocesses.

Even so, the artistic occupations in the twoareas share art skills and the primarily com-puter occupations also share at least basicskills. The requirements of the productionvalues sought in different industry seg-ments substantially attenuate the significanceof shared skills. That is to say, the require-ments of animated feature films are sufficientlydifferent and distinct from T.V. cartoons thatneeded skills are qualitatively different.How the development of digital technologywill affect occupations is not at all clear. Thereseems to be a consensus that artistic skillswill continue to dominate the productionrequirements.

As one commentator said in response to thequestion, “Are traditional animation skills trans-ferable to digital animation?” “The answer is‘yes.’ Such things as an eye for movement overtime, a feel for entertainment – character andstory. Skills like art direction, character design,animatography, lighting, production designand even drawing transfer as well. In fact,

these areas continue to be the most impor-tant skills/talents being sought in 3-D ani-mation.”11

CAREER PATHSIn the large companies that dominate featureanimation there is a pattern of career devel-opment linked to the families of occupations.People are expected to develop their skills instoryboard, character animation or back-ground, for example. How they do thatdepends on talent and temperament whichis probably the underlying reason for the rel-atively weak patterns. Moreover, the fluidi-ty of the employment practices generally pro-vides plenty of opportunity for personal choiceof careers depending on these personality char-acteristics. Therefore, it is difficult to makevery useful statements about career paths otherthan that people will find opportunity for choicewhich will be enhanced by knowledge of theelements of film making and film image cre-ation generally.

DEMANDDemand for people to fill these occupationsat a required skill level clearly exceeds sup-ply at present. Knowledgeable people in theindustry testify to rapidly rising pay rates. Thereis evidence, largely but not entirely anecdo-tal, that over the past two years, pay has beenincreasing somewhere between 20% and 100%a year depending on the occupation. Assistantanimators and CGI artists are conspicuousexamples. Other evidence is the investmentby studios in recruitment. Companies that

14

can afford it are recruiting in systematic waysand with specialized staff on a nationwide andinternational basis.

The demand is driven mainly by the expand-ing market for product in feature films, tele-vision films, cartoons and commercials. Both

animation and digital visual effects are usedin all segments and it appears that demandfor these techniques is also increasing in allsegments. At the same time, expansion in thesemarkets is surrounded by growing demand forpeople in similar occupations in other indus-try segments such as world wide web mate-rial, games, educational and business appli-cations and such special areas as kiosks andmarketing materials. While it is not possibleto forecast with anything approximating cer-tainty, it seems probable that demand for work-ers in occupations requiring combined digi-tal and artistic skills will continue to grow forthe next three to five years at least.

What is not clear is to what extent the “short-age” is a matter of too few job seekers(unlikely), inadequately trained/expe-

rienced job seekers or rarity of exceptional-ly talented job seekers. It is clear, however,that it is some mix of these three dimensions.Exceptional talent is the most scarce, perhapsby definition. But the fundamental problemseems to be not enough adequately trainedand experienced job seekers since well-trainedand experienced people are fully employed.Companies are hiring minimally trained peo-ple who they hope can be trained. As in recruit-ment, companies that can afford it areinvesting in training staff and are encouragingexpansion of training in schools and colleges.Many of these institutions are actively work-ing to respond to the demand. Some inno-vation is also being undertaken by those whowould facilitate the market. Recruitment, train-ing and facilitation are discussed in SectionsV and VI.

15

I have always felt that if the animated feature were to outgrow

its reference as a cartoon and be accepted as a legitimate form of

filmmaking, it would be through the personal visions of artists. PETER SCHNEIDER, PRESIDENT, WALT DISNEY FEATURE ANIMATION

ORGANIZATION OF SKILLS AND FOCUSThis study lays out a range of occupations‡in the production of animated entertainmentproducts and digital visual effects and iden-tifies the requisite skills. To gain clarity of theskills underlying these occupations andhow the occupations relate to one another,the study has organized the occupations intoa framework of families. (See Figure 4.1.Framework of Artistic Occupations.)

Animated film occupations, as was mentionedabove, have a tradition and stability that relatesthem in families of shared skills with pro-gression substantially by increased proficiency.The families are distinguished by the type ofwork where the mix and emphasis of skillsis different. For example, the work of sto-ryboarding. While certainly sharing artisticskills with character/effects animation, it issufficiently different in its emphasis and com-binations to be distinguishable. The skills arefor the most part performed with pen andbrush even though computers may also beused to enhance the range of tools. The occu-pations that are linked closely to digital tech-niques and tools are grouped by common typeof work, particularly 2-D and 3-D, but oftenhave a number of shared skills. The purposeof this framework is to help conceptualize theoccupations and, in particular, clarify the skillsets that underlie them. In practice, pro-fessionals may mix and match the tasks and

requisite skills of various occupations in a par-ticular job.

This approach yields two groups of fami-lies depending on how the occupationsin that family are related to each other.

Painting is a family that mixes the two typeswith some progression in the traditional skillsof backgrounder in film animation.

R Occupations are progressive and aredefined by their level of proficiency at atask. As skill in the task improves, the per-former can progress to the next occupa-tion. For instance, as an in-betweener’sskills improve, he can progress to an assis-tant animator. The families in this groupinclude story, layout, clean-up and char-acter/effects animation.

R Occupations are mixed in task but relat-ed in the type of work they do. Some ofthese occupations are entry-level and somerequire experience. As a professional’s skillsimprove, her tasks will increase in diffi-culty rather then proceeding to a differ-ent occupation. For instance, a rotoscoperwould start out by creating a simple matteof a white shirt on a dark background andproceed to creating a matte of a personin the sun on the sand. The families inthis group include visual development,computer artist and computer art tech-nician.

16

IV. SKILLS

‡Jobs and their descriptions are groups of tasks that are needed to produce the desired output or product. Thegrouping of tasks varies by organization and circumstances. Occupations are groupings of tasks that are some-what more abstractly developed to include the variety of jobs that exist in the market. These groups permit acomprehensive identification of skills and knowledge needed to meet the objectives of the production process.

The skills that are defined by these occu-pations fall into two broad categories:shared and specific. The PMR Group has

developed a list of skills based on interviews.(See Figure 4.2.) They have drawn upon thelist to identify the skills in a given occupa-tion. Note that the skills for a given occupa-tion may differ somewhat because of the spe-cific nature of the occupation. Thus, the listserves as a baseline of information used todescribe both current and available occu-pations as well as future occupations. It shouldhave utility as a device for analyzing the chang-ing content of occupations and serve as a foun-dation for the lingua franca in the industryand in all sectors of the labor market.

SHARED SKILLSThere are numerous skills that are commonto nearly all the artistic occupations. The sharedskills we are identifying are specific to entry-level jobs. The shared skills fall into four cat-egories: general understanding, technical skills,organizational skills and artistic skills.

General understanding of the film makingprocess and the production process for theproduct area in which they work is animportant area of knowledge for all the occu-pations in all the families. Job seekers shouldunderstand how their particular job fits intothe larger context of animation or digital effects.It seems broadly agreed and numerousindustry people interviewed suggested to train-ers the possibility of a “true production 101”course. The course would serve to teach stu-dents the whole process as well as engage theirability to solve problems in a production timeline setting.

Organizational skills include those abilitiesthat support the process. These skills are crit-ical because of the characteristics of the pro-duction process. Teamwork is an essentialcharacteristic which demands several skills.First, one must be able to work well with oth-ers. This requires communications skills, bothoral and written. Second, one must also beable to work independently. This, in turn,requires the ability to solve problems, followdirections and handle deadlines and pressure.Other critical skills include: patience to doroutine work, scheduling/time line, andkeeping information and files organized. Allin all, team skills are very important becauseall projects are produced in a team fashion.

As the result of the increasing importance oftechnology, job seekers should have some tech-nical skills. They should be familiar with allthree standard operating systems: MAC,Windows and UNIX. They should have anunderstanding of networks, file sharing andfile management. They should also have anunderstanding of basic software such as wordprocessing,spreadsheets and web browsers.Additional technical skills related to partic-ular software packages, proprietary firm-spe-cific software, and production particularitiesare taught by the employer or learned on thejob.

Lastly, there are some basic art skills whichnearly all the occupations require. These arecolor theory, perspective, design and draw-ing.

In discussions with companies about skills,we found that they would ideally like to seepeople with both artistic and technicalskills. Given the need to choose, job seek-ers who have proven artistic ability are pre-

17

ferred. Employers see it this way because expe-rience indicates that technical skills can belearned more readily than art skills.

SPECIFIC SKILLSAside from these shared skills, every job seek-er should have or develop certain specific skillsrelated to the occupation preferred. The spe-cific skills are highlighted below in the con-text of the families and the occupations ofwhich they are composed.

The figures that follow present informationabout important occupations in traditionalanimation, including computer assistedoccupations, 3D animation and digital visu-al effects. The occupations are grouped inthe families mentioned in Section III whichare briefly described in Figure 4.1. There are

then figures for nine family groups. In somecases, there is more than one figure for onefamily, but this is suggested in the descrip-tions in the previous figure. Each family fig-ure lists the occupations and gives informationabout associated tasks and skills – art, tech-nical and organizational. The tables providea comprehensive and focused analysis of thedifferent occupations, the skill sets thatunderlie the occupations and how they canbe conceptually related.

This analysis focuses on core artistic occu-pations both traditional and computer.Many important occupations are not includ-ed for various reasons, but mainly becausethey are not primarily artistic, being eithermanagerial/supervisory or technical. In thefuture, it may be possible for SkillsNet to expandthe coverage to more of these areas.

Figure 4.1 Framework of Artistic Occupations

Technique Family

Story

18

19

•perspective Illustr ator, Dir ector) colleagues,subordinates

•architectural history

Figure 4.2 List of Skills

Figure 4.3 Visual Development

20

Occupations are based on increasing difficulty of tasks,greater responsibilities and a progression of skills

drawing styles (cartoon, realistic). Story development

understand how scene works.

Figure 4.4 Storyboard Ar tist

Figure 4.5 Layout Ar tist

Background is an animation position that has a progression from an assistant to background

Art: Facility in painting with various media (watercolor,

•Occupations are based on increasing difficulty of tasks, greater responsibilities and a progression of skills

proven artistic skills characters and characterizations), solving problems of

Figure 4.6 Painting

Figure 4.7 Traditional Animation - Character/Effects

21

22

•Occupations are based on increasing difficulty of tasks, greater responsibilities and a progression of skills

animators under the supervision of assistant figure drawing, anatomy, animation skills (flipping).

•The occupations below are not a progression of skills but are grouped together because they all work in 3D

critical. Entry level through hi-end.

complex shots and may manage people. completing tasks independently

tasks independently

Figure 4.8 Traditional Animation - Clean-up

Figure 4.9 Computer Ar tist - 3D

23

Art: traditional painting skills

overall fixes. Hi-end position.

done by same person.

Org: teamwork, pressure, client-relation skills

Motion

on difficulty of task and supervisory demands.

Figure 4.10 Computer Ar tist - 2D

Figure 4.11 Computer Ar tist - Technical

Training and education is a major way ofmodifying the labor market for highly skilledpeople. This study finds that the educa-

tion and training community in the Los Angelesregion is already closely identified with theentertainment industry and is struggling torespond to changing needs. Firms are invest-ing substantially in their own recruitment andtraining programs. They are participating ina number of cooperative training programswith education and training institutions. Theinteraction between industry and educationis central to many new training initiatives aswell as to the industry’s recruitment efforts.Increasingly, education and training institutionsare seeking closer ties with industry to helpwith curriculum development, equipment andfacilities, portfolio development, expandedinternships and placement. They seekimproved, systematic communications withindustry on their changing needs.

What is this industry seeking from educationand training institutions? How is the edu-cation and training community respondingto the industry’s training needs?

INDUSTRY NEEDSThe most persistent theme of those interviewedfor this report was the expressed need for peo-ple who can draw — people with well-devel-oped artistic skills especially competency inlife drawing, draftsmanship and composition.People with a blend of artistic and technicalskills are very much in demand. Animationfirms expressed the importance of strong tra-ditional animation skills discussed in previ-ous sections. One indication of the shortage

is the pressing desire for people with advancedskills and experience in speciality areas.

Because of their frustration with the short-ages of qualified people locally and withwhat companies believe is the extreme-

ly high quality of artists trained abroad, firmsare accelerating their recruitment world-wide. The larger studios also are investing heav-ily in their own training. A number have hiredfull-time training administrators and arerunning training programs to teach all stepsof the production process as well as expand-ed on-the-job training. Companies stated thattheir training costs are high and increasing.A new group representing industry trainingadministrators has begun to meet regularly andhopes to improve communication and efficiency.

The following examples of industry trainingactivity reveal their needs. The Walt DisneyFeature Animation CGI Training Program offersan in-depth experience in animation withemphasis on computer production tech-niques. It was developed to meet the increas-ing need for talented CGI animators withinDisney. It is an intensive 12-week scheduleof classes and exercises covering: traditionalanimation overview, basic CGI information andspecific Disney CGI production techniques.Warner Bros. Feature Animation offers avariety of training and artist development pro-grams covering many basic skills for anima-tion. Sony Pictures Imageworks has a full-timeemployee devoted to planning and imple-menting training with classes in all aspects ofthe production process. Pixar has created PixarUniversity which offers a 10-week internal train-ing program required for new hires and is avail-able for all levels of employees.

24

V. EDUCATION AND TRAINING

AFI Center for the Advanced Film and Television Studies, Los AngelesAFI Advanced Technology Program, Los AngelesAmerican Animation Institute, North Hollywood

Art Center College of Design, PasadenaAssociates in Art, Sherman Oaks

California Community Colleges Interactive Multimedia Design Program, FullertonCalifornia Institute of the Arts, Valencia

Digital Media Institute, HollywoodLos Angeles County High School for the Arts, Los Angeles

Otis College of Art and Design, Los AngelesRingling School of Art and Design, Sarasota, Florida

Rowland High School, Rowland HeightsSanta Monica College Academy of Entertainment and Technology, Santa Monica

Silicon Studio/LA, Santa MonicaUCLA Center for Digital Arts, Los Angeles

UCLA Extension Dept. of Entertainment Studies and Performing Arts, Los AngelesUCLA Film and Television Animation Workshop, Los Angeles

USC Integrated Media Systems Center, Los AngelesUSC School of Cinema-Television Film, Video and Computer Animation Program, Los Angeles

USC School of Cinema-Television Summer Production Workshop, Los Angeles

Figure 5.1 Education and Training Institutions Interviewed

EDUCATION AND TRAINING INSTITUTIONS

InventoryThe first effort was to identify those institu-tions providing relevant education and train-ing. An inventory of education and traininginstitutions that offer programs in animationand visual digital effects has been developed.This information, obtained through interviews,website browsing and published sources,includes some data on 150 education and train-ing institutions. Since the search for trained,qualified people in these fields is world

wide, foreign and U.S. institutions identifiedby industry sources from whom they recruitare included. This data will be availablethrough the SkillsNet consortia and on theSkillsNet website when complete.

Recognizing the concentration of animationproduction firms and visual digital effects com-panies in the Los Angeles region and the con-cern about the pipeline of artists, the reportexpanded coverage of education and traininginstitutions in the Los Angeles region to includethose who offer a variety of relevant trainingto these sectors. Figure 5.1 lists the 20 insti-tutions interviewed. Appendix C includesProfiles on those institutions.

25

CharacteristicsFigure 5.2 shows four types of education andtraining programs in the Los Angeles regionleading to jobs in animation and digital visu-al effects. How does the level of training fitinto the workforce?

I ntroductory training taking place at a fewhigh schools enables students to enterdirectly into some jobs in the industry.

However, it also prepares them for post-sec-ondary education where they can expect thattheir credentials will be an advantage in admis-sion to specialized animation and multimediaprograms.

The two-year programs teach basic skills andtechnical specialities preparing students forentry level positions in animation, visual effectsand multimedia, as well as for successful trans-fer to four-year colleges.

Professional programs refer to specialized artand design schools, film schools includinganimation, and engineering schools which

have relevant majors and concentrations lead-ing to undergraduate and graduate degrees.These programs provide a broad base of qual-ification in the liberal arts including litera-ture, math, art history and sciences. They qual-ify their graduates for jobs requiring the mixof artistic and technical capabilities and thosedemanding well-developed traditional ani-mation skills.

The short programs and classes are usedby working professionals in the industry,who need to fill-in or upgrade their

skills; those seeking to change their careersand others with gaps in their training.

What seems apparent from this sample of insti-tutions is that there are course offerings andprograms that provide training for the artis-tic and technical skill requirements listed inthe earlier charts. However, this study doesnot have the data to assess whether these pro-grams respond to the specific needs of thisindustry.

26

FacilitiesKeeping pace with rapid technologicalchanges is a major challenge to trainingproviders. In order to update and keep cur-rent, training institutions have to acquire the

latest technology used by industry profes-sionals. Because equipment is costly, manyinstitutions are falling behind.

Figure 5.3 lists some of the 2D and 3D soft-ware packages widely used by industry pro-

27

Education /Training Program Type of Institution

Degree/Certificate

CurricularEmphases

Introductory Training High School Diploma

fine arts major, animation major, digital media careeracademics

Practical/TechnicalTraining

2-Year CollegesAssociates in Arts(qualifications for transfer)Credentials

fine arts, computerknowledge, compositing, camera,3D computer graphics,multimedia skills, animation, camera

Professional

4-Year Colleges BA, BFA

Figure 5.2

Characteristics of Education and Training Institution Types

University Extensions Course Certificates

Software Trainers N.A.

Art Schools N.A.

Other N.A.

film production, character animation,life drawing, color anddesign, layout, graphicrendering techniques,motion control, digitalmedia, painting, video,storyboarding, 2D/3Danimation

Source: The PMR Group’s Educational/Training Provider data

digital imaging, digitalphotography, 3D modeling, 3D tools,2D/3D special effects,digital compositing,figure drawing, painting, composition,character animation,background painting

Technical and Art Short Programs

2 to 3-YearGraduate Program MFA, MS, MA

fessionals and trainers to create digital art onSilicon Graphic, PC, and Macintosh platforms.Many software packages are designed to per-form a series of functions for different phas-es of the production process and are com-

patible with other software tools. New prod-ucts are continuously being developed andmade available on the market to professionalsand trainers.

28

SG Mac PC Software Package Capability

2D

x x x Adobe Photoshop

x x Elastic Reality

x x Parallax Matador

x Tic Tac Toon

x US Animation

3D

x x 3D Studio Max

x x Adobe Premiere

x A/W Composer

x A/W Dynamation

x A/W Kinemation

x x A/W Power Animator

x A/W Studio

x Amazon Paint

x x Discreet Logic FLINT

x Houdini

x Kodak Cineon

x N World

x x Softimage 3D

Figure 5.3

Animation and Visual Effects Software Examples

Automated editing, navigator palette, guides & grids, free transform tool, multicolor gradients,48 new special effects filters, digital watermarking.

Morphing, manipulate shapes and images, develop effects, matting, layering, warping, andcompositing.

2D painting, photo retouching, matte painting, wire removals, compositing, and rotoscoping,special interactive lighting and glow effects.

Vector-based program with layout, animation, effects animation, clean up, in-between, storyboard,auto-gap closing, color styling, inking, painting.

Vector-based, high-speed, high-quality digital system. Process scanned line art through allphases of production.

Rendering, modeling, flexible keyframing, editing.

Real-time viewing on the Web.

Compositing images, develop timeline, create and sequence events, alter color, work withanimation parameters.

Interactive system creates dynamic events and natural animation.

Character animation system - skeletal control through forward and inverse kinematics or motioncapture.

Create organic free-form models, lighting and particle system effects, lip sync and facial animation,muscle and skin deformations, motion capture sequences, and digital hair.

3D modeling - curve, surface, rendering.

Background matte painting, 3D texture map design, multilayered painting, and 3D paintingon models.

Paint, editing, animation design, compositing, image processing.

Modeling, character animation, particle system modules - object editor, surface operations,editor, model editor, materials editor, texture operations editor, composite operations editor.

Digital imaging & effects - paint, animation, compositing, blue screen.

Create polygon-based characters and environments, modeling, skeletal animation, 3D paint,color reduction.

Modular interface and logical approach to tool sets for animation.

Training partnerships have been effectiveand used innovative means to deal withhigh capital investment costs. Private train-

ing vendors equipped with state-of-the-artfacilities are cooperating with universities andcolleges. For example, UCLA Extension hasa partnership agreement with the Digital MediaInstitute which allows them to offer trainingon Silicon Graphics equipment at the DMItraining facility. Silicon Studio/LA will be thetraining provider for the Hollywood DigitalCareers — a proposed retraining program fordisplaced workers offered by Private IndustryCouncils.

Animation TrainingThere are a limited number of institutions offer-ing formal programs in animation principlesand technique. These are the source for muchof the highly sought after talent, and they arelocated principally in the U.S., Canada andEurope. They offer undergraduate andgraduate degree programs ranging fromthree to four years that provide profession-al training in animation which include:

R life drawing

R character animation

R color and design

R character design

R story telling

R computer animation

R graphic rendering techniques (2D and 3D)

R background

R layout

The program at CalArts is an example thatillustrates the time and rigor required to achieveand perfect the skills. In a typical under-graduate program the student masters thesesubject areas and techniques at an increas-ing level of difficulty. Film making projectsare also introduced. For example:

R first year concentrates on these funda-mental skills and basic 2D computer graph-ics.

R second year involves similar work at a moreadvanced level. It includes a project of upto two minutes duration to incorporatedialogue and sound effects. Basic 3 D ani-mation is an option.

R third year students continue to refine basicskills but may specialize in industry-relat-ed courses in clean-up, inbetweening andeffects animation. Projects are up to threeminutes and collaboration with studentsin the School of Music is encouraged.Students may choose to work exclusive-ly with computers on 3D animation.

R fourth year emphasis is on developing storycontent and character. Students devel-op a portfolio for presentation to the indus-try.

During the program, students must learnfundamental animation principles, suchas timing, staging, anticipation, follow

through, squash and stretch, and overlappingaction. They must be trained to visualize howcharacters move realistically; how they con-vey a feeling of weight, of looseness, of bal-ance-in-motion, and of emotion.

According to data provided by CalArts, stu-dents graduating from this program over the

29

past five years have had excellent placementwith the leading animation and visual effectsfirms.

For those who seek short courses taught byinstructors with strong studio experience thereare:

R classes in animation that are geared toindustry professionals offered by MotionPicture Screen Cartoonist Local 839IATSE through the American AnimationInstitute in North Hollywood. Introductoryand intermediate classes are offered forpeople without previous professionalexperience. Courses range from 18-72hours. In addition to the animation skillslisted above there are classes in:

E inbetweening and assistant animation

E advanced assistant animator

E animation (focuses on principles ofhand-drawn, full character animation)

E quick sketch

E dynamics of figure drawing

R classes in drawing, painting, sculpture andanimation (similar in content and dura-tion to those mentioned above) offeredby Associates in Art in Sherman Oaks. Theyare taught by professional illustrators andanimators.

NEW PROGRAM INITIATIVES The urgency of the situation has stimulateda number of new initiatives in the L.A. region.These are some of the most importantexamples:

a. new and expanded animation and digi-tal media concentrations (Art CenterCollege of Design expanded concentra-tion in animation).

b. new degree and certification programs (Otismajor in Digital Media, AFI MA in digi-tal media, UCLA Extension proposed cer-tificate in Digital Image Creations and NewMedia.)

c. new schools (Santa Monica College — SantaMonica Academy of Entertainment andTechnology is proposing programs in com-puter animation, theme park design,new media, and entertainment produc-tion management. Classes will begin inFall 1997 with 150 students. They haveworked closely with industry in design-ing the program.)

d. public schools (career academies: TheAlliance of Motion Picture and TelevisionProducers in conjunction with WorkforceLA is helping to create entertainment andnew media centers in L.A. area highschools.)

e. industry initiated distance learning.(Warner Bros. Feature Animation has cre-ated a unique program involving anationwide consortium of telecommu-nications providers and school systemsincluding Rowland High School and sev-eral CSU campuses. The Virtual TrainingNetwork pilot program allows professionalanimators from Warner Bros. to teach anddemonstrate animation techniques on aclosed-circuit interactive T.V. network tostudents and teachers in various pilot sitesaround the country.)

30

Government Sponsored Programs

I nitiatives have been taken by a numberof state, federal and local government agen-cies to develop training programs that ulti-

mately will help keep jobs in California. ETPsupports the SkillsNet project as well otherprograms. The L.A. Private Industry Council(PIC) and the Employment Training Panel (ETP)are supporting the USC Integrated MediaSystem Center’s certificate program, designedto retrain displaced unemployed workers. TheU.S. Department of Labor is backing TheInteractive Multimedia Design Program of theCalifornia Community Colleges which pro-vides retraining to displaced workers incomputer graphics, 3D modeling and ani-mation. Human Resource Marketing Servicestogether with Silicon Studio have formed astrategic alliance to develop a visual effectsindustry assessment and training programfor over 50 participants referred from localPrivate Industry Councils.

The 1997 Governor’s budget includes an allo-cation to the California Cal Grants programof $1.2 million designated for digital artists.

ISSUES

Education and training institutions face somecommon problems in sustaining high qual-ity programs and initiating new ones.

The first problem is the future flow of pre-pared applicants who have potential for careersin these industries. At all levels, institutionsare concerned about the pipeline. Willthere be adequately prepared students fromthe school system? What incentives attract

students to study and train for careers in ani-mation and digital visual effects? How canlocal educational institutions compete effec-tively with those from other states andabroad? Retaining students is also an issue.Professional schools want to persuade firmsnot to recruit top students before they com-plete their programs.

The second is the relatively high cost asso-ciated with this type of education and train-ing, an obstacle to initiation of new programsdirectly responsive to industry needs.Institutions face serious problems in cover-ing costs of equipment and facilities. Also,like all higher education, programs in enter-tainment face difficulty in providing adequatefinancial aid to qualified students.

The third problem is the concern about short-ages of qualified instructors. A commonlyheld view is that it is difficult to find quali-fied people to teach at all types of educationaland training institutions. Firms too have dif-ficulty in staffing their training programs. Thisissue needs further investigation before anapproach can be chosen. For those institu-tions having difficulty, what qualifications arethey seeking? How important are academ-ic credentials? What are the problems raisedby relying on a teaching staff made up pri-marily of industry professionals? Are facul-ty leaving for higher paying jobs in industry?How can costs be controlled? Who is train-ing the trainers?

The fourth issue concerns sustaining com-munication with industry about immediateand longer term needs. As is pointed out inthis study, relations between industry and edu-cators are expanding because of mutual inter-dependence. Staying current with fast

31

paced changes in the industry is a problem.Most educational institutions do not have theresources to assess these changes on a reg-ular basis. Industry also frequently lacks suf-ficient information about education and train-ing offerings. What more, for example, canboth training institutions and industry do tohelp students develop portfolios that meetindustry expectations?

Finally, attention needs to be paid toimproved communication among educatorsand training providers. It is important to avoidexcessive duplication of offerings and to mod-erate demands on industry time. Educatorscan benefit from conferring with each otherabout their programs and plans. Improvedcommunications will help identify comple-mentary areas and mutual interests.

32

We don’t teach art in elementary school. Children miss the

window in their developmental process when it would be

easy for the brain to learn the language of art. Later, when

they try to learn in college they have a much more difficult

time. Their brains’ wiring is art-impaired.MARGOT PIPKIN, VICE PRESIDENT,KLASKY CSUPO

Job seekers consist of different groupsdepending on the stage of their career.There are recent graduates with some prac-

tical training; industry professionals, employedbut seeking a career change; and self-trainedartists. Job seekers may find assistance of acareer facilitator useful. Facilitators can placejob seekers in qualified positions. Moreover,because they have insider knowledge aboutthe industry and individual studios, they can

guide job seekers through resume writing andinterviewing.

We have identified several categories offacilitators broadly distributed among the pri-vate sector, industry-affiliated organiza-tions, studios, and education and training insti-tutions. Figure 6.1 summarizes each facili-tator’s role and function.

33

VI. PLACEMENT AND CAREER FACILITATION

Facilitator General Description

Studios’ recruitment activities are driven by their specific needsfor qualified employees. Some studios make regular visits tolocal and national schools and maintain a database. They holdcareer seminars and portfolio reviews at industry associationconferences and events.

Industry associations provide career development seminars andworkshops; create opportunities for networking and socialinteraction; and disseminate industry information. Theyfacilitate labor market flows through various events andprograms. In addition to organizing career workshops, laborunions provide referral services. They keep employment andcontact information for their members.

Industry Affiliated*SigGraphLAwNMoweRASIFALabor Unions

Studios

Education & TrainingInstitutions

*See Appendix C

Private sector agencies work with both employers and jobseekers. They solicit firms for job orders and find qualifiedapplicants. They also provide placement service to job seekers. Job placement and employment agencies generally do not havelong-term clients while agents present artists on morepermanent basis. Headhunters work for employers and fillpositions. Fee is generally based on percentage of income.

Private Sector:Job Placement AgencyEmployment AgencyAgentsHeadhunters

Figure 6.1

Placement and Career Facilitators

Most education and training institutions offer students careercounseling, job placement and referral services. They makeavailable job information on internal bulletins and websites.They also organize studio visits and lectures by industryprofessionals.

PRIVATE SECTOR FACILITATORS

Private sector facilitators work directly withemployers and job seekers and have tra-ditionally occupied a key role in the job

market. Recent trends indicate there are moreagencies specializing in animation and visu-al effects occupations because of the growthin demand for artists in those occupations.The December 1996 issue of AnimationMagazine featured AniManagement andCatalyst Literary and Talent Agency, both rel-atively new agencies assisting and representingartists in the field of animation. Both olderand new agencies are seizing opportunitiesto represent artists in contract and salary nego-tiations. They provide services such asresume writing and interview techniques.

INDUSTRY AFFILIATEDIndustry associations like SigGraph, ASIFA-Hollywood and LAwNMoweR - The New MediaRoundtable contribute to career facilitationby creating opportunities for industry pro-fessionals and job seekers to interact and net-work. The Motion Picture Screen Cartoonists(MPSC) Local 839 does not actively help mem-bers or others find jobs, but makes availableto employers a list of names, employment sta-tus, and contact information.

We learned through our industry interviewsthat many studios find artists within their socialnetwork. Therefore conferences, work-shops, lectures, and social events becomeopportunities for job seekers to initiate andbuild relationships with industry professionalsand learn about career opportunities. Manyof the programs sponsored by industry

associations are directly relevant to jobseekers.

ASIFA has organized a Job Opportunities Expofor the March 1997 World AnimationCelebration in Pasadena. Industry professionalswill be there to evaluate and comment on port-folios. The World Animation Celebration itselfwill have many animation workshops,demonstrations, and special events such asthe New Animation Technology Expositionwhich will exhibit student works from almost100 national and international schools. TheSigGraph 24th International Conference onComputer Graphics and Interactive Techniqueswill be held at the Los Angeles ConventionCenter in August 1997. This annual event willfeature a Computer Animation Festival.

STUDIOS

Major motion picture and TV studios andthe visual effects houses are recruitingwidely both from within the industry and

at education and training institutions. Theytarget many formal animation programsthroughout the nation and the world, includ-ing art schools, community colleges, privatecolleges, unions and high schools. Duringtheir school visits, they make presentations,advise on portfolio preparation and review,and offer internships. They conduct studioopen-house tours, participate in job fairs andcareer days. Some are attempting to coor-dinate internal hiring and have invested inrecruitment staff. They use informal networksand cultivate relationships with trainingadministrators.

The animation divisions of Dreamworks,

34

Warner Bros., and Disney make periodic vis-its to top national and international schoolsconducting seminars and portfolio reviews.The Walt Disney Corp. has recently organizeda touring job fair appropriately named“Disney Day” featuring top Disney anima-tors who talk with college and art school stu-dents about careers in animation. Many stu-dios keep a database of applicants andportfolio review results which is used to con-tact artists for future projects.

EDUCATION AND TRAINING INSTITUTIONS Most of the major education and training insti-tutions devote substantial resources — staff,equipment and space — to career develop-

ment support for students. Company port-folio preparation, job listings, employerinterviews and the like are major and con-tinuous activities. Institutions like UCLAExtension, Silicon Studio, and the AmericanFilm Institute do not have a separate depart-ment devoted to career facilitation. However,every training provider recognizes the crit-ical need for facilitation and informally pro-vides job information to their studentsthrough websites, internal bulletin boards,and/or personal communication. TheAmerican Animation Institute operated by theCartoonists Union (Local 839) sees their intro-ductory seminars as a good placement tool.During this seminar, students learn how toevaluate their own portfolios and improve onthem for actual job interviews.

35

Every day we push our software tools and our wetware cre-

ativity beyond our most ambitious expectations. Every day

the sole test for decisions is: Will it make the film better?TIM JOHNSON, DIRECTOR, PACIFIC DATA IMAGES

The production and distribution of motionpictures, television and related commu-nications industries are among the fastest

growing in California. They are also char-acterized by very rapid growth and techno-logical change. The information presentedin this study is designed to clarify the scopeand dynamics of a small segment of this indus-try’s labor market — digital visual effects andanimation. SkillsNet, the partnership betweenthe AMPTP and BAMP, is the mechanism forusing this information to improve the con-nections between employers and training insti-tutions. However, many individuals, schoolsand other training providers, funding sources,and policy makers will not be able to join inthe SkillsNet consortia directly. The SkillsNetweb site will serve as a clearinghouse to broad-en the reach of this effort beyond the hand-ful of direct participants.

The suggestions below represent some of theissues that should be considered — not justby SkillsNet — but by the whole system of work-force development in California.

INDUSTRY ISSUESSkillsNet needs to monitor developments inthe industry to keep its assessment of indus-try needs current. We think that the follow-ing technological developments are likely toaffect the demand for animation and digitaleffects dramatically. Key issues include:

R extended applications of digital techniquesto animation production

R investigation of other production areasincluding directors and producers oforiginal digital content for the web, dig-

ital sound, digital editing and other dig-ital post production

R Internet bandwidth and future of the Web

R movies and interactive games: convergenceor divergence?

R deployment and success of the digital ver-satile disk (DVD) standard

R re-adjustment to new formats for filmedentertainment

R other developments likely to shape pro-duction.

OCCUPATIONS AND SKILLSSkillsNet needs to be prepared to update andmodify data on the families of occupationsand skills in response to market changes. Ofparticular interest are:

R effects of technology on occupational struc-ture

R effects of technology on the skill contentof occupations

R identification of common (shared) labormarket skills among all segments of theindustries covered by SkillsNet

R clarifying career paths.

EDUCATION AND TRAININGAs SkillsNet forms the consortium of educationand training providers, they need to addressand analyze for these institutions, the following:

R producing sufficient numbers of qualified

36

VII. ISSUES AND NEXT STEPS

artists to match growth

R quality of graduates

R gaps in offerings, particularly regardingchanged technologies

R improved communications with indus-try about market needs

R obstacles in responding effectively to indus-try requirements

R policies for developing pipeline of artiststhrough the school system.

CAREER FACILITATIONSkillsNet has a major role to play in sortingout what works and what doesn’t work in careerfacilitation in order to:

R enable the industry to recruit more effec-tively

R improve access to information for job seek-ers on developments in the job market,job openings and training options

R improve collaboration among educatorsand between educators, with industry andwith facilitators.

37

A new star has arrived at the party. And instead of being a

single wildly successful individual with a private entourage,

it is a large and growing group of artists that work together

towards a common goal, collaborating to create new charac-

ters, new effects and essentially new visions. MARK VOELPEL, DIRECTOR OF CGI, R/GA DIGITAL STUDIOS

PublicationsAMPTP Public Affairs Coalition. The EconomicImpact of Motion Picture, Television &Commercial Production in California: MonitorCompany Report. Los Angeles,California,1994.

AMPTP Public Affairs Coalition. The EconomicImpact of Motion Picture, Television &Commercial Production in California: AnEconomist’s Overview. Los Angeles, California,1994.

Collaborative Economics. The EntertainmentIndustry Cluster in the Southern California Region.A report for the Calif.Econ.Strategy Panel,So.Cal.Regional Forum. Palo Alto, 1994.

College Art Association. Directory of MFAPrograms in the Visual Arts, 1996.

Culhane,Shamus,Animation from Script to Screen,St. Martin’s Press, New York, 1988.

Grey,Milton,Cartoon Animation, Introductionto a Career, Lion’s Den Publications,Northridge,CA., 1991.

Higher Education Directory. 1996.

Pintoff, Ernest, The Complete Guide toAnimation and Computer Graphics Schools,NewYork,Watson-Guptill, 1995.

Roncarelli,Robi (editor),The Computer AnimationDirectory — Schools, Production, ResourceCompanies, Pixel,Toronto,Canada, February 1997.

Scott,Allen J. “From Silicon Valley to Hollywood: Growth and Development of the MultimediaIndustry in California.” Working Paper Series No.13,The Lewis Center for Regional Policy Studies,University of California. Los Angeles,California,1995.

Special Interest Group on Computer Graphics.SigGraph Education Directory: ComputerGraphics Area Focus - Animation. www.sig-graph.org., 1997.

Tseng, Thomas. Digital Complex: TheMultimedia Industry in Los Angeles [M.A.the-sis]. University of California. Los Angeles,California., 1996.

Vivid Studios. Careers in Multimedia, Ziff-DavisPress, Emeryville, California, 1995.

Werenko,John D. Guide to American Art Schools,G.K. Hall & Co., Boston, 1987.

Trade Journals and NewspapersAnimation Magazine, various issues,1996-97.

Apodaca,Patrice. “Effects Industry Decries Lackof Art Education.” LA Times,October 13,1996,p.A-1.

Caruso,Denice. “Microsoft Morphs into a MediaCompany.”Wired magazine,June,1996,pp.126-130.

DiOrio, Carl. “Cost and Effects.” HollywoodReporter, May 31-June 3, 1996, p. S-16.

DiOrio, Carl. “TECH Talk : Global Recruiting.”The Hollywood Reporter,August 22, 1996.

Veronis, Suhler & Assoc. study, quoted in TheHollywood Reporter. November 25, 1996, p.14.

Kaplan, Karen. “USC to operate national mul-timedia research center.” LA Times,May 23,1996,p.A30.

38

REFERENCES

39

Kit, Zorianna. “Training Ground :Two Ontarioschools are turning out grads that Hollywoodis eager to pick up.” The Hollywood Reporter,September 3, 1996.

Mallory,Mike. “Animation:The Going Rates.” DailyVariety, October 1, 1996, p.A24.

Merl, Jean. “Art college celebrates opening inWestchester.” LA Times, January 28, 1997.

Micklewait, John and Adrian Woodridge.“Hollywood’s Business Sense.” The World. TheEconomist, 1997.

Multimedia Directory, 6th Edition,CarronadeGroup, 1996.

Plotkin,Hal. “Hollywood lures high school ani-mators with sweet deals.” Inc., January, 1997.

Selected Press Clippings & New Reports,Santa Monica College, Academy of Entertainmentand Technology, 1996.

Notes1AMPTP Public Affairs Coalition. The EconomicImpact of Motion Picture, Television &Commercial Production in California: AnEconomist’s Overview. Los Angeles,California,1994.

2 Veronis, Suhler & Assoc. study, quoted in TheHollywood Reporter. November 25, 1996, p.14.

3 Motion Picture Association of America.

4 Richmond, Ray. “Tooning In: Fall AnimationLineups” Daily Variety, October 1,1996,pA44.

5 DiOrio,Carl “Cost and Effects” The HollywoodReporter, May 31- June 3, 1996, p.S-18.

6 Estimates based on data about active mem-bership in the Motion Picture Screen CartoonistsUnion, Local 839 of the IATSE.

7Apodaca,Patrice. “Effects Industry Decries Lackof Art Education” Los Angeles Times, October13, 1996, p.A-1.

8 Di Orio, Carl . “Cost and Effects” op.cit.

9 Mallory, Mike. “Animation:The Going Rates”Daily Variety, October 1, 1996, p.A24.

10 Micklewait,John and Adrian Woodridge. 1997.“Hollywood’s Business Sense.” The World. TheEconomist; AMPTP Public Affairs Coalition“Economist’s Overview” op.cit.

11 AMPTP, Ibid.

12 Culhane, Shamus. Animation from Scriptto Screen. St. Martin’s Press, 1988.

13 Plantec, Peter. “Crossing Over to DigitalAnimation” Animation Magazine, March1997, p. 4.

APPENDIX AINTERVIEWS

A-1

APPENDIX BTRAINING PROVIDER PROFILES

B-1

C-1

APPENDIX CINDUSTRY ASSOCIATION PROFILES