In terms of training, few actually get the “right” training. They go to a crash course program like Mesmer f/x (which teaches you about brand X software in 3 short weeks), put together a rather weak demo reel in the same timeframe, and then hit the streets looking for a job. These people, in my opinion, have no training at all because they know nothing of the art of animation, nothing about lighting, nothing about story telling. They just “think” they know the software. The majority of the failures occur amongst these individuals. Sound a little disheartening? It should. You are attempting to break into the film industry. You are just like an actor auditioning for a part. Everyone wants the part, you have to want it more than anyone else, so much so that they couldn’t cast anyone else but you for the role.

If you go to a top quality and reputable school (and do _well_), your chances of getting your foot in the door for an interview increase ten-fold. The recruiters know what is taught at these schools and can assume that you are versed in a lot of things that most other candidates are not, but not always though. A person who has been trained in cinematology will stage their animations differently than those who have not. It’s called framing a scene. Every scene or shot is framed so that it has the maximum impact on the audience in other woods, it tells a compelling story. Students of crash course programs tend to mimic what they’ve seen before, whether good or bad, which indicates a lack of creativity on their part. It’s like copying the Mona Lisa and saying you did it. Yes, you may be able to technically copy something, but without the original there for you to work from, would you be able to paint it on your own? There are a lot of choices to be made…what canvas to use, what medium, what hues, what pose…a lot of questions. Granted you won’t be responsible for every question hat needs to be answered, but you will have to be consciously aware of them. That’s the difference between a good education and an adequate one.

There are no guarantees in this business. It’s one part talent and two parts part luck. The old axiom “It’s not what you know, but who you know” rings true here. Once you get into the biz, you’re over the biggest hump. From then on, you’re one of the players who move from one studio to the next, looking for a better job opportunity. But you have to survive that first spring cut to do it. Some people find work but can’t keep up with the pace. They end up burning out or getting fired. These companies are looking for the best, and you’ll have to stay on top if you want to work for the big boys like ILM, Disney, or Pixar.