Intern Fridays: Interview with Lead Puppet Maker and Costumer Eliza Ryus

Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Eliza Ryus former intern at Fonco Creative Services and now Lead Puppet Maker and Costumer.  Enjoy and stay tuned for future Intern Friday Interviews!

What is your current job title and where do you work?

I'm the Lead puppet maker and costumer at Fonco Creative Services.

What does your job entail?

I make stopmotion and live action puppets and costumes for animated shorts, commercials, and trailers. 

What inspired you to become an artist?

The cartoons I watched as a child. I saw Looney Tunes when I was 5 and decided that's what I wanted to do. Of course that's changed a lot in the years since but still in the same vein. 

Where did you study?

I received my BFA at The School of the Art Institute of Chicago and my MFA at Academy of Art University in San Francisco. 

Why did you choose the studio to apply for the internship?

I actually fell into my internship with Margo Mitchell Media and Marvel Comics by being friends with the guy who had it before me.    

When he graduated, he recommended me for the job. My internship at Fonco started because I was introduced to the head of the studio by my professor and my mentor recommended me for the job.

What did you submit for your portfolio and how did you prepare for the submission?

For Marvel and MMM I was working directly for a freelance artist and helping with Marvel book pages so I went to his studio and showed him some work on a slide show on my laptop (2007).

When I applied for Fo I had a website he could look at. Nowadays I keep my work on an iPad.

What do you believe separated you from others who were also applying for the internship?

Being personable. I believe being friendly and easy to work with has made a large difference did me. I make friends easily and that has helped me more than anything else. 

What was the interview process like for the internship?

Very casual on both counts. We sat and talked about movies and comics we were into, art and making stuff then I was offered the job. Pretty simple considering how nervous I was. 

What department did you intern in and what specific tasks did you accomplish as an intern?

I interned for a colorist so I did the flat color layouts for a little throwback indie comic for Marvel. So a lot of Photoshop work.

At Fonco it's always something new. When I was an intern, I was put to work making puppets for our original content and every puppet was completely different than the last so I had to wrangle it a totally new way with new materials every time. 

How did the internship prepare you for your current career?

At MMM working on a Marvel book I learned a lot about the pipeline and deadlines and efficiency. 

At Fonco I was an intern for my first year and I worked really hard, always tackled a challenge with a clear head and got along with everyone I worked with and that slowly got a real lead position there. 

What is your opinion on paid versus unpaid internships?

I think internships should be paid. I worked for years as an intern at many places. We worked overtime a lot and were usually given the hardest tasks just because we were interns and “needed to learn the ropes.” I was always glad to have the experience, but I was still a student and working 40 hour weeks unpaid and because it's such an important opportunity you can't take the time off to get a second job to pay your rent. Also I believe most employers are unaware that in order to get the 'class credit' interns are paid in, students still have to pay the same amount as they would for a regular class. So essentially interns pay a couple thousand dollars to work for a company that can't even cover their rent. So yes, I believe they should be paid. 

What advice do you have for aspiring artists who want to intern at a studio?

It's the best way to get a job after school, but it doesn't always pan out. Sometimes you really are just free labor and if you're an unpaid intern, do one year, do it well, get the credit and resume line and move on. If there isn't a job at the end of that year, hop from company to company. If you're going to be unpaid, get as many good connections as you can at different places, be friendly and work hard but don't get taken advantage of. Knowing a lot of people in other places is always helpful and they usually know each other and can recommend you if a paid job pops up somewhere. You want to be fondly remembered. 

Thank you Eliza for the interview! Check out more of Eliza's work at: 

www.elizaryus.com

And for more info on Women in Animation San Francisco visit our Facebook Page at:
https://www.facebook.com/wiasf

and Twitter at:
https://twitter.com/WIASanFrancisco

Intern Fridays: Interview with visual development artist Callie MacDonell

Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Callie MacDonell former intern at Marvel.  Enjoy and stay tuned for future Intern Friday Interviews!

What is your current job title and where do you work? 
Currently I'm finishing up my master's in Visual Development and doing freelance projects whenever I
can.

What does your job entail? 
A lot of student loans?

What inspired you to become an artist? 
I can't pin it down to a single event. I was always a dreamer and very imaginative, which as many
people can attest to, can make fitting-in a bit difficult as a young child. When I found out I could
express myself through art and get praised for it, my confidence grew. When I was eleven and took a
tour of the animation house where they were working on Mulan, I decided that I wanted to be involved
in animation. I saw it to be an excellent way to tell my stories while still drawing. I never really stopped
pursuing that goal.

Where did you study?
My undergrad was at The Art Institutes International Minnesota and I graduated with a BS in Media
Arts and Animation. Right in time for the recession.

Why did you choose the studio to apply for the internship? 
I chose Marvel because, though I had always been a fan of animated TV shows involving Marvel and
DC characters, I had also just started to really appreciate comics as an art form. I had also just finished
up an internship with a woman named Trina Robbins who is an author and artist who worked on many
Wonder Woman comics back in the day. I catalogued original illustrations and comic strips that
featured female comic-strip artists. In order to preserve them for Trina's book about woman in the
comic and illustration industries, I was able to touch a part of history and know that there were many
women before me who wanted the same things out of life. So, looking around at internships, I felt
emboldened to apply to larger studios. I also figured with the success of the Marvel films, now was the
time to try and join their team.

What did you submit for your portfolio and how did you prepare for the submission? 
I submitted 10-15 pages from my portfolio and catered it to what they were looking for in the creative
services department, which was mainly digital artwork. They also wanted a cover letter and resume.
Luckily, I was well prepared for writing them thanks to the classes in my undergrad.
What do you believe separated you from others who were also applying for the internship?
Knowing what I know about the internship now, I'd say that it was my technical skills, my eye for color
and composition, and the clean and polished layout of my portfolio. I also read and re-read my cover
letter to make sure that it offered enough information without being too long-winded.

What was the interview process like for the internship?
I received an email saying that they would like to interview me for a job and that the internship would
be in five days at their office in New York. I wrote them back saying that I was excited but, unfortunately I couldn't go to them because I was in San Francisco. After a nerve-racking day of
waiting, I received a response email apologizing and got scheduled for an over the phone interview.
The interview was between me and two of my bosses: one from the HR department and one from the
creative department. They asked me about my skills, my strengths and weaknesses, and asked me to
walk through the process of creating one of the works in my portfolio.

What department did you intern in and what specific tasks did you accomplish as an intern? I 
was a part of the Creative Services team. My job entailed many jobs but, most of them involved
merchandising. I would have to adjust or color correct artwork that would be used later on different
products. I created new and interesting repeating patterns using marvel characters to be used on fabric
for backpacks, clothes, towels, ect. I would also create style sheets, creating different hypothetical
products using the Marvel graphics at my disposal. A few times I was also called in to painstakingly
trace original Marvel artwork in order to create a vector image while still being true to the original
artist's work.

How did the internship prepare you for your current career?
Though I'm still freelance and looking
for a career, I gained a lot of knowledge that is helping me in my process. I learned not only a lot of
technical skills but, also a lot about color and merchandising.

What is your opinion on paid versus unpaid internships? 
I loved working at Marvel but, I did have
to move across the country in order to take the internship. Looking at the Marvel office in Downtown
Time Square, I couldn't help wonder why a multi-million dollar company couldn't afford to pay me
even minimum wage when I worked 30 hours a week. I'm very very grateful to have worked for the
company though, and I would not have made any other decision. I do hope that in the future that large
companies will understand the burden of student loans and pay their interns for their hard work.
What advice do you have for aspiring artists who want to intern at a studio? Make sure you only
put your best forward. Spend the extra time and money on a professional looking website. When you
write your resume and cover letter be sure to cater them to your audience and read up on the "dos and
don'ts" of making professional cover letters and applications. Also, DO NOT be a quite person who only does their job. Make friends and put yourself out there.

Thank you Callie for the interview!  Check out Callie's portfolio here: 

calliemacdonell.daportfolio.com

And for more info on Women in Animation San Francisco visit our Facebook Page at:
https://www.facebook.com/wiasf

and Twitter at:

https://twitter.com/WIASanFrancisco

Women Direct! is coming to Newport Beach

Mark your 2014 calendars because Women Direct! is coming to the Newport Beach Film Festival:

The 15th annual event is now accepting submissions and is spotlighting women directed films.
Check out the link below for more details:

http://www.newportbeachfilmfest.com/2013/women-direct/

Persistence of Vision Thursday, November 21st, 7:00 PM - one night only in SF!

Persistence of Vision -- the untold story of visionary animator Richard Williams and the greatest animated film never made -- will be having its highly-anticipated Northern California premiere at the Christopher B. Smith Rafael Film Center in San Rafael on Thursday, November 21st, 7:00 PM, for one screening only!: http://bit.ly/PoVsrfc

PERSISTENCE OF VISION 

SYNOPSIS:

Striving to make the best animated film of all time, visionary and acclaimed animator Richard Williams (three-time Oscar-winning animation director of Who Framed Roger Rabbit) spent nearly three decades of his life toiling away on his masterpiece, The Thief and the Cobbler -- only to have it torn from his hands.  

Using incredible animation from Williams' lost epic, rare archival footage, and exclusive interviews with various artists and animators who worked on the ill-fated magnum opus, young filmmaker Kevin Schreck brings this legendary, forgotten chapter of cinema history to the screen for the very first time.

Called a "Herculean accomplishment" (indieWIRE), a "suspenseful portrait [and] superb documentary" (The Seattle Times), and a "fascinating slice of film history" (Variety), PERSISTENCE OF VISION is the "gripping" (The Globe and Mail), untold story of the greatest animated film never made.

SCREENINGS & TICKETS: 

Christopher B. Smith Rafael Film Center

1118 Fourth Street (Between A & B)

San Rafael, CA 94901

Tickets: http://bit.ly/PoVsrfc

Thursday, November 21st, 7:00 PM

ONE SCREENING ONLY!

Followed by Q&A w/director Kevin Schreck

*****

TRAILER:  https://vimeo.com/38413085

FACEBOOK:  https://www.facebook.com/PersistenceOfVisionOfficialDocumentaryPage

TWITTER: https://twitter.com/PoVDoc

*****

Director Kevin Schreck is available for interviews for press purposes.

We hope to see you at the movies!

Special Member Event: Meet Lauren MacMullan and see "Get A Horse!" on November 18th @ ILM

Greetings WIA-SF Members!

ILM has invited Women in Animation to a special screening of the new Disney animated short "Get A Horse!" featuring special guest -- Director Lauren MacMullan!

The screening will be held on Monday November 18th at noon. ILM has reserved 50 spots for WIA members. 

Ms. MacMullan's directorial credits include Avatar: The Last Airbender, The Simpsons and King of the Hill. 

If you're a member would like to attend please RSVP by Wednesday November 13th and put ILM RSVP in the subject line.

See you there!

Members Only Meeting November 13th @ Pixar Animation Studios

Greetings members! We are excited to announce that our guest speaker for our upcoming meeting will be Associate Producer Nicole Grindle.

We'll start the night out with drinks/snacks and some time to socialize. We're looking forward to meeting and welcoming all of our newest members! Following Nicole's talk we'll have updates on future WIA SF Events in the works. One hint for now: Christmas is right around the corner...do you have your party hat?

A moment for service: Women in Animation are also women who know how important it is to share with those less fortunate. At the meeting we'll be accepting canned good donations to be distributed to soup kitchens and homeless shelters around the Bay Area. Bring your canned goods or non-perishable items with you to the meeting and we'll take care of the rest.

 If you're a member and able to attend the event on Wednesday, November 13, please RSVP to womeninanimationsf [at] gmail [dot] com so we can add you to the security list.

**You won't be allowed through security unless you have RSVP'd.

 Looking forward to seeing you there!

Intern Fridays: Interview with Stop-Motion Animator Ellen Yu

Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Ellen Yu, former intern at Starburns Industries.  Enjoy and stay tuned for future Intern Friday Interviews!

What is your current job title and where do you work?
I am currently a freelance illustrator based out of Burbank.  I recently interned for Starburns Industries for the stop-motion feature film Anomalisa.

What does your job entail?
I was an art intern on the production.

What inspired you to become an artist?
I have many inspirations stemming from anime and independent short films.  I love the work of Studio Ghibli, Don Hertzfeldt, Jiri Trnka, Bretislav Pojar, and many more.
 
Where did you study?
I studied Character Animation at the California Institute of the Arts.

Why did you choose the studio to apply for the internship?
There aren't many stop-motion internships to choose from.  I was fortunate enough that the Anomalisa production aligned to when I was available.

What did you submit for your portfolio and how did you prepare for the submission?
I submitted my fabrication portfolio for puppets and my film reel. The reel showed parts of my Senior film and projects that I worked on.

What do you believe separated you from others who were also applying for the internship?
Truthfully, I think availability was the key.  This wasn't for a paid position, but I do think having prior work experience in your field will help you get a job faster.  It's a lot easier to obtain work if you have previous jobs to back you up.
 
What was the interview process like for the internship?
The interview process was very quick. The company looked at my portfolio and told me the guidelines to the internship.

How did the internship prepare you for your current career?
I originally started out as a puppet intern, but was switched over to help in the graphics department. I created miniature labels and graphics for props in the movie.  At the tail end of my internship, I track read the eyebrows and mouth sets for the 3-D printed faces using Dragon.
 
What is your opinion on paid versus unpaid internships?
I hope every internship is paid. Sometimes studios don't offer pay due to budget constraints. Internships allow connections.  If you do get a chance and can afford to intern unpaid, I would give it a try.

What advice do you have for aspiring artists who want to intern at a studio?
I advise that students intern while in college.  A lot of internships don't allow you to intern without proof of college credit.  I hesitated to intern during school because of my school work and all of the classes I wanted to take.  I would suggest interning during the summer with help from family or interning somewhere you are locally from. 

Thank you Ellen for the interview!  Check out Ellen's reel and portfolio here: 

http://vimeo.com/62231883
http://eyu-animation.blogspot.com/

And for more info on Women in Animation San Francisco visit our Facebook Page at:
https://www.facebook.com/wiasf

and Twitter at:

https://twitter.com/WIASanFrancisco

Intern Fridays: Interview with Animator Lana Bachynski

Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Lana Bachynski, Women in Animation San Francisco member and former Blizzard Intern. Enjoy and stay tuned for future Intern Friday Interviews!


What is your current job title and where do you work?
I am currently on the market! In the mean time I'm headed to Mumbai, India to teach at the American School of Bombay.

What does your job entail?
My [internship] required me to create character sets for in-game models, and high-res models in the 'eggroom' for the titles StarCraft II: Heart of the Swarm as well as the yet-to-be-released Blizzard All-Stars. I was animating everything from bipeds to decapods on a weekly basis.

What inspired you to become an artist?
I suppose I've always been immersed in the culture. My parents are both triple threats of the stage and beyond (understatement of the year), and thus they were always teaching my siblings and I about art. That being said, I always thought I'd be a scientist. I loved technology! Computers, space, Chemistry, whatever - I was into it. Throw something under a microscope and I was endlessly entertained.
However, I never did have a chance to seriously pursue it, as I ended up attending Victoria Composite School for the Performing and Visual Arts. I studied instrumental music (orchestra, jazz), drama, musical theater, regular theater, and visual arts (painting/sketching). On a whim one year I signed up for a class called 'AGA' or "applied graphic arts. It was an introduction to photography (which I also pursued), web design (I dapple) and animation! While I still never heard the word "principles" until college, I fell in love with animating (in Cinema 4D), and the rest is history.

Where did you study?
I just graduated from the Academy of Art University here in the Bay Area with a BA in Creature and Character animation.

Why did you choose the studio to apply for the internship?
I've always been a fan of Blizzard Entertainment. I grew up on Warcraft, and played the hell out of Brood War. Still do! I think it's important to be working on something you care about.

What did you submit for your portfolio and how did you prepare for the submission?
I submitted my portfolio online. I didn't think much of it - you know, you press that "submit" button and it's your application is lost to cyberspace. I didn't know anyone who worked there or anything, so there was no internal connection to give me even unofficial updates -- or even confirmation that it even existed on their end!

When it came to prepping for the submission, I just did what I thought felt right. I put my best stuff in my reel - not just cycles and things (because it's a game, right?). I figured if they saw that I could animate something other than a cycle, they would know that I could do whatever they needed me to.

What do you believe separated you from others who were also applying for the internship?
My cover letter. I'm honest.

I don't like to be shy when it comes to those things. The way I figure, the recruiters have to sift through so many other candidates (after I got the job, I was told I beat 8,000 other applicants), they must read through so many long-form resumes. I refuse to fall into that niche. Even if I don't get the job, I like to think I made a recruiter think for a second (maybe even smile) and hopefully feel a little bit better about a tedious process.

Plus, like I said above, I didn't just put cycles in my reel. They probably see enough of that, too!

What was the interview process like for the internship?
First things first, I waited. After I applied, it took Blizzard 4 months to get back to me. I nearly forgot I had applied!

I received a "specially encoded" e-mail with instructions for completing an animation test. On a normal day it would have felt fairly stressful - but on this particular day, it was the first day of midterms, and the test told me that I had one week to rig the mesh they had sent me, then animate an idle with a look around, a run cycle, an attack, a death and something of my choice. I immediately e-mailed all of my teachers, told them I wasn't going to make it to class that week and started my test. I took about 1 day or so for 'rigging' and the rest of the week for animating. I also took the time to render everything with an occlusion pass, but I wouldn't recommend that as  I didn't end up turning in my test until two hours before the deadline.

From there, I got a call about three days later to schedule an interview. The interview was easy, it was supposed to be with several of the folks on the team, but it ended up being only with Allen Dilling (an amazing man who ended up being my manager). We laughed a lot. Well, I laughed a lot…I was pretty nervous.

Three days later, I got a call with an offer!

How did the internship prepare you for your current career?
Even though I was an intern I was never treated like an intern. Either emotionally, or with the actual work they gave me. While I was only there for three months, I feel as though it gave me a relatively deep understanding as to what some of the challenges and obstacles lie in wait for an animator, and how the workflow differs from that of a film animator.

Beyond anything else, though, it gave me confidence. I left feeling like I was truly a part of a team. I can really do this.

What is your opinion on paid versus unpaid internships?
No one should work for free.

Personal projects are one thing - if you have something in your heart or your brain or anywhere that you need to get out, and you want to do anything to get there - that's your own prerogative.
But if you're out there busting' your butt under the weight of $50,000 worth of student loans, I feel like it is an insult to an artist - and honestly as another working human being - to ask for work for free. We don't ask a maintenance person to clean up puke without payment simply because "I hear he or she is pretty good at making the floor smell pretty." Why should there be such an unrealistic double standard?

What advice do you have for aspiring artists who want to intern at a studio?
To quote a great, orange-haired giant: Work hard and be kind and amazing things will happen to you.

Thank you Lana for the interview! You can view more of Lana's animation work and her work with Tea Time Animation Club here:

http://bachynski.tumblr.com
www.teatimeanimation.com
@Latienie
@TeaTimeAnimates

And for more info on Women in Animation San Francisco visit our Facebook Page at:
https://www.facebook.com/wiasf

and Twitter at:

https://twitter.com/WIASanFrancisco

Intern Fridays: Interview with Animator Priscila Vertamatti

Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Priscila Vertamatti, current Pixar Animator and former Pixar and Disney Intern. Enjoy and stay tuned for future Intern Friday Interviews!

What is your current job title and where do you work?

I'm currently an Animator at Pixar Animation Studios in Emeryville, CA.


What does your job entail?

I animate production shots, that is, I give life - from acting to polishing - to characters in a Pixar movie.

What inspired you to become an artist in the first place?
I've always been drawing, ever since a little girl. A passion I could never really explain. I just love creating characters and stories, and bringing them to life. And of course, I've always loved Disney movies! 



Where did you study?

I attended the Academy of Art University in San Francisco, CA for my BFA in Character Animation.



Why did you choose to apply for the internship at Pixar Animation Studios?

I've actually only started doing (and liking) CG animation at AAU, before that I've always wanted to be a traditional animator. Pixar and Disney movies have always been my biggest inspirations, and uniting my unconditional love for animation, it was the moment I was waiting for my whole life.

The reason why I moved to the US was to seek unique opportunities like these. The previous year I had done the summer internship at Disney in Burbank, CA as a CG animator, to my surprise. As I was finishing school in 2012, I applied and got into the Pixar internship, it was a dream come true!



What did you submit for your portfolio and how did you prepare for the submission?

I prepared a demo reel with a variety of animation tests that could give others a good idea of my range of skills. I had both CG and Traditional shots, a dialog test, a quadruped, shots with my own characters and shots with Disney characters. For Disney I remember sending in some life drawings as well at the end of the demo reel, but for Pixar it was not necessary, as much of that knowledge can already show through one's animation. 



What do you believe separated you from others who were also applying for the internship?

I think it was my life-long passion for animation, which hopefully showed through my work. Having traditional shots in my reel also helped, I believe, since the CG animation market is so saturated nowadays. Additionally, I had work from my previous summer internship at Disney; all my other shots had characters of my own creation (for the CG rigs, I modified them to look as close as possible). I believe I had some pretty interesting ideas and I've also been told that I have very strong sense of appeal and design in my work.



What was the interview process like for the internship?

For Pixar, I never really went through a formal interview. The reason might be that they prefer to look at one's demo reel first, but also, having been in the Pixar class at AAU, I could have been recommended without even knowing it.



What department did you intern in and what specific tasks did you accomplish as an intern?

I did the Animation internship at Pixar. The goal was to animate a variety of test shots with Pixar characters, much as if you were creating a demo reel. We animated Luxo the lamp interacting with a ball, a Buzz Lightyear dialog, and other shots with characters from the latest Pixar movie, in our case, Brave. None of these shots were production-related, the internship really was about strengthening one's animating skills, learning the software, attending demos and lectures and having tons of fun!



How did the internship prepare you for your current career?

It prepared me in so many ways! It made me a better animator in the first place, learning from the mentors and fellow animators/interns. It also prepared me technically, after all, learning the software does make a difference; and it also prepared me emotionally, as I felt more confident as a professional, receiving both positive and constructive feedback on my work and personality. After the internship I started as a Crowds & Fix animator on Monsters University, moving up to animator recently this year after completing on the Pixar short Toy Story of Terror. I want to continue to grow inside the company, but will always remember where it all started!



What is your opinion on paid versus unpaid internships?

I think internships should always be paid. Many interns are already so skilled they could well be doing professional work, so really, it's just a position title. It's totally understandable not to have the same benefits as a full-time employee, but not be paid at all just sounds unethical to me. If you're going to "volunteer", might as well do it for a non-profit organization that truly needs your help.



What advice do you have for aspiring artists who want to intern and eventually work at a studio?
Work hard! Animate because you truly love it, and you will be happy anywhere. If you're looking to work in a studio, teamwork and disposition are essential, being talented is not enough. Always continue to study from life, draw a lot, both animals and people, attend lectures, look for and accept feedback, and just be honest with yourself. The time will come if you truly believe it!

Thank you Priscila for the interview! For more info on Women in Animation San Francisco visit our Facebook Page at:

https://www.facebook.com/wiasf

and Twitter at:

https://twitter.com/WIASanFrancisco

Intern Fridays: Interview with Animator Tyler Clapp

Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Tyler Clapp, a former Intern for High Voltage Software. Enjoy and stay tuned for future Intern Friday Interviews! 

What is your current job title and where do you work?
Unemployed! I do have a little freelance coming in from PG&E, where I'm a computer graphics contractor. 


What does your job entail?  
It's 3D generalist work - I basically make computer graphics for clients, start to finish. I listen to what they want, come up with ideas and a general look for their approval, then create the animation / graphics.


What inspired you to become an artist?
Practicing something and getting paid for it - especially when it's something I'd want to do any way - has an irresistible appeal. 


Where did you study?
The University of Illinois at Urbana-Champaign. I was a film major.


Why did you choose the studio to apply for the internship?
It was straightforward: location and, frankly, existence. I was outside of Chicago at the time, where studios are a little thin on the ground. It was one of the few places with opportunities for digital art / computer graphics work that offered internships.


What did you submit for your portfolio and how did you prepare for the submission?
Looking back, my portfolio submission to High Voltage was very broad. I put everything in there: illustration, 3D modeling, texturing, animation, life drawing, etc. Basically anything remotely 3D / art related I had done went in there. I would certainly not take that approach today.

As smorgasbord-like as it was, though, I made an effort to show only my best stuff in an attractive and coherent presentation. I think that helped.


What do you believe separated you from others who were also applying for the internship? 
I can't speak to what the other applicants looked like, but I can only guess that my professionalism and thorough portfolio sealed the deal.


What was the interview process like for the internship?
Friendly and informal. They reviewed my portfolio with me, but I got the impression I had the position before I walked into the room. They just wanted to meet me and make sure I didn't toss up any major red flags.


What department did you intern in and what specific tasks did you accomplish as an intern? 
The department didn't have a name, but it was quite varied. I catalogued, cut, and edited audio clips from voice actor sessions. I modeled environments - mainly cityscapes, and did some basic animation.


How did the internship prepare you for your current career?
Much of the work was the same, just on tighter deadlines. And while this is small I do think it's important: it made me much more familiar with using computers with networked version control. Simple file management became a lot more important.
 
What is your opinion on paid versus unpaid internships?
People should be paid for their work. Unpaid internships exacerbate already rampant inequality where those who can afford to work for free for months at a time get better connections and jobs than those who must support themselves.


What advice do you have for aspiring artists who want to intern at a studio?
It really helps to know someone. More than half of the people I know that got internships at reputable studios did so for two reasons: their work was fantastic, and they had a friend on the inside. The importance of that cannot be overstated. A network of friends and acquaintances is your best bet for getting good work.

Thank you Tyler for the interview! For more info on Women in Animation San Francisco visit our Facebook Page at:

https://www.facebook.com/wiasf

and Twitter at:

https://twitter.com/WIASanFrancisco

Sign up to collaborate on great projects with Women in Animation San Francisco Members

 Hello WIA Members! 

Would you like to part of a collaborative project or would you like your collaborative featured on our Facebook page?

We are setting up a list within our members for collaborative project list and an artist list.

Please email your skills or project pitch to womeninanimationsf@gmail.com

Intern Fridays: Interview with Visual Development Artist Tsebahat Fiseha

This is the first in our series of interviews with former Interns at animation, film, and video game studios. Today we bring you Tsebahat Fiseha, a former Cartoon Network Intern. Enjoy and stay tuned to future Intern Friday Interviews!

What is your current job title and where do you work?

I am a Production Assistant at Moonscoop LLC, which is a Television Animation Studio. Currently, we are working on the second season of Lalaloopsy for Nickelodeon.

What does your job entail?

Since I am a production assistant for the storyboard dept., I am basically assisting the Production Coordinator with conforming and storyboard mark up. Conforming entails scene numbering, page numbering, camera cuts, and making sure the storyboard matched the animatic panel by panel. Storyboard mark up entails calling each character, location, and prop out-basically labeling with a call-out number. Each one of those items have a specific number that match the image, so that animators overseas are aware of which character, location, and prop to use and animate for whatever scene they are given. 

What inspired you to become an artist in the first place?

Since my parents were artists and very handy, I was intrigued and wanted to become independent and learn how to make things, which is where the passion for fashion came about. 

My father was an oil painter and my mother was more of a fashion designer/ carpenter. My father would make his own canvases and together they were able to make furniture for our home. I loved drawing, but cartooning was what I wanted to do. At the time, I felt like my style of drawing characters was way more exaggerated than fine animation. However, I wanted to perfect my skills and become more of a fine artist. Both of my parents were my inspiration.

Where did you study?

I attended Woodbury University and majored in Animation Arts, which covered 3D/2D basics, and received a B.F.A.. Three years after graduating from Woodbury, I went back to school and earned an M.F.A. in Visual Development.

Why did you choose the studio to apply for the internship?

I never applied to Moonscoop as an intern. I just applied for the job itself. I applied to Cartoon Network Studios back in 2005 because I needed school credit. It was the only studio that called me back. I’m glad they did. I honestly had the time of my life.  It was the best experience ever.

What did you submit for your portfolio and how did you prepare for the submission?

When I was applying for the internship at Cartoon Network, I showed my best paintings and character designs. And I rehearsed explaining each one beforehand. As always, put your best work only and put it in the beginning and of course smile.

What do you believe separated you from others who were also applying for the internship?

Well, I have to say, I was eager, excited, and hungry ….starving to show my portfolio. The thing is that you are dealing with HR first and must impress them first before meeting with a producer.  I took my time with the HR  personnel.

What was the interview process like for the internship?

The interview process was intense. I actually thought I blew it. There was a mini interview on campus. The second interview was at the Cartoon Network Studio. A few days later, the third interview was with the producer of a show.

What department did you intern in and what specific tasks did you accomplish as an intern?

I was a Visual Development intern for Camp Lazlo. I had to create an idea for a TV show and design characters, backgrounds, props, and storyboard an entire episode and lastly, pitch the idea to the studio. Fifty people showed up to my pitch. I basically had 12 weeks to prepare for my pitch.

How did the internship prepare you for your current career?

I think my internship at Cartoon Network Studios prepared me more for Grad School in terms of what I wanted to major in , hence, the experience I I had at my internship prepared me socially for my current career in terms of dealing with people of different personalities and how to carry myself at work. You live and you learn!

What is your opinion on paid versus unpaid internships?

Paid internships are obviously more desirable, however not always easy to get.  It’s the unpaid internship that you end up appreciating more than the paid internship.

What advice do you have for aspiring artists who want to intern at a studio?

You’re fellow classmates and artist friends are you’re best network. Stay in touch. On the side when possible, contact studios and ask about their internship program (paid or unpaid) for students. Never ask if it’s paid. Let them tell you. Show your best work. Get a teacher or chairperson to look through your portfolio. Then, apply. 

What I would like to say to aspiring artists after they receive the opportunity is be prepared to work hard, leave a long-lasting positive impression because producers, artists, and executives will NOT remember you if you don’t. Also, be prepared to wear many hats and learn as much as you can. Plus, talking to other artists at the studio maybe fun and amazing, but remember they are busy and it’s never good to linger around their office. 

Thank you Tsebahat for the interview! For more info on Women in Animation San Francisco visit our Facebook Page at:

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Pixar's Monsters University a ROARing Good Time

Andreas Deja and Carol Kieffer Police Wow the Crowd at the Walt Disney Family Museum

Saturday Sept. 21st members of Women in Animation San Francisco had the great pleasure of meeting and hearing animation legends Carol Kieffer Police and Andreas Deja discuss their careers and work on Bambi II at the Walt Disney Family Museum. The pair in front of a sold out audience in the Disney Theater first discussed how they came to excel in their respective careers.

Ms. Police's career spans the gamut from feature films to television, including animating on The Lord of the Rings, and serving as a layout artist for Ducktales: The Movie, Home on the Range, and art director for Tinker Bell, Bambi II, and as a location development artist for Shrek.

From left to right top: Sarah Fenton, Carol Kieffer Police, Andreas Deja, Angela Entzminger, and Diana Martinez. Bottom left to right: Kristen Sanzari, Samia Khalaf, Jasmine Truong, and Marji Fortin.

Mr. Deja is well known for his work at Disney, where he worked for 31 years, serving in many roles such as supervising animator on classic characters like Roger Rabbit, Mickey Mouse, King Triton, Scar, Jafar, Gaston, Lilo, and Tigger.  

A native of Germany, Mr. Deja dreamed of working on Walt Disney animated features, and took his first life drawing course at the impressionable age of 16. Although he earned a degree in graphic design, he longed for the world of animation. Since their were few formal classes he could take, he resorted to creating assignments for himself, such as animating walk cycles for various types of people, big and small, and animating horses. His persistence paid off and in August 1980 he became a member of the Disney Training Program led by animator Eric Larson.

Stateside, Ms. Police dreamed of becoming a renowned fashion illustrator in New York City. Her mother, president of the National Watercolor Society and an accomplished painter and illustrator in her own right, created the catalyst that led to Ms. Police's determination to excel in her field. She attended Art Center College of Design and the week before graduation, was hired by Ralph Bakeshi to work on the animated The Lord of the Rings. "You can do all the pretty stuff in the movie, " Backshi said upon seeing her illustrative work. Afterwards, she received a call from legendary animator Richard Williams. "I'll hire you for one hundred dollars a day and teach you what I know," said Williams. For the next three years, she worked with both Williams and animator Art Babbitt, gleaning a wealth of experience in the world of animation.

As the crowd of students, professionals and animation fans listened in awe, Ms. Police and Mr. Deja chronicled the ups and downs of their careers. Above all, Ms. Police urged students to "...not be afraid of being afraid. Fear is the great motivator." "Just do it," she said. "You guys will be great. Use your brain. Draw, draw, draw."

Along with discussing their careers, the pair also discussed the art of Tyrus Wong, now on display at the Museum through the fall. They analyzed Mr. Wong's lyrical style in his paintings, his sense of line and motion, as well as the shape detail of his backgrounds and characters. Influenced by the Chinese Sung Dynasty, it was Mr. Wong's unique style using gouache studies that led the Disney studio to hire him as a background artist on Bambi. "Bambi is one of those films where one artist was able to put their stamp on the film. That doesn't happen that often," remarked Mr. Deja on Mr. Wong's artistic sensibility.

Mr. Deja entertained the crowd with stories he heard firsthand from luminaries like Marc Davis, Ollie Johnston, Frank Thomas, and Milt Kahl, who all worked on the feature. As Mr. Deja explained, "Even they didn't know they could do this." This was the first time Disney feature films had ever crafted realistic looking creatures, even more so than in other films like Snow White and Bambi. Disney's excitement encouraged them, said Mr. Deja. These were not individuals who had studied deer for decades, these were artists in their 20s , figuring out new ways to draw.

Mr. Deja and Ms. Kieffer Police ended the session by answering questions about everything from where they felt 2D was heading in the future to more in depth discussions of Bambi. Mr. Deja even gave a demonstration on how to draw the famous faun in under 10 minutes.

Special thanks to Mr. Deja and Ms. Police for their entertaining lecture.

Very Special thanks also to Walt Disney Family Museum Public Programs Coordinator Mary Beth Cullen as well as the numerous volunteers at the Museum and the staff at the California College of Arts who made the event possible.

Visit Mr. Deja's blog at http://andreasdeja.blogspot.com/

Visit Ms. Police's studio site at: http://www.madeinparadiseprod.com/

For more information on the Walt Disney Family Museum and their upcoming events, visit their website at www.waltdisney.org


For more information on Women in Animation San Francisco and to get updates on other animation related events in the Bay Area, check out our Facebook page:
 
https://www.facebook.com/wiasf
 
And Twitter:
 
@WIASanFrancisco

Pixar Director Mark Andrews Entertains and Informs at AIGA SF's Design Lecture Series

Mark Andrews is no stranger to a good story.

The 13 year Pixar veteran has storyboarded on several of the studios most beloved films, including serving as head of story on both The Incredibles and Ratatouille, as well as co-director on Brave. He also knows his way around live action, having boarded out scenes for Spider-Man and serving as second-unit director on John Carter, fellow Pixar director Andrew Stanton's live action feature.
And Thursday night AIGA SF, the professional association for design, brought the acclaimed Academy Award winning director to the stage to showcase his storyboarding talent and boundless energy and humor to Adobe Systems.

“At heart I’m a storyteller,” he told the sold out crowd of professionals, students, film fans and designers. “I've always drawn since the age of three. I think I drew because of my imagination. It was the only way for me to get the stuff inside my head out." Originally he wanted to work in comics, but he didn't let a scathing rejection letter from Marvel knock him down. "I took it as a challenge," he said.

Attendees awaiting the presentation.

He turned in a portfolio at Cal Arts and after graduating with a degree in film and living a life as a starving artist for a year, landed his first gig at Hanna Barbara Studios.

As he told the engaged crowd, “I'm a solid D student but I can draw like a mother,” and he put his talents to good use on popular shows like The New Adventures of Johnny Quest, and later on Samurai Jack and The Clone Wars. "The thing that I learned doing TV was to trust your gut," said Andrews.

"I learned back in my TV days that the proof is in the pudding. We had only eight short weeks to turn out a 22 minute episode of storyboards...and I cut my teeth on storytelling there."

His experience boarding for TV greatly influenced his approach to boarding for feature animation.
"What I saw right when I got into feature animation was waste. Waste, waste, waste, waste, waste. It was waste of thinking, it was over-thinking, it was noodling drawings. It wasn't getting into the essence of the gut, into the essence of the feeling," he said.

"I'm the audience, I'm trying to make it happen in my mind and get it on the page so I can eloquently tell my crew what I'm going for so they can put their massive amounts of talent to get it to the audience." He used his skills in TV to help usher in a form of cinematic storytelling often missing in many animated features.

WiA SF member Kristen Sanzari waits for the event to start.

It was his unending quest to affect the audience that enabled him to improve his skills and landed him an opportunity to storyboard with Jeffrey Lynch, head of story on director Brad Bird's The Iron Giant.
His work ethic and good relationship with the crew encouraged Lynch to call him to work on Spider-Man, where he was now second unit director. In a serendipitous turn, Bird called him immediately after Andrews got off the phone with Lynch to be head of story on The Incredibles, enabling him to work on back to back super hero films.

Boarding for live action enabled him to see how animated films could benefit from live action techniques. And as proof, he showcased three scenes he boarded for Spider-Man, The Incredibles and John Carter, complete with dialogue and sound effects.  Andrews love of film and energy was infectious and his unbridled enthusiasm propelled him to do things differently than what was considered standard in animated fare at the time.

Working with director Sam Raimi on Spider-Man was a learning experience that greatly influenced how Andrews create films, he said.

"It made me realize what I've been trying to emulate in animation for a few years. We're trying to emulate live action. We're trying to make a movie. And the things that make movies movies are the limitations in the physical world," he said. "It is the camera weight. It is the lenses. It is the light. It is actual gravity. It is location spatial awareness. It is physics. And in film they've developed a whole way of shooting and capturing something on film and coming up with it in a certain way to put these images together to convey a story. So that's when I started to think like a real filmmaker. When I would draw it would convey to someone actually physically getting the shot. That was a big lesson."

Mark Andrews discusses the tone and feel of The Incredibles.

Director Brad Bird possessed the same kindred spirit when creating The Incredibles, said Andrews. That sensibility enabled Andrews to use his experience with Spider-Man and collaborate with Bird to give The Incredibles a look that is often missing in other animated films. “Brad wanted us to shoot it as if it actually existed,” he said.

“Animation has this stigma of being as kids genre,” he told the audience. “But it’s changing.” He pointed to the change in animated film ratings, and how more and more films are being released as PG instead of G. “The first PG-13 animated film if it’s good, will make more money and open the flood gates,” he said.

Director Mark Andrews and WiA Co-President Angela Entzminger

Ultimately though, it is all about story, which is one of the things he enjoys the most about working at Pixar Animation Studios.

“One of the best things about working at Pixar,” he said, is that “everything is story-driven.” The other, he said, is that Pixar is run by artists, and that his bosses do what he does. They are “very realistic about making money,” he said, but they understand the importance of both story and business.

When asked how he resolves creative differences with the team, he replied that it is a conversation. He may get into loggerheads with other directors, but “ultimately that’s a good thing,” he said. “It’s something that’s better.”

At the end of the day, it’s about what needs to get done. “I am not doing my director any service if I’m not selling it one hundred percent. You need  that conflict to push you. It’s not about right or wrong, it’s about what’s best for the story.”
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Special thanks to AIGA SF’s Dawn Zidonis, Rob Duncan, and the many other talented staff members and volunteers of AIGA SF for putting on this event, and Adobe for their support of AIGA SF's Design Lecture Series. For more information on AIGA SF events, visit:

http://aigasf.org/events
 
Thank you to Pixar and Mark Andrews for speaking to the crowd and answering questions. Check out his artistic endeavors on his blog:
 
http://talesofcolossus.blogspot.com/
 
And for more information on Women in Animation San Francisco and to get updates on other animation related events in the area, check out our Facebook page:
 
https://www.facebook.com/wiasf
 
And Twitter:
 
@WIASanFrancisco

MU Event!

Thank you everyone for coming last night and showing your support. Thank you also to our great panel and our volunteers! Some of the photos are up from last night on our facebook page 
https://www.facebook.com/wiasf 
and on our twitter @WIASanFrancisco!

Event Update 

We've had an overwhelming response to the Monsters University Screening/Panel and I'm afraid we've reached the capacity we can accommodate for this event. 

We will be hosting more events in the Bay Area and we're always accepting new members (members get early access to events). 

For more information on how to become a member please see the join page on this website.

To keep updated with our events please also see our Facebook page 
https://www.facebook.com/wiasf

and our Twitter page
@WIASanFrancisco

New Event!!!!!!

Hey members an email about our newest event will be coming your way tomorrow! Can you guess the event's theme?

April 26th and 27th: Meet the creators of Robot Chicken

Do you love Stop Motion? Irreverant 

http://www.waltdisney.org/node/1036/0

Women in Animation Scholarship

The Women in Animation Phyllis Craig Scholarship deadline is fast approaching.
Make sure you submit your application soon and check out the WIA headquarters page for more details:

http://wia.animationblogspot.com/the-phyllis-craig-scholarship-fund/

Brenda Chapman wrote a great piece on the top "5 Female Animators Who Shook Up the Industry" . As Oscar winner for her movie Brave she should defiantly be on the list as well. Check it out!

http://brenda-chapman.com/blog/5-female-animators-who-shook-up-the-industry/

Lotte Reiniger, The Fairy Tale 1953

Janie Geiser,  Red Book  1994

Jennifer Yuh Nelson , Kung Fu Panda 2 2011

Helen Hill, The Florestine Collection 

Sally Cruikshank, Quasi at the Quackadero 1975

Brenda Chapman, Brave, 2012