So you want to apply to a game studio but you’re wondering, “What exactly do I need to put on my demo reel?” Is it different from film? Well, yes and no. Games do present some different requirements to an animator than what might be experienced in film. However, when it comes to putting together a demo reel, the game industry is not that different from the film industry. The bottom line: reviewers still want to see solid animation.
Today there are as many game studios as there are games being made. There’s not one standard formula. Just like in film, studios have their own styles, requirements, etc. I’ve tried to summarize some tips below that may help you if you’re looking to put together an animation demo reel for a game studio.
- Tailor your demo reel to the studio you are applying to. This is super important. The game industry is exploding and there are so many different studios, different genres of games, and different styles of how games are animated. Do your homework. Research the studio and the work they produce. That doesn’t mean you need to have completely new, customized work for each studio. But, if you know you’re going to apply to work on an action-oriented, sword-fighting game then put more of your animation that has physical action in it. If you’re applying for a job on a people simulation game, then put more pantomime and acting-oriented pieces on your reel.
- To cycle or not to cycle? That’s a question I get asked all the time. Cycles are definitely a part of every game, especially for things like a character’s locomotion or fighting actions. However, game animation today has a lot more to it than just cycles. My first advice is to consult tip #1 and if it’s necessary then put 1 or 2 good cycles on your reel to show that you can do them. However, they don’t need to be the focus of your reel. People still want to see good animation that showcases solid physical action, acting, performance, and storytelling skills. If you can show that, the reviewer will have no doubt that you can do a cycle, even if you don’t have one on your reel.
- Nail the fundamentals in all your animation. This might seem obvious, but I can’t emphasize it enough. By their nature, games tend to involve a lot of physical action so it’s key that you show a firm understanding of the principles. It’s also important because the animation can be viewed from all different angles in video games (as opposed to film where you’re usually animating to a specific camera). Because of this, the fundamentals need to be working since the animation has to look good from all angles. There’s nothing that will make a reviewer hit the eject button faster than if the fundamentals are not executed properly in someone’s reel. Weight, timing, spacing, arcs, overlap, etc. It’s probably one of the most important things to consider when putting together your reel. Get feedback from your friends and/or colleagues to make sure your reel shows you have a solid understanding of how to execute the fundamentals of animation. It’s been mentioned in several good animation books, but something very simple that is executed very well will make a much bigger impact than something complicated that’s executed in less than stellar fashion.
- Don’t make the reel too long. Anything over 2 minutes is probably getting too long. Don’t put everything you’ve ever animated on there. Just the best, most recent work. Reviewers have a very limited space of time to review your work so keep it short and make it count!
- Always put your best work first. You want to grab people’s attention from the get go. If your best work is later in the reel, the reviewer may never see it.
- Specialist or Jack of All Trades? Should I include models, rigs, textures, etc.? Again, refer to tip #1 to understand what the studio is looking for. While some studios may look for a jack of all trades (i.e. someone who can animate and rig), most studios these days (especially the bigger ones) are looking for specialists. That means if you’re applying for an animation position, make the focus of your reel a showcase of your animation.
- DVD, CD, VHS, Web? These days, the most common format to submit your demo reel is on DVD. However, it’s also a very good idea to have your reel available online somewhere. This allows you to furnish a company with your work samples quickly, especially if you’ve been referred by someone and they haven’t received a DVD yet. Make sure if you do have samples online that they are in a common format for people to view, otherwise you run the risk of being passed over. Generally, QuickTime movies are the most popular format.
- Always Include a Shot list. This is particularly important if you have group projects on your reel. Be very specific about what you animated so it’s clear to the reviewer.
Well, I think that about wraps it up! I hope you find these tips helpful and I hope to see some of your solid reels soon! Good Luck!
About Dave Vasquez - Dave is an animator at Electronic Arts and is currently working on Sims 3. His interest in filmmaking began at an early age with a Super 8 camera given to him by his parents. After attending UCLA Film School and working in the live action film industry for a few years, Dave discovered animation. He initially attended the Academy of Art University (where he first met Bobby Beck) and then graduated in the first class of Animation Mentor. When Dave's not busy animating, you can usually find him surfing a wave or plucking away on a bass guitar.
The venerable art of animating still images has existed in some form or another since the 1800s. Today, however, new evolutionary offshoots of the artform make the industry more diverse than ever. Video Games in particular, offer a variety of opportunities and restrictions not found in previous forms of animation.
Regardless of the platform, video games offer a cornucopia of rich animation, be it in the Full Motion Video cut-scenes or the abundant in-game engine animations. FMV can be either hand drawn or CG, and is generated in much the same way one would produce content for film or video. With limited or non-existent user input, FMV sequences are mostly employed for narrative purposes. The in-game engine animations are the real source of the mediums’ potential. It is here that a talented artist is able to tell a story using body language and limited graphics. “How a character walks (e.g. slouching sadly or bouncing happily) is telling the character’s story,” points out Sam Yip.
Sam Yip is a senior animator at Disney Interactive. His portfolio includes such games as “Pirates of the Caribbean Online,” “Saints Row,” and “Golden Eye: Rogue Agent.” A fan of both traditional animation and recent interactive mediums, he believes the major distinction between games and film lies within the mediums’ objectives. “The goal of [film] animation is to serve a story/narrative, and in video games, the animation’s goal is to serve the game play, so the game player can create his own story.”
While voice over and scripted story sequences are common place in today’s games, the artist’s task is to inject as much personality into the player’s avatar as possible. Yip reminds us that “Video game animations will have a lot of body movements such as running, walking, swinging a sword, and a lot of them will be cycled.” This is where many genre restrictions come into play. Since a player commands the character, an artist is given the task of creating believable movements that can be transitioned to at a moment’s notice. Much of this affects how anticipation is handled.
Anticipation, in both traditional and interactive animation, is how a character physically prepares for a movement. This is a simple process in film and television, since the animator has the storyboard and can prepare accordingly. In games, an animator will be asked to strike a fine balance between instantaneous character response and believable movement.
Technological limitations further challenge this process, such as an engine’s frame-rate. “The anticipations in video game animations could be just a few frames,” reiterates Yip, “if the frame rate is low and those few frames are skipped, then the player will not see the anticipation at all, which lessens the impact and believability of the animation.” This can be overcome by creative planning, and the abbreviation of movements.
Modern games use diverse animation techniques and styles, though the majority achieve 3D through Maya and 3DS Max software. This opens up new considerations. In traditional animation, the focus is placed on the action within the frame, yet video games allow us to view the events from nearly any angle, thus requiring a universal approach and wider attention to detail.
As with theatrical CG, the choice between MoCap and Keyframe exists. Some games require a cartoony style that only time-consuming keyed animation can reproduce, while others benefit from the tangible realism of MoCap, though an extensive cleanup process may be necessary.
Video game animation offers a plethora of exciting opportunities and hurtles. For those involved, this digital playground offers a rich and rewarding experience, creating animation that connects to the audience on a more personal level then ever before. (Most sudios also mostly hire full time, rather than by contract!) For those interested in pursuing a career in this field, Sam recommends, “Find your passion, and just do it.”
Mark Garabedian has been an animation aficionado from a young age, having worked his first job mowing lawns in Massachusetts to buy cels. An Emerson College alum, Mark is now a freelance animation writer and member of the Animation Guild, residing in Burbank, California.
Animation Mentor staff will be at the Game Developers Conference which is being held from February 18th to the 22nd at the San Francisco Moscone Center this year. Located in the heart of San Francisco, it is the largest gathering of game developers in the world. The conference will feature more than 300 sessions covering all aspects of game development, taught by industry leaders, technology pioneers and entertainment visionaries. There is also an exposition for evaluating new products and technological breakthroughs.
The Game Developer Conference Attendees:
*Have an average of 5.8 yrs of game development experience
*Have worked on an average of 8.5 game titles, and published an average of 8.3 game titles
*Are decision makers: 1,800 and up are VP level or higher
*Manage an average of 14.8 people
79% of attendees work in HARDWARE
86% of attendees work in SOFTWARE
73% of attendees work in SERVICES
The also offer a career pavilion! Here’s the link to more information on this:
http://www.gdconf.com/events/careerpavilion.htm
Here is information on a Game Career Seminar to be held at the GDC:
http://www.gdconf.com/events/gamecareerseminar.htm
**There is a discount for students on Friday the 22nd. The entry rate for students is only $75.00. This is also the Career Fair Day.**
Come join us on Friday the 22nd at noon for lunch with Animation Mentor staff!
Animation Mentor Staff Bridget Haley (Career Services) and Molly Wolfsehr (Event Planner) will be onsite on Friday, February, 22, 2008.
Here is the info for the lunch location:
101 Fourth Street
Suite 170
San Francisco , CA 94103
Phone: 415.369.6101
Website: www.jilliansbilliards.com
Jillian's is conveniently located just steps away from the Moscone Center. Featuring California fresh cuisine, Jillian's is sure to please any appetite.
See you there!
