From: machanicm@gtephx.UUCP (Mindy Machanic)
Newsgroups: rec.arts.fine
Subject: Re: Any computer animation jobs out there?
Summary: I know a place...
Date: 8 Apr 92 16:53:56 GMT
Organization: AG Communication Systems, Phoenix, Arizona

In article <wdsY34y00WBMQ7gGkz@andrew.cmu.edu>, ac10+@andrew.cmu.edu (Alison Rebecca Colman) writes:
> 
> animation jobs other than production and post production companies.  I
> small, and they only hire freelancers when needed.  The bigger companies
> that do hire artists full time, it seems that they use very
> sophisticated packages that most people with a BFA fresh out of school
> would not know how to use. 
> besides prod./post-prod. hire computer artists, I'm just not sure who
> they are, and where I should be looking for them. Any advice or

1. If you know ANY computer animation package it will take you a few hours to
learn another one. (If you don't know any computer animation package, what
are you doing looking for a job in the field?) But judging by what they offer 
at ASU, I think that many BFAs fresh out of school have had lots of hands-on 
experience with some very sophisticated packages. (It makes me jealous...) 
Anyhow, if you know any package pretty well, and have some good demos, you 
should be able to write your cover letter in a way that lets the hirers know 
that you understand the process and can learn a new package easily. That will 
get you in the door more often. Then you knock 'em dead with your demos. Be 
sure that your resume includes all the software packages you know, including 
animation, desktop publishing, wordprocessing, and straight graphics, and 
what operating systems and hardware you've worked with (i.e., DOS, Mac, Unix, 
Amiga, etc.). Sometimes, the combination you've had might make the difference. 
I've run into people who don't care if you know CorelDraw inside out and 
backwards and could learn Micrografx Designer in an hour; they want the 
Designer (or vice versa), and they also want Word for Windows instead of 
WordPerfect. Idiots who hire!! Usually never have used the stuff themselves, 
and don't understand the transferability of the skills. The more you show you 
know, even in non-animation packages, the better your chances of finding 
somebody to hire you.

2. Freelancing can be quite steady and lucrative. If you're young and relatively
financially unencumbered (excluding the student loans, car and Visa card, of 
course!), maybe you ought to consider it. One job leads to another, and the 
freedom is addictive. Also consider using the "job shops" which are temporary 
agencies specializing in technical people. You work for the agency, on their
payroll, and you work at the customer's site, on a project basis (i.e. for a
few days to a few months) or for an indefinite period of time (ongoing, like a
regular full-time job). The agency takes out taxes, etc., and most agencies
have some sort of benefits program you can buy into so that you can get health
insurance at reasonable rates. The rates you get will be a little higher than
what you would get as a staffer at a company because you don't get paid
vacations (some agencies give you paid vacations after you've worked for them
for a certain number of hours, like 400 hours), and you don't have job security;
when the company you're working at needs to reduce its overhead, contractors
are the first to go. But you do get unemployment benefits between assignments,
and you can keep doing freelance work on the side. Also, many companies use the
contract agencies as a way to screen future employees; you work for them a
while on the agency's payroll, and then they hire you to work on-staff for the
company if they like you. The problem with the agencies is that they don't
usually have work so you have to be registered with every one in the area, and
call them all regularly. Once you get work, the rest of them will call you
(when it rains it pours...) with work! 

National technical job shops include CDI, TAD, Volt, Tech-Aid, Butler Service 
Group, MiniSystems, Superior/Nesco Design, Comsys, Analysts International, 
Sterling Design. There are probably others in your area; read the Help 
Wanted -Technical or Help Wanted - Computer listings in the biggest paper in 
your area on Sunday to find them. Send every one a letter or resume. If you can
do desktop publishing and graphics, let them know that, because there is 
usually lots of work for those skills, and once you're working, you can check
out other stuff in the company you're working for. (And you can always keep
looking while the checks are coming in. I change jobs through the agencies
all the time, when the one I'm on is boring me or a better one comes along.)
It's also a good way to build new skills.

3. Try the big manufacturing companies in your area. I know that Intel,
Motorola, etc. in the Phoenix area have in-house computer animation
people, because when I had a contract at Intel, I was working near the 
computer animation people and I used to go watch and be jealous.

4. If you're willing to move or go out of town for assignments (with paid 
per-diem and travel expenses), the agencies and headhunters will have an 
easier time finding work for you. I know that CTG (Computer Task Group) here 
in Phoenix just got this amazing animation equipment and are doing some stuff 
for TV and ads; usually they do systems programming, technical documentation, 
etc, so this is new for them. They have branches in other cities, so you might 
check with them.

5. Join professional groups. I found out about CTG's new stuff because they
gave a presentation at a meeting of the STC (Society for Technical Communica-
tion). There's the International Association of Business Communicators (IABC),
which generally is more oriented to p.r. and marketing and internal employee
communications, but they do get some programs and connections to animation.
Most of the professional groups have job banks or newsletters you can use even
if you're not a member, by paying a small fee. Women in Communications is national,
does a lot with media stuff, and has a job bank.

6. Be flexible. The more you're willing to do that's not exactly what you
want to do, the more work you'll get. Then, you can let people know what you
really can do, and you'll get the chance to do it. Also, realize that you
aren't going to make a lot of money at it for a while. You may have to settle
for $7 to $10 an hour for a few years for contract work, maybe $12-$15 for
freelance stuff, until you're established in your area. Graphics and animation
people do what is considered "glamour work" (like publishing and TV are
considered "glamour fields") so the pay is lower, even though the work is
intense, skilled and often difficult. After a few years, when you have a good
professional (as opposed to student) portfolio, you'll move up to the $15-$25
range, and once you're a superstar, then you owe me dinner in Paris or London.

7. Keep adding new skills. If you have general video production skills, in 
addition to your animation skills, you'll get more work. If you have skills
in instructional design/instructional development in addition to your
animation skills, you'll get more work. Computer-based training (CBT) is a
good field. ITV (interactive TV) is a good field. If you know stuff in these
areas, you'll be able to use your animation skills to good advantage, have
a lot of work in your future, and probably will make better money.

8. Get a community college teaching credential if you can. There is work in
the community colleges for people who can teach computer animation and computer
graphics. (You may have to have an MFA or two years of professional experience to get
the credential, however. It varies from state to state.) Sometimes you can teach part-
time in the community college without a credential. It's a good way to land other work.

9. Don't give up and wait tables for a living. Do graphics and desktop
publishing, illustration, etc. while waiting for a great animation job.

Good luck.

Mindy in Phoenix
(I do career counseling for the visual arts and nontraditional careers on the
side. I do instructional design/instructional development, technical and
business writing and desktop publishing for a living. I have an art degree
and a psychology degree. I work through the agencies. I've been fired from
"regular" jobs. I have community college teaching credentials and have taught
at the college and 2-year college level. I do freelance work. That's how 
come I know all this stuff - I live it.) 

-- 
*****************************************************************************************
Mindy Machanic  (AG Communication Systems/Quality Engineering, Phoenix, AZ)               
UUCP: ....!{ncar!noao!asuvax | att}!gtephx!machanicm    FAX: (602) 581-4022
Internet: gtephx!machanicm@asuvax.eas.asu.edu           Voice: (602) 582-7374
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