DreamWorks Summer Speaker Series
Andrea Rosado
17th Aug 22 10:41 pm
For the past three years, Dreamworks has hosted a Summer Week-long webinar titled “Dreamworks Summer Speaker Series”. Here, industry professionals talk about what it means to start a career within this famous animation company. In this article, I summarize the insightful conversations discussed in each of the following panels:
Niche Roles in Animation
Achieving Authentic Representation
Succeeding in the Industry: You Made It, Now What?
Women in Leadership: Tech & Animation
Recruiter Roundtable
(If you wish to be part of the Dreamwork team, read all the way to the end. The Recruiter Roundtable panel has a lot of helpful information for starting your early career at Dreamworks.)
NICHE ROLES IN ANIMATION
Mari Levitan, Production Supervisor in the Visual Development department at Dreamworks, hosted this event. Joining her in the conversation were SCAD alumni Rose Ibiama (Character Effect Artist) and Kelly Talesnick (Crowd Animation), in addition to Character Technical Director and Rigger Amber Ackley. Here, the panelists covered their responsibilities within their respective departments and advised young artists who wish to join these roles.
Character Effects
Rose described her job at Character Effects (CFX) as being responsible for giving life to characters. They focus on the details of the character’s performance after it’s been animated. Part of the work includes clothing, hair/fur, accessories, environmental effects, and everything that interacts with the character. This department is responsible for working with the details that make everything look realistic, relying heavily on physics. Rose mentioned that this department is also known as Technical Animation since they often have to animate these effects, which she did not expect to do before starting the job.
Rigging
Amber Ackley describes her position as a Character Technical Director and Rigger as the perfect combination of art and tech. The goal of rigging is to create a character’s flow, motion, and deformation from a static pose. In other words, they make the puppets that animators use. She mentions that this department works closely with the concept artists to analyze the character’s range of motion and animation style in addition to CFX, modeling, and animation department. Riggers work largest to smallest, testing the rigs and pipeline throughout the process and receiving constant feedback.
Crowds Animation
Kelly shared the importance of this department in bringing the story to life. They flush the world around the main character. Like the previous departments, Crowds is a balance between solid technical skills and an excellent artistic eye. It is a mix of problem-solving skills and creativity. Kelly considers that the best shots for her to work on are those that are not only challenging but also a deep part of the story.
The panelists’ paths were different, inspired by internships, movies, and seminars to be where they are today. They advised the viewers to take all opportunities and be willing to learn. Always expect the unexpected, show up and say yes to challenges that will help you grow.
ACHIEVING AUTHENTIC REPRESENTATION
Johanna Stein, moderator, showrunner, and executive producer at Dreamworks Madagascar and a new show, started this conversation by asking the panelists: What does authentic representation mean to you? Speakers Ami Boghani, Nick “Rocket” Rodriguez, Kalynn Harrington, and Malama Sokoni had all unique answers to this question that enriched the definition of authentic representation. It consists of a character as a fully realized being, not just defined by one facet. This concept is about being respectful of other people’s cultures and identities. It is crucial to do the work of researching and understanding that identity before putting it to work. Creating art and characters of equal detail and having the depth of a person the audience can relate to is crucial to authentic representation. It is also about being inclusive on and off screen, seeking out diverse voices in every department.
Connecting with the audience is key when it comes to this topic. It makes entertainment “more entertaining”. Animation has the responsibility and liberty to create a digital world from the ground up and make this world inclusive. The goal within the industry is to gather a diverse crew offset so that the production on-screen echoes that rich diversity. The panelist emphasized that artists should create from their gut no matter the outside noise when it comes to this topic. The hardest thing to do is being true to your authentic self; however, it is crucial and worth it.
Continuing the conversation, Johanna Stein asked the following fundamental question about achieving authentic representation: “What is the best way to be inclusive if you are not part of the group?” Keeping this in mind, the speakers established that inclusivity should be approached in the most respectful way possible by researching and learning what is unknown about the group. When it comes to diversity, it is not just about being culturally inclusive but also includes people with disabilities.
The speakers finished the panel by providing advice to all artists wanting to be part of the animation industry. They reminded the audience that just as the industry is diverse, so are the multiple paths to getting there. However, all directions should be connected by passion and love for the craft. Even if the road gets bumpy, do not forget the reason behind what you are doing. Do not have a timeline, be patient with yourself. It will work out eventually. The struggle is real but worth it; your dreams and goals will happen.
SUCCEEDING IN THE INDUSTRY: YOU MADE IT, NOW WHAT?
Rabia Abeddin moderated this panel with speakers Morenike Dosu (Director of Diversity, Equity, and Inclusion), Nathan Freeman (Production coordinator on an unannounced show), Stephanie Bang (DP), and Gabe Aghayere (Previous Intern storyboard department). The conversation started with a discussion on feedback and communication concerning career growth. This topic was closely attached to a recent experience from the moderator, Rabia Abedin, who received some harsh-delivered and deep feedback not so long ago. They emphasized the importance of keeping in mind what you say and how you say it when giving feedback, in addition to managing harsh criticism of your work without taking it personally. They established an excellent approach to this: The Compliment Sandwich; start with something good, add something productive that can be improved, and end with something good. Morenike Dosu defined feedback as a gift; sometimes, it should be wrapped better, but at its core is a present. Within the industry, you are still growing and evolving. Therefore, feedback can be negative or also a mirror towards what your talent can continue to achieve.
They continued a more relaxing conversation with the topic of animation paths. All speakers mentioned that it is essential to keep an eye out for the dream job. Keeping people in the industry aware of your goals can help you reach them. Networking is vital, but most importantly, it is building these relationships in an empathic and authentic way. It is good to rephrase “networking” with something less intimidating, especially if you are an introvert. Connecting is more about the friendships you develop than just networking alone.
Don’t feel bad for wanting to learn and ask questions when messaging people. You are not taking away their time by reaching out; people love talking about themselves and what they do. Take advantage of that and learn. However, the panelists also mentioned that you should be patient with recruiters when reaching out to them. “Don’t follow up tomorrow; give them time to answer.” They also emphasized the importance of being human and authentic when reaching out to recruiters. Do your research when reaching out and show that you care.
Panelists closed the event with additional advice that they had received in the past. “You can shape your resume and cover letter for your position. Transferable skills align with your work.” More than being talented and having good work, it is essential that you are a good person to work with. Something that you can gain with previous work experience. You will learn the task and “fail up,” but being a good person to work with is more important. In the industry, you have to be flexible and comfortable with being uncomfortable.Some additional advice they shared: “Be kind to yourself even if you’re not where you want to be yet; you will get there eventually.” The career is fluid; artists should feel free to pivot if needed.
WOMEN IN LEADERSHIP: TECH & ANIMATION
This very insightful event was packed with incredible, exemplary women that work in the industry as artists and problem solvers. The enriching panel consisted of Tiff Webber (Associate Producer and Moderator), Sarah Park (Recruiter at Early Careers), Mackenzie Thompson (Studio Platform Senior Manager), Carrie Hughes ( Digital Resources Manager), Milana Huang (Rigger), and Rachele Bellini (Technical Director).
From starting their career with a Biology major to majoring in Fine Arts and Computer science, these women had very different paths to reach their current jobs. However, they all had one thing in common, their passion for puzzles, technology, and art led them to where they are today. Talking about their experiences, the speakers established that this process is not a standard and stable path; it is continuously adjustable. “Talking with people and learning as you go is how you build your career along the way.”
Being in a male-dominated field can be very challenging and intimidating; however, throughout their conversation, the panelists encouraged the viewers to be brave and speak freely. Within the industry, there must be diverse and inclusive voices. Carrie Hughes mentioned that within her experience, the will to be humble and having a person to lean on helped to improve that confidence in the field. Echoing the conversation, Mackenzie Thompson mentioned that the impostor syndrome is real, and confidence can be challenged, particularly as a woman in tech. However, one of the best pieces of advice was given by Rachele Bellini, who establishes that fear can be your motivator. “You don’t have to be fearless to do brave things.”
Developing even more of the conversation, the speakers shared some profound words of wisdom that every artist can take advantage of. “You can try things. You don’t have to be 100% committed to them; you can always return to where you started.” You have nothing to lose by trying. However, you will be rejected and have failures in the process, don’t let that drive you away from your goals. Learn from the failures and find different approaches to what you want in your career. Mackenzie’s word of wisdom was to take the initiative and learn something or do something yourself once you are part of the industry. Change the “I can’t do that to I can learn how to do that.” It is crucial to remember that the path is not linear; it is winding, which is totally ok. Have your interest in sight and go one step at a time. If you are afraid, that is when you need to do it!
The panelists also emphasized that getting involved in professional organizations is very helpful to your professional growth—for example, Siggraph. Connecting schools to these organizations are also great for networking and growth. When building your network, make sure you are surrounded by people who share your interests. Building your network and experience will help you grow your career and improve your confidence. Observing people is a great way to start. Be ok with being vulnerable and asking questions; people are open to giving advice. Be confident in keeping trying to connect with people. Remember improving yourself will improve your whole quality of life.
RECRUITER ROUNDTABLE
Rabia Abedin was the moderator of this panel. Joining her were Robin Trujillo (Visual Development Recruiter), Alexis Ball (Recruiter Manager at Story and Art), Jillian Gomez (Recruiter in lighting, layout, and editorial), Stephany Rodas (New Production Recruiter), and Caitlin Dietz (Recruiter at TV story, revisionist at entry level, directors, effects and character rigging) In this panel, speakers focused the conversation around the opportunities at Dreamworks. They established that the position of Technical Director is the most prominent in hiring opportunities. Coders are constantly partnering with artists. In addition, there are TD internships at Dreamworks. The panelists continued sharing the options more in-depth within each of their departments.
Development
In this pipeline stage, artists are responsible for creating characters, props, and backgrounds. Freelance artists are constantly being hired at Dreamworks, focusing on character designers and background design. Recruiters recommend that when applying to these positions, your portfolio must be up to date with your best and most recent work.
Story and Art / Feature Production Department
This is a massive department within the company. Recruiters recommend that portfolio organization and website navigation be clean and easy to look through. This facilitates the recruiters’ job when hiring an artist for this vast department. Adding personal and professional work to your portfolio is crucial; however, ensure that you include only your best work with a title, genre, and small summary. When organizing it, ask yourself these questions “Is it entertaining? Does it make sense?” That is what the recruiters are looking for. Also, know the studio you are applying to; some may have a specific style. At Dreamworks, even when they have a unique style per show or feature film, they want to see sketches and animatics that showcase your style as an artist in your portfolio.
Production Management
This department is responsible for keeping the whole production organized. Jillian Gomez mentioned a good point that every creator can take advantage of. Any artist can start their career here and pivot into the position of their desire. As a production manager assistant, the artist can taste every position and get a broader view of the bigger picture within the pipeline. “A great place to start in any position within animation because you are in the nitty gritty with the artist” In addition, Jillian Gomez shared the essential skills that are required to be a production manager:
- Being able to jump in and do what needs to be done. “Be ready to deal with cartoon emergencies.”
- Be open to doing the task
- See all the moving pieces and look ahead
- Prepare for plan ABC and even plan Z
Interviewing
After discussing each department’s core, they advised on one of the most overwhelming yet most important stages of starting a career: Interviewing. All speakers emphasized the importance of researching and knowing the recruiter before the interview. It is evident when the interviewee has or has not done their homework. To deal with nervousness, you should understand that recruiters want what’s best for you; they want to see you succeed in the company. When preparing for an interview, write questions before the big day. It is crucial to show how curious you are, what is important to you, and if you care enough for the position. You can take time at the end of the interview to ask these questions and elaborate. Talk about your past experiences and how it is relevant to your position. Feel free to take notes.
It is normal not to have a great interview when starting. This often happens because interviewees do not take time to think about the answers. The speakers emphasized that you don’t need to feel like you need to answer the question immediately. Instead, think about the answer, especially when it is a behavioral question. Give yourself some grace to pause and think about the answer.
Portfolio/Resume/Cover Letter
Continuing the conversation, recruiters discussed the importance of making portfolios easy to navigate. When starting, do not include passwords on your website. Research the portfolio of other professionals working at your dream job; maybe you can approach it similarly.
On your Resumes, do not include information like a specific address. Always approach your portfolio, CV, and Resume to make the recruiter’s life easier. Include a link to your resume within your portfolio.
DreamWorks’ recruiters don’t tend to read cover letters only if they are short and straightforward. One page is enough. If the applicant has experience in another area and wants to do a transition, that is when they tend to pay more attention to CVs. However, it is always better to have a cover letter ready for the job even if the description doesn’t require it; better safe than sorry. Also, when delivering a CV, make sure you do not use the same one for every position; make edits!
If you are interested in being part of this Dream Works animation company, feel free to learn more about their job opportunities and internships at Dreamworks.com/careers In addition, you can connect with the recruiters via LinkedIn:
