Making a Living as an Animator

all right.

Hello. My name is Bailey Bullet, and I'd like to

show you my presentation on starting out as an animator.

Seemingly this is about a research I've done.

I was the job that I'd like to make is

becoming an animator.

And so ah, some research and kind of the key

points And think about what?

Getting into this industry.

So first off, things you'll need, ah, requirements to start

is mostly studios required that degree like a bachelor's or

associates. Or you can also give the effects certificates and

the such on TV effectual computer animations.

You also will need a portfolio in order to show

your skills on can show off.

You know, you can do, you know, to your potential

I hire e.

You want a great positive attitude.

You know, you want to make sure that people enjoy

working with you so and it's very important that, you

know, you probably will get the dizzy job right out

of the gate.

So you wanna know weaselly away in their next is

breaking into the biz, right?

So buried entry.

They're getting a degree and could be a great barrier

to get.

But once you haven't jobs become pretty quick and I

made Is I almost high, always in high demand?

It's because studios have very large crunch time to the

more people that have available to work on the projects.

You know, you don't have those big cars time pay.

Generally, he even starting entry level pay is 15 to

$40 an hour, depending on you know, location and, uh,

which is fairly good.

Um, and you have a very good opportunity for promotions

most two years off, A great ways and career there,

you know, you can move up, so generally have your

entry level animators, which you can within move to becoming

a team lead.

Ah, and then you can also move to different types

of animations.

It was also a great opportunity for contract work on

freelance and to pretty much take your individual business.

And as your skills proof, you can go from wherever

you want.

Now, crunch time.

Most studios biggest mall will experience crunch times, times of

increased workload, and it's mainly at the end of a

project generally for a number of reasons.

The biggest one is animation is never perfect.

There's always something you can change.

There's always something you can add.

You know this some small detail you could make better.

And it's generally before as the release gets closer and

closer. That's generally, you know, they've got a policy that

pause it up and try and get the best looking

as they can at the end on another thing with

those in.

You know, sometimes you have things that become delayed such

not because generally what during that crunch time they can

find an issue or something happens or change gets made,

which could push that project back and quickly and work

lunchtime and any issues in truth production could.

General in general can create that.

Now most studios are fall, have a union in order

to protected workers rights, and the biggest one is the

animation killed.

So these disk ilda protects you know, workers rights and

make sure that ah, you know that if they do

have mandatory overtime, where there are working these large hours,

that they are getting paid for these hours and they're

not getting, you know, screwed over anything like that by

the studio, you know, some reports of crunch times like

reading redemption to work 200 hours for their like some

of the last six months, you know, people were studded

reports that people were staying at their desk and creating

little blood mattresses and sleeping at their deaths.

And so, while it's kind of sad because this culture,

you know, it's a $1,000,000,000 company, $1,000,000,000 industry and people

are often forget there are people who make these, you

know, we a lot of people will complain online when

something gets delayed.

You gotta remember to Is that these people?

There are people who live and work in these these

jobs. So right, the stability, you know, having a job.

But you always want to have a stable job on

the topic of stability.

The animation kind of depend on what kind of job

or what kind of stability that you want.

Studios continually higher.

And it is on that kind of two sets are

two types.

You have your full co employees generally bigger companies like

Disney. You know Sony and stuff like that will just

hire people outright if they like their portfolios, Um, or

if they have freelance freelancers, where companies will, you know,

hire out either contracts or cup or just animation companies

that themselves in order to finish projects.

So you have, you know, companies like we net or

ah, uh, stuff like that.

So both jobs, other merits that have been, you know

what? The type with life, the individual they want.

So, being employee employees hired by a studio, shouldn't we

have a more steady income and better ways of keeping

stabilize benefit as well.

So, like health care, Uh, you know, savings per tyre

mint. And you also be in the office the same

day with generally the same people working on the same

animations. So you will be continuously, you know, like, say,

if you worked at Disney, you get Disney has kind

of a style for it.

My alter a little bit, but generally, God, we were

doing Disney movies.

I also have freelance and contract work, so freelance can

never capital, you know, different ways as well is because

you have companies themselves.

Could be contracting stuff like Wing Net.

Or you could have just individuals be contacted individually.

Um, either way, you don't you go through the company,

you're gonna have better benefits with benefits and stuff like

that of an individual, you have MAWR patrol over your

own pay as well.

As you know, it definitely varies on the type of

content you'll be making.

All right, so getting bored boredom or complacency, these two

feelings can be great deterrent to creativity, which is everyone,

you know, kind of suspect.

It's definitely needed in animation.

So, um and but with that animation as a great

many types of animation, so you could move around almost

as much as you want.

You know, he was just a few types here.

You got director who directs projects, you know, he's the

one who's gonna tell people.

Hey, this person obviously, is a feeling you know, human

enough. We need to give it more emotion or the

copywriter illustrator.

Motion graphics sound design traditionally have lighting.

They're just kinds of tons of more animations that you

can do so don't ever feel like you have to

do one specific thing when you get a degree in

animation and the finish line.

So there's really a finish line for being an animated,

you know, it's always new styles are being invented, a

new technology that, you know, that changes the way we

can animate Ah, there's so much always to be learning

and always to be doing so, Um, you can always

have goals and it's definitely important.

Have goals like if you want to become branding on

studio if you want to run your company.

But animation is a passage up for sure, and gold

stiffly important.

But make sure that you still know That is a

passion that you could be inspiring.

You know someone else's creativity with content.

You making s o That was my presentation.

Ah, thank you for listening and have a good night.

Making a Living as an Animator

Audio TranscriptAuto-generated