Category: Unit 3

Context

As I approach the final month of the MA Character Animation program, the reality of transitioning from student to professional is both exciting and imposing. After two years of intensive study, countless late nights perfecting walk cycles, and pushing the boundaries of character performance, I’m now faced with the challenge of applying all that learning into a compelling professional presence.

Website

The first major task I’ve tackled is building my portfolio website. This has proven to be almost as creative a challenge as the animation work itself. I want potential employers to experience my work in the best possible light, while also displaying it in a way that expresses who I am as an artist. The site is a careful curation of pieces that showcase my range and technical skills, or at least I hope so. My hero piece – the graduation film we are submitting this week – will take centre stage, but for now it will feature my LIAF film, other assignments, and personal projects. The website needs to load quickly and look professional across all devices, so I’m still tinkering with making it accessible and efficient. I have barely worked on the mobile version, so it does look pretty rudimentary on that front.

Another major learning curve for this has been ensuring a good user experience while on the site. As much as I had my own lofty goals for creating a “cool” site, I soon learned that navigation and clarity were far more important, especially when considering the site’s primary purpose is to be shared with potential employers. After sending my first version of the site to friends to test and use, I returned to it with better insight on how to make the pages more accessible and the overall user experience more intuitive and friendly. Below is a quick video of the layout as it is in its current state, and here is a link to the site itself.

Showreel

We had some great speakers in class talking about their showreels and how they approach reels as employers as well. In my research into the topic, I found a few videos and sites with more helpful information. Looking at other creatives’ reels also helped me understand the quality of work that is out there.

Here’s a link to the reel I created (as it’s too large to upload here). It’s got a long way to go, as it could be trimmed down much more and edited with a discerning eye. I look forward to the showreel event we will have at uni, as it will provide me with more critiques which will no doubt make the reel much better.

With my final animation project from the MA program finally complete, I’ve decided to return to the film festival world. What seemed like a straightforward process of “just submit your film” very quickly turned into an intricate dance of strategy, creativity, and careful budget management, the last time I attempted this with my LIAF sting ‘Heartwarmer’.

I wasn’t able to allocate a budget for the short ‘Heartwarmer’, which left me with only a few free festivals to apply to. These were also narrowed down to even less, what with minimum run time requirements and other hidden costs on submission platforms like Short Film Depot. Despite all this, ‘Heartwarmer’ was selected as a Semi-Finalist in the Black & Brown Femme Film Festival, while still in consideration for 2 others.

Researching relevant festivals became a part-time job in itself. I’ve discovered there’s an entire hierarchy I was previously unaware of. The major international festivals like Annecy and the Student Academy Awards are obviously dream destinations, but their submission fees are intimidating for a student project. I’ve been focusing on student-specific competitions and smaller animation-focused events that might be more receptive to emerging artists, but since this is my final film I am a bit more inclined to budget a fair amount to at least give myself a shot.

From this experience, I learned that I will need to really prepare for when I begin to submit my final film ‘Root Rot’, to festivals. Beyond the obvious requirement of having a high-quality export of my animation, I also realised I needed an entire ecosystem of supporting materials. The poster design is important, as it needs to capture the essence of my character-driven piece while being visually striking enough to stand out among hundreds of other submissions. I’ve learned that festival programmers often see the poster before they watch the film, so it’s essentially my first impression.

The financial reality is rather sobering, however. Submission fees range from $20 to $75 per festival (I don’t know how to change the currency on these sites yet), and when you’re applying to more than one festival, that adds up quickly. I’ve had to prioritise pretty ruthlessly, focusing on festivals that specifically celebrate animation and character work rather than casting a wide net (as much as my ego would love me to). Some festivals offer student discounts, which will be a lifesaver for my limited budget.

I’ve also discovered the importance of timing. Many festivals have seasonal submission windows, and the prestigious ones often require submissions months in advance. This means planning my festival strategy almost as carefully as I planned my film’s production schedule. Missing a deadline for a perfect-fit festival because I didn’t research early enough would be heartbreaking. For example, I worked overtime almost non-stop in the week leading up to the Student Academy Awards, only to be stumped by the submission requirement of having to submit my work for grading before submitting to the festival. This was obviously impossible as our deadline was still a week away from the festival deadline, and as I didn’t want to risk disqualification, I ended up not submitting anything. This was extremely disheartening as I had worked pretty hard to rush the project for this early deadline, but I had to recognise this was mostly to satiate my ego and short-term gratification, as I could simply apply next year and ensure the quality of my film.

The waiting game is perhaps the most challenging part. After months of intensive work on the film and weeks preparing submission materials, there’s nothing to do but wait for responses. Some festivals notify applicants within weeks, others take months. I’m trying to view this period as an opportunity to continue developing my portfolio and preparing for job applications rather than anxiously checking my email every hour.

Regardless of the outcomes, the process has taught me valuable lessons about presenting my work professionally and understanding the broader animation community. Even if my film doesn’t get accepted anywhere, I’ve built skills in marketing and self-promotion that will serve me well in my career. And who knows? Maybe I’ll get that email that starts with “Congratulations” and makes all the effort worthwhile.

Context

The time has now come to prepare for my exit from the learning bubble of safety at UAL, and the impending entry into the workforce. I’ve been slowly dipping my feet into searching for jobs, and the process has certainly been compelling, to say the least. The research phase has been eye-opening. I’ve been diving deep into studios I admire, from major commercial players like The Line and Golden Wolf, to creative powerhouses like Cartoon Saloon. Each has its own culture and pipeline, and I’m tailoring my applications accordingly.

While these studios aren’t always hiring, most have email contacts to which portfolios could be sent. I haven’t started cold emailing yet, but I will soon create a Google Sheet of these to keep track of my applications. Some studios clearly value technical innovation, while others prioritise storytelling and character acting. Understanding these nuances helps me position my skills and experience more effectively.

This has also required me to create multiple documents for each application, including personalised cover letters, resumes with relevant information to be shared alongside my site and showreel.

Resume

Creating my resume has been an interesting exercise in understanding different industry needs. My general resume highlights the various projects I’ve worked on, my educational history, and the software I am most proficient in. But I should also craft specialised versions: one emphasising my storyboarding background for studios that value that crossover skill, and another focusing on my collaborative project work for team-oriented environments. Projects like my LIAF sting ‘Heartwarmer’ would be a great example to highlight in the latter. Each version should tell the same story of my development as an animator, but with different emphases depending on the role.

Applications

I’m also casting a wide net between full-time positions and internships. While I’m eager to jump into a permanent role, I understand that internships at respected studios can provide invaluable industry experience and connections.

The application process itself requires patience and organisation. I’m tracking every submission, following up appropriately, and treating each application as seriously as the last. Rejection is part of the process, and it is particularly difficult when no replies are received, but such is life.

Networking has become surprisingly important. I’ve been attending virtual industry events (like Brighton International Animation Festival), connecting with alumni from my program, and engaging with filmmakers in person and online.

The animation community is surprisingly small and supportive, and I’ve found that genuine conversations about craft and industry trends often lead to valuable insights about opportunities that aren’t publicly advertised. Keeping in touch with Christina Nerland (who was a tutor in year one, but left UAL earlier this year) has been incredibly fruitful, as I have been able to receive some tips and nudges in the right direction. These opportunities I’ve applied to have yet to result in anything positive (sadly) but I am sure something will work out eventually.

Conclusion

As I prepare to graduate, I’m excited about the possibilities ahead. The skills I’ve developed go beyond just moving characters on screen – I’ve learned problem-solving, collaboration, and creative storytelling. Now it’s time to find the right studio where I can contribute to bringing characters to life and continue growing as an artist.