If you think about it, all these thinkpieces about how Millenials are “killing” various industries reveal a pretty colossal sense of entitlement.
Under normal circumstances, if a given industry finds itself unable to sell products to a given market demographic, we’d say it’s that industry’s fault for failing to offer products that that demographic is interested in buying.
It only makes sense to blame the target demographic itself if we’re assuming that the established industries have some intrinsic right to that demographic’s disposable income that’s being denied - which is clearly nonsense.
And I thought Millennials were supposed to be the entitled ones?
This filmmaker travels to Siberia and through both interviews and landscape shots explores the contrast between the arctic steppes and the gigantic industrial city that supports the local economy.
My Deadly, Beautiful City uncovers the veiled world of a Siberian Arctic mining city and how an unstoppable, unconditional passion for industrial wastelands makes its people blind to the threatening reality they face. Their relationship with their deadly beautiful world is a chilling mirror of our own attitudes towards the earth.
Should film music be original? That’s a question that goes right back to
the earliest of film sound. But with new technology came changes - and
just maybe, the answer to why all Marvel films seem to have forgettable
I’m approaching this question as if you were interested in studio animation work and not the fine arts, independent animation scene. Many Pratt students are more interested in the independent path, but my interests were always studio animation, so that’s the yard I know. If you want advice on the indie stuff, current and former Pratt professors Mike Enright, Andy London, and Patrick Smith could better answer from that side of the fence.
Here goes, my perspective on internships might prove somewhat controversial, but just hang with me for a second-
I interned back in the Summers of 2010 and 2011, at Titmouse NYC and Augenblick respectively. I did cleanup and/or inbetweens for Superjail, Motocity, Ugly Americans, and a bunch of ads at those two studios. What I learned: a studio workflow, cleanup techniques, a better knowledge of flash, drawing skills, professional animator’s timing and spacing choices, email addresses, and general studio politics. These both led directly to post-graduation job offers from these two places. Most of what I gained, was gained because I GOT TO ACTUALLY DRAW ON THE SHOWS. Here is where the controversial bit begins:
There has been some backlash in recent years against doing free and unpaid internships, which, I totally and completely understand. I’m not even sure studios are still allowed legally to let interns work on projects unpaid anymore. That said, it seems like a lot of smaller studios outside of LA are left with the choices of 1. Either having few-to-no paid interns doing actual art on the shows, or 2. Having the interns unpaid, making contacts yes, but filing papers and taking out garbage instead of drawing.
The free work system can, and is, abused in a way that devalues the entire animation market. But, in my case, it was at most twice a week, during the Summer. The rest of my time was spent at day jobs making enough money for rent and food to scrape by in NYC during the Summer. I had a blast, learned a lot, and made some contacts. I certainly got more out of it than they got out of me. Personally, I prioritized NYC internships that offered less or no money, over a better rate but no hands-on animation experience. Education over money, every time. I’m not advising you be taken advantage of, you have to set limits, and properly feel out a situation. As in my case, it should be one in which you reap the same, if not more, benefit than the company.
The best possible option for those with aspirations of studio work, if available to you, is to get a Summer internship in LA: Disney Feature, Disney TV, Sony, Nick, Cartoon Network, Dreamworks, Dreamworks TV, 6 Point, Shadow Machine, Bix Pix, Jib Jab, and Titmouse LA all have internship programs here in LA. Probably Bento Box, Renegade, Oddbot, Wildbrain, Duck Studios, Duncan Studios, Rovio, Insomniac, Illumination, Film Roman, Warner Brothers Animation, Starburns, Paramount Animation, Stoopid Buddy, Rough Draft, and Frederator do as well, but I don’t know of them directly. Other great internships on the West Coast include Laika in Portland, and Pixar in Emeryville, near San Francisco. Also Blue Sky, in Connecticut, has internship programs. Try Googling “(studio name) Summer Internship Program” or check their websites for applications.
Financially, I couldn’t get the additional jobs I needed to support myself and fund the moves out of, then back into NYC, so this wasn’t on the table for me. But, if it is for you, you should totally go for it. It’s unlikely any of these jobs will let you do hands on work, which seems to contradict my above advice ^^^, but the contacts, and company name on your resume in some cases, will make will WAY more than make up for it.
So those are your East and West Coast internship options that are on my radar. You seem to be looking for internships now, during the school year. 18 credits and an internship was too much for me, and I wouldn’t recommend it. But, if you think you can balance it all, do it up. This is a lot of info, but no matter what you end up doing, seeking these things out and asking the right questions is a good thing. You’re gonna be fine. As always in these things, I’ll conclude with- goodluck!
This photo, taken from the International Space Station by a member of the Expedition 35 crew (I’m guessing Commander Hadfield although the NASA page does not say), gives a fascinating look at a developing area of the nation of Pakistan and one of its major rivers.
The river system at the lower-right side of this image is the delta of the Indus River, which forms in the glaciated mountains of the Himalayas and traverses through the entire country of Pakistan. The delta forms where the waters of that river meet the Indian Ocean/Arabian Sea, an area today occupied by the port city of Karachi.
Just Another Reminder that America, as a “Christian Nation” was the result of a Public Relations movement at the end of the Roosevelt Era designed to try to tie Capitalism & Christianity together in the public’s mind for more Free-Market Reforms! The Reverend Billy Graham was the Spokesperson for this PR Campaign and he was paid handsomely for it! It put “In God We Trust” on our money and added “One Nation, Under God” to our Pledge Of Allegiance!
The photo of this Ben Kingsley-esque steel worker was taken between 1950 and 1960 for the American Iron and Steel Institute’s Public Relations Department for the purpose of showcasing his full set of flame and heat protection clothing, also known as silvers.