More on Demo Reels
Lately, I have been looking at alot of demo reels. Many people sent in work for the internship we had this summer which is coming to a close. I wanted to touch on some of the works that stood out and others that faded into the background.
1) First off, test your DVD. 20% or more just don’t work. You would be amazed at how many reels don’t play or expect the user to download a quicktime file or try it on other dvd players.
2) Put your best stuff first. That first clip is the hook. You want to impress your viewers.
3) End with something great. It leaves a lasting impression. Alot of the time you remember one or two great shots on a reel.
4) Don’t use those free Internet models. I cant tell you how many times we see the same 4 or five models. Yes, we know its hard to rig and find a good model to animate, but seeing the same rig for all these years is getting old. If you are gonna use a free rig, alter it so much so that you cant tell that its the norman rig or the animation mentor rig.Using the stock rig is just boring.
5) If possible, its great to see personal work, like a short film. I realize many people are professionals, but if you have been out of school for a few years, its still interesting to see your short film if its good. If you don’t know if its good, ask someone you respect or post it on a forum for feedback. I remember seeing a reel that had good professional work, but it was a one person acting test that closed the deal. I could see that person had a great sense of acting and emotion. They got the job.
6) Content: People will say: Acting test, one and two person, run cycle, walk cycle, weight test… Thats BS. Of course we want to see all those things, but not in a boring way. An animator has to understand acting, appeal, weight, dynamics, locomotion, etc etc… Its great to see these things in a test that has a little story to it. Something that has entertainment value. What is it that sets you apart from the other person. If your a veteran animator, but have been animating nothing but creature work, its important to really show some work that demonstrates your acting skills, or vice versa… If you are 2d transitioning to 3d, the 3d has to be as good as the 2d or don’t show it. Yes there is ramp up time for a 2d animator making the jump, but you should still have the same skills when you were drawing it. It also goes the other way. I saw a reel that had some nice 3d work, then the 2d stuff came up and it was bad. That being said, it was not the draftsmanship, it was the animation.
7) Demo reel music – make sure I can hear the dialogue. I don’t care about your taste in music. I just want to watch the work and concentrate on it. I hate reels that have loud jazzy music.. This is not a Bill Evans demo reel.
Your titles… It always seems that the ones with fancy titles usually suck. Simple titles with your name in the beginning and at the end with your contact info. Put that same contact info on the DVD label. I remember a DVD that was lying around my office for the longest time that had a logo on it. I had no idea what it was… Months later, I played it and it was a great reel. If I had known earlier, maybe that reel would have seen the light of day sooner… (ultimately, the guy got hired)
9) Length – Ok, if you worked 10 plus years in the biz, I know you have alot to show. We just don’t need to see it all. Show the best stuff. Some reels are also too short as well.. Somewhere between 1.5 minutes and 6 is acceptable. The 6 minute or over reel better be amazing or a short film.
10) Make sure what you are showing is ok with the last place you worked. Its akward to see alot of work from a film that is not out for two years. It makes people ask ” So if they work here, will they put their work on a reel way before the film is out?” Just be careful… People judge…
To sum up: There are so many aspects to a good demo reel. I certainly have my opinion and it does not represent everyone else’s. Heck, if I had to apply now, I’d probably have a harder time getting in, but what always impresses me in a demo reel is good ideas. Wheter they be acting ideas, story, etc… how a gesture is done etc, etc… That will win me over more than a reel that has perfect polish. Einstein said “Imagination is more important than knowledge?” How true that rings for our industry as well….
Hope this helps a bit.
Andrew




Akif
Really Thank you Andrew,this was very helpful.
Billy W.
Thank you for this very insightful post. As always, a wealth of knowledge from the spline doctors. I truly appreciate how considerate you are in sharing your expertise. I look forward to meeting and working with you in the near future.
Billy
mr bruno jr
The Dr. gives an up-to-date, animated, humorous, yet no-nonsense response to the age-old question of ‘what to include on the’ol demo-reel’. So many harsh truths. Yikes!
Jeff
I disagree with your comment on stock rigs. It’s true, they are not memorable, and in some workplaces that may well put a demo reel at a disadvantage. But in my opinion, unless actually applying for generalist positions, young animators should not be forced to waste their time trying to learn how to rig from scratch as well. They are very different skill sets. A skilled employer seeking skilled animators should be able to see past the rig.
vibeke
Thanks! This is great advise! I am just about to make myself a new reel and you’ve given me lots of good stuff to think about. Cheers!
Paul
Amen, Jeff.
anonymous
Great timing! right when my company is laying off people.
Andy
I like how your #8 turned into a smiley
Adam
Interesting about the rig.
I’m an animator in 2D mainly, but 3D aswell. I animate in anything, it’s just to create a rig for me would be a big deal. I would probably inhibit my animation by poor knowledge, not to mention the amount of time it would take to learn the extra discipline.
Surely it makes it easier to see good animation when people use the same rig? You’re not just blown away by their own model/rig work (especially if you’re looking for animators). Or does Pixar approach with a slight generalist attitude?
Interesting and informative post, thanks.
Dr. Gordon
Regarding the rig…
Its not so much that you should not use a stock rig, its that it should not look stock. Add props, clothes, hair etc so you cant tell.. There are a few rigs that you cant dress up… That blue guy, the one with big circle eyes etc.. those just stand out as being overused. The point is to try an be original with the character you are animating.
Sheena @ Animation Mentor
I would like to provide clarification regarding AnimationMentor.com rigs and our copyright policy. AnimationMentor.com rigs are for the sole use of the students and graduates, and are protected by copyright. Unfortunately, there have been some “copycat” rigs that have been distributed through the internet that closely resemble ours. We’re a small school, so this type of copyright infringement really hurts what we’re trying to do. Our policy is to address these rig issues directly with the people distributing them, and we ask them to change their appearance, to avoid confusion and legal issues.
The greatest disadvantage of using a “copycat” rig (if you are not or have not attended AnimationMentor.com) is that it can give recruiters the idea that the applicant is trying pass themselves off as an AM graduate, when they are not. This does not make for a favorable first impression and may actually hamper their chances if that studio employs AM grads or mentors who can tell the difference.
-Sheena and and the Animation Mentor Staff
Jeff
Thanks for the honest and straight-to-the-point pointers. There are lots written about this subject, but this post is really honest, which is what we all need to hear.
A lot are said about the comment: “avoid stock rigs or don’t make them look stock.” People argue that one musn’t waste time and spend that time learning animation. I think that if you are truly devoted to the shot, you must be devoted to the uniqueness of you characters. Altering the rig to fit the character you envisioned, and changing it up to fit the emotion and personality shows commitment to the story and not just movement. And it really doesn’t take much time, considering how much time one spends on polish. I find that when I change up some characters it actually makes the animation blocking easier (a little bit), because I am constantly visually reminded of the character’s personality.
Remember, animation is a very visual medium, and a few hours on characterizing your stock rig can go a long way.
Just my 2 cents
RRo
I agree with all of these points. Reviewing demo reels is a time consuming process and people go in there with high hopes to be entertained and to find the perfect candidate. The one that kills me the most are the DVDs that don’t play. If you don’t take the time to check your dvd, it tells them how much you really wanted the job. Another big one is to make sure that you don’t put animations that are so so on the reel. I know some studios have a 5 sec rule. If your first animation isn’t strong, but your last one is killer, it will be turned off. Great points Andrew!
Theresa Adolph
These are some great tips and tricks. Thanks for going over these.
– Theresa
Dave
Hmmmmm…..I guess I need to take my fancy titkes of my reel. Just kidding, great post, great info.
AJ
Great stuff!
Cheers for this Andrew.
AJ
Elham
Really Thank you,this was very helpful
NO that was joke. I CAN .I CAN GO THERE
I completely discover that never send my reels to pixar
Daniel Huertas
your take on Demoreels always helps Andrew… direct and straight to the point… now.. I’ll get back to work!
Teresa Nord
Hey Andrew!
Great tips for sure, thanks a bundle.
I know my main issue with my demo reel is the length. Mine is definitely too short. I started animating 2 years ago and while I have a little feature animation experience (a quick 2 month temporary position), most of my work is from the year and a half of school. I learned a ton from my school projects, and have improved enough to know that most of those projects do not belong on my reel. I’ve heard many times that you’re judged by your weakest piece and you only want to show your best work. I’ve also heard it’s better to be short and great instead of long and mediocre… and sometimes studios can see enough potential just from one great piece.
Do you have any advice for people with little experience in this same situation?
If you have a strong demo reel but it’s super short… should you start sending it out while you of course continue to work on a new shot or two.. since, I suppose you have nothing to lose? or is it better to wait to send it out after you work on a few more shots to add length?
Anyways, thanks again for the great tips!
Teresa
Mayur Ahirrao
Thank you very much ….
I just want to know is making short film for demo reel
is must ??
I heard that for some studio’s short-film is a must …
Even for Pixar im not sure though ??
Thanks !!!
Mr. Post-it
I’m curious – who was that guy that got hired w only a logo on his demo reel??
Herman
Funny, there is a Bill Evans Demo reel online too with some funky music. Thanks for the Tips.
Emilie Goulet
Thanks for all the informations! I think in school we should have demo reel reviews so we have an idea of what it is to go through dozens of reels per day…
Cheers
Em
Nathan
thanks Andrew, always helps when you go over this stuff again.
Tim
“Don’t use those free Internet models. I cant tell you how many times we see the same 4 or five models. Yes, we know its hard to rig and find a good model to animate, but seeing the same rig for all these years is getting old. If you are gonna use a free rig, alter it so much so that you cant tell that its the norman rig or the animation mentor rig.Using the stock rig is just boring.”
This is one reason why more and more people are starting to think people at Pixar are pretentious.
Here’s a question Andrew
… What did you use for your demo reel? Did you learn how to model and rig so you could have a unique character, or did you use a rig someone else built? I love how you guys sit there on your high horse telling people what they need in their Demo Reel. What’s next, are you going to tell people that they need to have a full short film done with perfect lighting? It’s about the animation, not the rig, or what the rig looks like. It was a lot easier to get into Pixar in the earlier days when a lot of the higher ups got in. I wonder if any of them would be able to get in if they tried to apply with all of this amazing competition now. Something tells me I doubt it.
Anonymous
Hey Tim,
I think you got it wrong. Altering the rig allows them to focus on the animation part, rather than thinking “Oh Please! Not again!”
Watch the dialogue pieces from all the AM students one after the other for 2 hrs, and you’ll understand what they mean.
If you were doing a 2D piece, would you draw a character that looks different, or draw a character which looks like the AM rig? I don’t get why the attitude is different for 3D!
Dr. Gordon
Tim.
Let me try to address you comments. First off I am sorry if I come of as pretentious. I don’t want to. I’m sorry that you think Pixar animators are that way. We are not. In fact, I think Pixar animators are a humble group of artists. I can’t speak for any of them, but I care about the medium and helping people weed through the BS. I can see how it might seem that we are sitting on a high horse, judging. I suppose there might be some truth to what you say, but in general we only have the best intentions when looking at work.
Now, if you don’t like what I have to say, that’s one thing. But I can’t sugar coat the process and just tell you that no matter what, as long as the animation is great, you can use any rig. I’m mostly talking about a stock rig with no modifications such as hair, makeup, props etc… It’s great to see a scenario where an animator is really thinking about the who, what when and where of the character they are doing. If they are just using a stock rig on a grid bg, then its hard to see that detail.
As for you comment ” It was a lot easier to get into Pixar in the earlier days when a lot of the higher ups got in. I wonder if any of them would be able to get in if they tried to apply with all of this amazing competition now. Something tells me I doubt it.”
First off, how do you know it was so much easier to get into Pixar back then? Did you work there? Did you apply? Because of the maturity of the medium, less might have been expected, but it was equally as hard. It was and still is about the quality of the animation, the ideas, and character. I guess you could say the same about someone like Babe Ruth. “Ah, I doubt he would have been as great with all the talent out there now.” Not true…
I got in to Pixar after working at Warner Brothers for 2 and a half years. I had some 3d looney tunes stuff, two Bug tests (yes I built the rigs) and a 2 and a half minute short of a flour sack acting like Rambo. You are probably right that I might have a tough time getting in now, but the thing is, a recent intern got in on a very similar assignment. A flour sack… People saw the quality of his timiing, ideas and raw talent. So 12 years later, someone was able to do impress enough people with a simple half filled sack of flour.
So you say, get off your high horse… Maybe the post does sound a bit pretentious, and I am at fault for that… I have been known to be a bit rough around the edges. The thing I have to say to you is to not let a post on demo reels upset you. Let it push your work to the next level. I am just being painfully honest. If you don’t like it, change the channel.
-Andrew
Pete
I find all these post all very amusing, as some people just dont ‘get’ it or understand what is being expressed.
I’ve seen your student work Andrew, and I really loved it especailly the flour sack short animation. I have also seen various other Pixar animators student/early work and it has all had great thinking behind it with great talent in animating it. I honestly haven’t seen any better work than it currently today, and whoever said that you guys wouldn’t get into Pixar today doesn’t really know what they are talking about.
Also about the stock rigs. I 100% agree with you Andrew on the alterations to them. If the piece you are creating is for an exercise to help to you learn animation which isnt for your reel, then dont alter. But it is the same in all walks of the working life…..presentation is key. I know for applying as an animator they will look for great animating skills, but also for someone who really loves their work and will put in the extra time to make it their own, and be the best it can be. It tells a lot about the person strangely enough in what rigs they use, and how they use them.
I encourage Tim to go to one of your animation master classes and see what Pixar animators are really like; I think he will change his mind.
Jesse
On a different note, I hadn’t heard the two- year rule. Is there one or am I misunderstanding? I must be misunderstanding, because two years is a long time to wait before putting something on your demo reel. I’ve always heard that one should wait until the work is either broadcast or released for public consumption before putting their contribution on their demo reel. Am I wrong?
“You’re not wrong, Walter, you’re just an @$$h0l3″
Sorry, Big Lebowski relapse. It happens from time to time.
alonso
Hey Dr.s,
Out of curiosity, how many reels does Pixar receive a month?
What percentage of applicants actually have the animating craft strong enough so that you can evaluate whether their acting chops are a fit for the studio? (or to put it another way, what percentage of people who submit are not yet ready for the big league?)
thanks, keep up the great work on the blog
Animation Expert
I found these that were really highend and cool: World’s Best 3D Animation and Visual Effects Show Reels of all time! http://su.pr/AnX4Tl
c-bobble
My question is, has PIXAR hired any animators within the last few years that have had NO 3D experience? I know they did back in the days of Toy Story but how about now?
Rob Somers
Thanks for the post, Andrew, and the added clarifications to Tim’s letter that you presented in such a mature and insightful manner. I saw your long reply and initially thought, “Uh oh, someone’s gonna get it…” But your replies were just as powerful as the original blog post they came from. Thank you, again.
Speaking for myself, I was brand new to using any kind of graphic software when I started studying CG animation a year and a half ago. BRAND NEW — no Photoshop experience, no MSPaint, no Adobe products to speak of at all on my Macbook aside from the giant beast that is Maya.
So I of course started out using stock rigs provided by my school, and never altered them (because I simply did not know how). I always envied those that did alter them, because YES, they are so much more appealing to look at and DO allow me to focus more on the animation at hand. Using unmodified stock rigs myself for so long, I was very tired of them and recently taught myself some basic modeling and Photoshop techniques in order to modify my own characters…for my own viewing enjoyment (not necessarily because a blog post told me to). It makes looking at my own work more bearable, and I can only imagine makes a demo reel review day at a studio more interesting as well.
Like Andrew said, it’s not about BUILDING a whole rig/model yourself. But you’d be amazed how far some hair, ears, glasses, or basic clothing applied via Photoshop can go. I know I was.
- Rob Somers
aau student
thanks a lot for posting this!
i have a question about content.
I understand that one should gear his/her content to the studio being applied to (ex- sending a gory short to nickelodeon, i’m guessing, would be a huge risk)
But are there certain (more universal) subjects that should be left out of a demo reel? (religion, sex, politics, etc)
bob
Me thinks pixar needs to change up the demo reel reviewers and not stick with the same old ones all the time.
Don Dixon
I just take all the free rigs I use and make them hot black guys like me, prob solved. Tee hee.