California Studios

The Walt Disney Feature Animation Training Programs are an in-depth work
experience in traditional and CGI (Computer Generated Imagery) animation,
including instructional activities, tutorial classes (lectures and film screenings), studio
assignments, and production experience. These concentrated programs are designed to
give the Trainees a highly developed, first-hand insight into the animation process.

Trainees accepted into the program participate in a three-phase training program

tailored to their specific discipline. Upon entering the program, the trainee is placed
under contact with the Studios.

I. Phase One:

This concentrated program gives a complete overview and introduces artists to the
entire Disney Animation process. The program includes the following:

A. Tutorial

1. Classes--Trainees attend scheduled discussions on topics pertaining to the basic

principles of animation art, production techniques, and studio processes.

2. Lectures--Trainees attend scheduled presentations as they relate to specific

animation procedures, history of animation, and contemporary motion-picture
advances.

3. Screenings--Trainees attend weekly screenings of animation and live-action

classics, including discussions and historical overviews structured to make them
aware of the problem solving necessary to achieve successful results in narrative and
cinematic style, continuity, and performance.

B. Studio Assignments
At Walt Disney Feature Animation, the artist's greatest tool is his/her ability to draw
well.

1. Drawing Skills--Great emphasis is placed to developing the Trainees' fundamental

ability to draw for animated film through observational studies, action analysis, and
traditional figure-drawing techniques.

2. Drawing Techniques for Animation Production--Assignments develop the Trainees'

skills in order to draw characters consistent with model sheets, and develop line
quality in clean-up from rough animation drawings.

3. Individual Animation Assignments--Basic principles of animation are applied,

using studio facilities, in order to see how Trainees can creatively develop their own
short segment of animation (the pencil-test concept). Assignments are based on the
following progressive steps, each of which must be approved by supervising
production personnel: proposal, thumbnails, storyboard, key pose and rough
inbetweens, and key clean-up. Background/layout assignments will vary but will also
develop similarly in progressive phases.

C. Production Experience in Other Animation Areas

To understand the overall Animation Production process as a blend of talent and

teamwork, trainees are exposed to each phase of the artistic and technical procedure
necessary for animation, under the supervision of production personnel.

II. Phase Two:

This portion of training continues with the Trainees concentrating on their specific
discipline. Curriculum includes specialized exercises, lectures, clinics, and research.

III. Phase Three:

Prior to entering this final phase of training, Trainees are evaluated to determine
whether they will continue. If evaluated successfully, Trainees begin work on
production-specific exercises under the guidance of a senior artist in their discipline
who acts as the mentor.

CGI (Computer Generated Imagery) Training Program

Training positions are available to individuals who have Computer Graphics

education but lack practical experience in Feature Animation applications.
Requirements include a degree in Engineering, Computer Science, Art, Traditional
Animation, or related experience. Knowledge of animation principles, lighting,
rendering, and use of CGI hardware and software is desired.

The CGI Training Program begins with the first phase of the Traditional Animation
Training Program. Phase two then follow, focusing on areas such as basic CGI
information and specific Disney CGI production techniques. Basic CGI information
addresses fundamental computer graphics and computer animation concepts, as well
as the history of this field. Disney CGI production procedures are also covered, and a
production-type final project utilizes all these skills and concepts. Upon successful
evaluation of the second phase, Trainees would them continue into their third phase,
during which they are placed onto a production working on specific exercises under
the supervision of a senior artist who will act as their mentor.

Portfolio Requirement and Guidelines

A. General Requirements

 A resume is absolutely essential. Portfolios will be returned if a resume is not

submitted at the same time. A brief letter outlining your area of interest
(character animation, background, layout, effects, story, CGI, etc.) is also
important.
 All work must be submitted in a traditional portfolio or other easily-managed
case. No rolled samples, please! Portfolios should be no more than 24x30
inches.
 All work should be mounted on heavy paper or behind plastic on standard
portfolio pages. Mounting on illustration board and matting is not necessary or
recommended.
 If pastel, chalk or charcoal works are presented, they must be fixed and/or
mounted behind plastic.
 The artist's name or initials must be on each page or sample.
 Portfolios should not exceed 25 pages of work. A sketch book, short video tape
or portfolio page with several drawings is considered one page.
 Please do not send stretched and/or framed work.
 Slides and/or photocopies are acceptable, especially for color work. Whenever
possible, life drawing should be presented in original medium.
 Videotapes should be clear and no longer then four minutes, five minutes for
CGI submissions. A table of contents identifying each sequence and the artist's
responsibility on that sequence must be included. (NTSC format please. VHS
or 3/4 inch tape are fine.)
 Portfolios not meeting these requirements may not be evaluated.

B. Guidelines
1. Traditional Portfolio:

 A good selection of carefully rendered figure drawings using line to emphasize

volume and structure. Also include sketch books or loose sketches (mounted)
of animals and humans in motion done in quick sketch/gesture style.
 Generally, drawings should be from live subjects. Do not copy photographs.
 Recent work is a must. We should be able to evaluate your current skill level.
 Samples of your cartooning skills and drawings from your imagination are
appropriate, but should not comprise a major part of your portfolio work.
 If interested in story sketch, layout, background or effects Trainee positions,
approximately half of the portfolio should reflect appropriate art the indicates
an understanding of that particular discipline. (See "Portfolio Requirements".)

2. Animation Services Portfolio:

 An Animation Services portfolio is much the same as the traditional portfolio,

except that we would be interested in seeing additional examples of cartooning
and finished illustration, especially involving examples related to video games,
CD ROM graphics, etc. In this case, life drawing should only take up about
one-half of the portfolio that you are applying for Animation Services.

3. CGI (Computer Generated Imagery) Portfolio:

 A CGI portfolio should include fundamental drawing skills as well as a video

reel of animation work.
 A videotape portfolio may include computer animation, traditional animation,
pencil tests, stop action, or clay animation. Choose samples of your work that
show understanding of animation principles such as timing, clear staging,
squash and stretch, anticipation and follow-through, secondary action, character
modeling and development (both 2D and 3D).
 Videotapes should be clear and no longer than five minutes. The artist's name
must be on the tape and the case. A table of contents (breakdown) identifying
the artist's responsibility on each sequence must be included. (NTSC format
please. VHS or 3/4 inch tapes are fine).

4. Things They Prefer Not to See:

 Copies of Disney (or other studios') characters.

 Comic strip or comic book work (Small sampling can be include if applicant is
interested in layout).
 Super hero, and science/fantasy illustrations.
 Graphic, poster, industrial and advertising design.
  Clay animation models or sculpture.
 Textile, jewelry or three-dimensional design work.
 Photography.

Animator Portfolio:

 The basic elements, as above.

 A video reel of scenes you've animated.
 Two or three animation "flips". (These can be photocopies.)
 Other applicable designs or drawings that show your skill and experience.

Assistant Animator Portfolio:

 The basic elements, as above.

 At least two sets of ruff keys along with your clean-up drawings of same.
 Other examples of your clean-up skills (note if drawings are assistant or
inbetween work).

Effects Portfolio:

 The basic elements, as above.

 Effects drawings, showing a variety of work and approach to design.
 A video reel is particularly effective.
 Resume should not any optical training you might have.

Inbetween Positions:

 The basic elements, as above.

 Samples of your past inbetween work.

Layout Portfolio:

 The basic elements, as above.

 A selection of layout drawings that show your sense of staging, design, lighting
and perspective. Include your character drawings for the layouts, if possible.
 Make sure we know if this work is from you own ruffs or clean-ups from
another artist's work.
 If you have comic strip/comic book examples, we'd like to see a selection of
those as well.

Background Portfolio:
  The basic elements, as above.
 Painting examples geared to our studio approach, with an emphasis on attention
to detail, lighting, atmosphere, and painterly technique.
 Originals, color prints or transparencies of animation background you've
produced.
 Please do not send stretched canvases.

Story Sketch Portfolio:

 The basic elements, as above.

 One or two sets of storyboards (animation or live-action). Photocopies are fine.
 Examples of character designs/model sheets.
 Quick sketches showing you lighting, dramatic setting and staging sense.

Visual Development Portfolio:

 The basic element, as above.

 Artwork that displays your sense of caricature, imagination, color and design.
 A selection of color sketches (any media) that dramatize a story.
 Sample of children's story illustrations are helpful but not mandatory.
 If you are interested in character design, include extensive samples of character
concepts drawn from your own design and imagination,. Include various
"types"; humans and animals, personalities, anthropomorphic objects, model
sheets, characters in environments, etc.

Computer Graphics Imagery (CGI) Portfolio:

 The basic elements, as above, if applicable.

 Animators should send a video reel that displays animation capabilities and
familiarization with animation fundamentals, whether computer, stop motion or
traditional approaches.
 Modelers should show familiarization with computer graphics modeling
packages as well as sense of design and ability to sculpt.
 Software Developers need a specialized computer science, math or physics
background as well as a good understanding of 3-D graphics techniques.
 Software Engineers need credentials in computer science, electronic or
computer engineering.
 Systems Engineers should demonstrate a high understanding of program
language (such as C/C+), be able to operate systems like UNIX and
WINDOWS, have a working knowledge of communications protocols and be
able to write interface drivers.
 Artistic Review Board

We are interested in you and would like to have the opportunity to see your work! In
order to do that, you should submit a portfolio to our Artistic Review Board that
demonstrates your ability to fill a position with us. Our Review Board, a committee of
inviduals gathered from our artistic staff, evaluate and make recommendations based
on the work they see. From their conclusions, we are able to determine how your
knowledge, skills and experience might apply to Feature Animation.

We accept portfolio submissions through the mail only and will return your portfolio
once it has been reviewed. Please don't ship COD or over-estimate the value of your
portfolio contents, because your work could get delayed in Customs or incur a lot of
additional fees. Also, we cannot be responsible for loss or damage to submitted work.

Portfolios send to California should be mailed to:

Walt Disney Feature Animation

CGI Training Program, Artist Recruitment
500 S. Buena Vista St.
Burbank, CA 91521-4866
Telephone: 818-544-5452

Generally, our Review Board meets every other Wednesday. On occasion, however,
the Board does not meet or we may hold your portfolio for additional viewings. If that
happens, we'll be sure to notify you of the delay. Once your portfolio has been
through the process, we'll get back to you with the Board's evaluation.

All information from Walt Disney Feature Animation.

http://wdfanimation.tripod.com/Training/training.html