A demo reel, sometimes referred to as a “show reel,” is not generally intended for distribution to be seen by an audience, but rather more as a showcase for your talents. It is like a visual résumé of your animation skills, and it’s sent to studio recruiters who are looking for employees. Studios receive dozens of demo reels every week from artists wanting to break into the animation business. The best ones will likely be called in for an interview, which is what really gets them the job. Your demo reel is just a way of knocking on studios’ doors and letting them know you exist. First impressions are extremely important, especially in an industry as competitive as animation. It is amazing how many animation hopefuls shoot themselves in the foot by neglecting to follow some simple guidelines for making and submitting a demo reel, so following are some tips to help you.

First of all, when it comes to approaching studios, do your research! Do not just compile a list of every studio that does stop-motion and blindly send reels out. Find out who they are and what kind of work they do. Most studios have Web sites that should tell you something about their size, work history, staff, and current projects. Many of them will have a list of job postings, indicating if they are looking for animators, puppet builders, or other personnel. When you send your reel to a studio, you should be able to say, “I hear you are looking for animators,” rather than “I need a job.” They might need someone to empty their trash, but that won’t help you much if you want to animate. Researching the company and showing them you know their history shows them you are interested in working for them, and that you’re not just in it for yourself. You are offering your talents to serve the studio team. Approach them with the attitude of a humble servant, and let your work reflect this. You may want to have several different versions of your reel, if you have different skills. If one studio is looking for animators while another is looking for set builders, and you can do both, create specific reels that emphasize these respective fields.

Demo reels can be submitted on VHS, as they traditionally have been for many years, and there are some studios that still prefer this format. However, it is becoming more common for DVDs to be submitted, as VHS slips further into extinction with every passing year. This is another good thing to find out while researching the companies to which you apply, in terms of what format they prefer. If you send your reel on VHS, do not use the same standard 2-hour tape you use to record your soaps. It is a serious waste of tape, as your reel should be no longer than 1 to 3 minutes. Using a 2-hour tape will also be heavier, making it more expensive for mailing, and it looks extremely unprofessional. Shorter tapes are not sold in most convenience stores, so search for a supplier or warehouse in your area that will sell you blank videotapes of 5 to 10 minutes only. They will usually sell them in bundles of 10 tapes and will also sell paper sleeves to put them in.

Do not start your reel with a test pattern. This is a major turn-off for studio recruiters who have to sit through dozens of reels every day. Start with about 3 to 5 seconds of black, and then create a simple black-and-white title card with your name. Leave it there for about 3 seconds, and then go into your animation. Do not make a flashy title with little movie-premiere floodlights or moving graphics, as this will come across as cheesy. Also, avoid fancy wipe effects to lead into your animation scene; a simple cut will do fine. Your work should speak for itself, and that is what people want to see, so cut to the chase, or the studio might eject your reel before it even starts.

Keep your reel short—like I said, down to only a few minutes. Your reel should not consist of every piece of animation you have ever done, but instead only your absolute best work, which should be the first thing the recruiters see. If your animation does not pique their interest from the very first frame, the reaction will be “Next!,” and your reel will end up in the trash. When looking for animators, studios like to see things like dialogue, pantomime acting, or personality walks—basically anything that shows you understand the basic principles of animation and know how to deliver a performance. If your reel grabs them right away, they will continue to watch it until the end. Avoid putting offensive subject matter on your reel, unless you know that is the kind of work the studio produces.

If you have a short film, pick the best animated scenes from the film and start your reel with a montage of sequences. You can put your entire film on afterward, so that if the recruiters like your animation, they may be enticed to actually sit through the whole thing. Starting your reel with the film itself may try a recruiters’ patience if they actually have to sit through a title sequence or exposition to get to the best parts.

Keep music to a minimum, if you use any at all. Most studios watch reels with the sound off, unless they are watching a dialogue piece. If you put music on your reel, make sure it is not loud or obnoxious, as this may also send it to the reject pile. Royalty-free music is the best way to go, because it does not infringe on any copyrights and is usually subdued and generic. Music’s only purpose should be to enhance the visuals, not compete with them.

Label your reel with a typed label, not a handwritten one. Use a font that is easy to read, and make sure to include your name, phone number, and e-mail address.

Accompany your reel with a cover letter, résumé, and possibly a portfolio. Your cover letter should reflect your interest in the studio and why you feel your skills would be useful to them. Your résumé should be simple and demonstrate your educational background, work experience, and personal interests. Do not make these documents gaudy or artistic—just plain text on good quality bond paper will suffice. Present yourself as willing to learn and work as a team player, and do not come across as arrogant, desperate, or timid. Be yourself!

Once you send your demo reel to a few studios, do not be alarmed if it takes a long time to hear back from them. This will be the case 9 times out of 10. If a studio likes your reel and has an immediate opening, it will contact you. The important thing is to keep developing your skills and send a studio updated reels every 6 months or so. Being called in for an interview is all about timing. To reiterate what I said in Chapter 2, “The Stop-Motion Industry,” your reel is typically only half the battle. Networking and nurturing relationships with other artists in the animation field is the best way to stay connected and ultimately get your foot in the door. When studios are looking to hire people, they often do internal referencing among their own connections first, to see if they know anyone good who is looking for work. Your name may be referred by a friend or colleague, and if they have your reel on file already, that is when they will contact you, so make sure you are easily accessible by phone or e-mail.

Another way to showcase your animation is to create your own personal Web site. The same rules about your demo reel apply here: To keep it simple, not too flashy, and not too self-indulgent. Make it fun and creative, but keep it professional and relevant to your artwork. Most personal Web sites consist of links to a personal bio, résumé, portfolio, and a QuickTime movie of your demo reel. You can also include an online filmmaking journal or blog with behind-the-scenes clips or pictures of how your animation was created. There are free Web servers you can use to create simple Web sites, but it looks more professional if you pay for your own domain name. If you do not know HTML coding, then learn a program such as Dreamweaver to create your site.

In addition to hosting your own site, there are many other opportunities online for showcasing your animation. The Internet is an amazing revolutionary achievement, and few things have contributed more to the global community of animators all over the world. Here are just a few of the most popular sites for submitting and showcasing your stop-motion short films.

Film festivals are a prime location for submitting your film, networking with other filmmakers, and getting noticed. They range from very small independent events in tiny theaters to large-scale events in giant halls. Many festivals will have workshops, master classes with famous filmmakers, panel discussions, and lots of parties. Most film festivals focus mainly on live-action features, shorts, and documentaries but will still accept animation or have their own category for it. It is best to seek out their Web sites or phone numbers to get details on how to submit a film, as they all have different specifications. Most festivals will have an entry fee ranging from $30 to $50, but some smaller ones might have no fees. Filling out applications and saving up for all of their various fees can turn into a very laborious process, so it’s important to do your research and make sure you are sending your work to good-quality festivals. Start out by seeing if there are any festivals in your hometown or anywhere else close by, as these will be the easiest ones to attend. It’s always a nice bonus if you are able to attend a festival where your film is showing! If your film is not selected, don’t be discouraged, as the competition is very stiff, and there are many others in the same boat. Just keep animating and looking for ways to get your work seen.

For animation exclusively, the biggest opportunities are in several event festivals that are held regularly at a specific location, and also some touring festivals that travel to cities throughout North America. Some of the most popular animation event festivals include these:

There are many other festivals to be found, and the best place to look is the Animation Industry Database at www.awn.com, which lists every festival throughout the world.

Of the touring festival variety, there are many new options as well, and in the U.S. specifically, there are at least two that stand out as prime options for submitting your film with the hopes of having it picked for distribution.

The Animation Show (www.animationshow.com)

Following in the footsteps of their mentors Spike and Mike, Mike Judge (creator of Beavis & Butthead and King of the Hill) and Don Hertzfeldt (creator of short films such as Rejected and The Meaning of Life) launched their own touring Animation Show in 2001. They have shown all kinds of mediums from all over the world, including stop-motion pieces by Adam Elliot, Peter Cornwell, Pjotr Sapegin, and others. This show is definitely one to watch for as it tours the country, and it’s another great place to send your work by submitting it on VHS or DVD.

By getting your work seen through any one of these venues, if you’re lucky, a door could be opened for you to either work for a studio or get the opportunity to have your short turned into a series. Make sure to protect yourself from bad business deals, and try at all costs to maintain the integrity and legal rights to your work. The more creative control you can continue to have over your precious animated creations, the better off you will be. Even if your work does not get noticed to this degree, at the very least relish the rare privilege to have your work seen and appreciated by other people who love animation as much as you do.

Of course, you can also organize your own film premiere by renting a movie theater for an hour or so and inviting your friends and family to see your opus on the big screen. I premiered Snot Living at the Michigan Theater in Ann Arbor (see Figure 15.1), which was originally a silent movie house built in the 1920s, so it was appropriately screened with live organ accompaniment. It was a great way to celebrate the efforts of everyone involved. Remember, in these CG-saturated times, the world needs more stop-motion, so get it out there!

Figure 15.1. The marquee at the Michigan Theater for my film’s premiere.