INDUSTRIAL LIGHT & MAGIC: Innovative Leaders In Visual Effects
For two decades, Industrial Light & Magic has set the standard for visual effects, creating some of the most stunning images in the history of film. Now at the forefront of the digital revolution, ILM continues to break new ground in visual effects.
Founded in 1975 by George Lucas, ILM is the leading effects facility in the world, serving the motion picture, commercial production and attraction industries. ILM has created visual effects for over 100 feature films, including MARS ATTACKS!, 101 DALMATIANS, TWISTER, MISSION: IMPOSSIBLE, DRAGONHEART, JUMANJI, CASPER, FORREST GUMP, THE MASK, JURASSIC PARK, DEATH BECOMES HER, WHO FRAMED ROGER RABBIT, E.T. THE EXTRA-TERRESTRIAL, THE INDIANA JONES series, and the STAR WARS trilogy. ILM has played a key role in 6 of the top 10 box office hits of all time, winning 14 Academy Awards for Best Visual Effects and 9 Technical Achievement Awards.
With its many technical and creative innovations, ILM has helped drive the evolution of visual effects. Beginning with a mastery of the traditional arts of blue screen photography, matte painting and model construction, ILM pioneered the development of motion control cameras, optical compositing and other advances in effects technology. Since the 1980ΓÇÖs, ILM has led the way in the use of computer graphics and digital imaging in feature films and commercials, developing breakthrough software techniques such as Morfing, enveloping and film input scanning.
Today, ILM features the largest and most advanced digital effects system in the feature film and advertising industry. From the creation of wholly computer-generated characters in THE ABYSS, CASPER, and TERMINATOR 2; to life-like distortions of the human body in DEATH BECOMES HER and THE MASK, to the startling 3-D computer animation in JURASSIC PARK and TWISTER, ILM is constantly expanding the possibilities of digital imagery. ILMΓÇÖs ability to merge photo-realistic digital images with live-action footage is unmatched in the film industry.
Critical to ILMΓÇÖs success are its Visual Effects Supervisors, who combine technical expertise with creative vision. They are joined by a core group of 800 employees at ILM, including producers, art directors, model makers, stage technicians, animators, editors and camera operators. This effects team works within ILMΓÇÖs proven production management system, known for producing superlative results on time and on budget.
Inspired by its successful work in the feature film area, ILM expanded into the world of advertising in 1989. Today, Industrial Light & Magic Commercial Productions is a full-service production company specializing in the production of live-action commercials as well as commercials with visual effects. ILMCP accounts for nearly a quarter of ILMΓÇÖs annual revenue. A roster of commercial directors with experience in storytelling, live-action photography and a vast array of visual effects techniques, supported by the talented staff of producers, technicians and artists, has been the key to the success of ILMCP.
Located in San Rafael, California, just north of San Francisco, ILM is a division of Lucas Digital Ltd., which also includes Skywalker Sound. Formed in 1993, Lucas Digital Ltd. is dedicated to serving the digital needs of the entertainment industry for visual effects and audio post-production.
For more details about ILM, read the book Industrial Light & Magic: The Art of Special Effects by Thomas G. Smith.
INDUSTRIAL LIGHT & MAGIC EMPLOYMENT OPPORTUNITIES
How to Open the Door at ILM
RESUMES
While you may have a desire to express your creative abilities on paper, please make sure your resume is easily legible. The following list explains all items necessary for your resume:
ΓÇó Name/address/phone number/e-mail address
ΓÇó Education (even if independent courses)
ΓÇó Work experience (most recent employment first)
ΓÇó Hardware/software experience
ΓÇó Relevant internships
DEMO REELS
Your demo reel is the first impression, therefore, only show work for which you are most proud. The following is a list of items that are important to note when putting your reel together.
ΓÇó A reel need not be much longer than 2-3 minutes and should show your most recent work first. Music is a nice addition, but is not crucial.
ΓÇó Your reel should be on 3/4ΓÇ¥ or VHS (no Beta please). They also have the ability to read PAL, if necessary.
ΓÇó Even if you do not have SGI experience, please show any computer graphic experience you have on your reel.
ΓÇó Include items that represent your all around artistic abilities. For example, if you have a traditional animation background and do not have much experience in CG, they encourage you to show pencil tests, stills, gesture poses, sketches and/or animated films.
ΓÇó Have a credit list detailing the work you completed in each example and what software you used to create the piece. (I.e., ΓÇ£I animated the arms of the model using Softimage.ΓÇ¥)
Career Opportunities in 3-D Graphics
Overview
The following is information that will help clarify some of the different positions in the field of computer animation and specifically some of the interesting career paths that are available through the merging of computers, art and entertainment.
Computer Animation entails creating a 3D model or character within the computer, giving it life, adding color and lighting, and integrating this element into live action footage when necessary. To become a successful candidate in the 3D department it is necessary to have a good educational and/or professional blend of computer knowledge and artistic studies. At ILM there are two main roles which break down these various tasks, one is an ΓÇ£AnimatorΓÇ¥ the other is ΓÇ£Technical DirectorΓÇ¥. For both roles, it is ideal to have the following:
ΓÇó Computer experience to comfortably work on SGI computer systems.
ΓÇó Knowledge of high-end software programs such as Softimage, Wavefront, Alias, Prisms or TDI explore.
ΓÇó UNIX and C programming knowledge necessary for technical positions.
ΓÇó A Bachelor of Fine Arts in Art and design or various art courses may be desired.
ΓÇó Ability to work as a team player while under pressure during tight deadlines.
WHERE TO SEND MATERIAL:
All reels /resumes can be forwarded to the addresses below. While you may be tempted to call to make sure your material has arrived, please be patient. They will contact you usually within 2-4 weeks of receiving your material.
3D Animation, Technical Directing and Modeling should be sent to:
Industrial Light & Magic
Attn: Computer Graphics Recruiting
P.O. Box 2459
San Rafael, CA 94912
All other positions should be directed to:
Industrial Light & Magic
Attn: Human Resources
P.O. Box 2459
San Rafael, CA 94912
INTERNSHIPS:
ILM offers internships for highly-motivated students who wish to pursue careers in visual effects, sound design, editing for feature films, and television commercials. The program exposes students to various aspects of the industry and provides practical on-the-job experience. Assignments may be available in such areas as Film/Video Post Production, Finance/Accounting, Human Resources, Marketing, Commercials, Computer Graphics, Graphic Design, Art, and the Production of Film and Commercial Special Effects. To receive information on how to apply please send your name and address along with your request to:
Industrial Light & Magic
Attn: Internship Coordinator
P.O. Box 2459
San Rafael, CA 94912
JOB HOTLINE:
You may also call ILMΓÇÖs Job Hotline number at: (415) 258-2100. It lists all available positions within the company and is updated on a regular basis.
EMPLOYMENT OPPORTUNITIES WITH ILM
2D COMPUTER GRAPHICS (Entry Level)
RESOURCE ASSISTANTS
Resource Assistants (R.A.ΓÇÖs) in Computer Graphics serve as the primary liaison between CG Technical Directors, Animators and Technical Assistants.
Duties include coordination of processor, disk and machine allocation. P.A.ΓÇÖs must ensure that all exabytes are read on line; they update exabyte logs and track all elements. Other responsibilities include scheduling of CG dailies and assisting with preparation of bids.
Position Requirements:
Two years of related experience, preferably in computer graphics or post production. Applicants must be computer literate; knowledge of Macintosh including Excel and Word is required. Experience with database management preferred. Most importantly, P.A.ΓÇÖs must enjoy working on a computer for long periods of time, must be detail-oriented, and be able to interrupt one task in order to complete another without a high level of stress.
TECHNICAL ASSISTANTS: (Union Position)
The Technical Assistants (T.A.ΓÇÖs) provide overall support to the Technical Directors and Animators.
T.A.ΓÇÖs provide file I/O support to include loading files from on-line; performing file format conversions and backups; providing assistance in monitoring shots to be rendered for productions, including management, coordination and troubleshooting for processors, networks, workstations, digital disk records and the design and modification of shell scripts.
Position Requirements:
B.S. in Computer Science; solid UNIX experience with skills in C shell scripting; C/C++ programming experience and networking (NFS/FDDI). Familiarity with film and video post production techniques highly desired.
EMPLOYMENT OPPORTUNITIES:
3D Computer Graphics
Mid-Level Computer Graphic Positions
DIRT REMOVAL OPERATORS:
After viewing shots on the Abekas, dirt removal operators use Matador paint software to clean frames and remove dirt, scratches, etc. They load exabyte tape with original frames onto the computer and back-up cleaned frames onto exabyte tape.
Qualifications for these positions include basic UNIX knowledge, proven experience with various software programs and willingness to learn new tools while working efficiently within a production environment.
ROTOSCOPE ARTISTS: (Union Position)
These positions are responsible for creating digital articulate mattes with computer-aided drawing tools and/or contrast enhancing image processing software. They perform background repair, wire removal and blue screen extraction.
In order to qualify as a Rotoscope Artist, individuals must have either a traditional rotoscope background with some computer graphics experience and/or a BFA in Graphic Design, Drawing, Animation or
equivalent artistic background and education. Production experience in computer graphics, animation or video and experience with 2D image processing, Harry, Henry, Matador or other similar systems is necessary. Qualified applicants must have knowledge of UNIX or a similar operating system.
ANIMATOR - (Character, Traditional Animator)
Animators work on the motion of computer graphics characters within a shot, using various high-end animation software packages such as Softimage. Character computer Animators are generally animators from a traditional hand-drawing ΓÇ£CellΓÇ¥ animation background who now take a computer modeled character or object and add motion and ΓÇ£lifeΓÇ¥ to it via the computer.
A TOP CANDIDATE USUALLY HAS THE FOLLOWING:
Traditional animation training through one of the top schools such as: Sheridan College (Canada), Cal Arts (Valencia, CA) or Ringling (Orlando, FL) and 2+ years experience in the field doing commercials or feature animation with production companies such as: Disney, Amblimation, Don Bluth or overseas animation companies.
Technical Directors design and create motion, geometry, lighting and the look of computer generated objects and scenes. They design and create mattes, paintings, effects and programs for digitally composited sequences; determine various design solutions; oversee the work of rotoscope artists and assistant technical directors. Qualified Technical Directors must have a bachelorΓÇÖs degree in computer Science or Computer Graphics with at least two or more years production experience. A strong working knowledge of Silicon Graphics Machines (SGI) using UNIX, C programming and shell scripting is necessary as well as knowledge of Softimage, Alias, Wavefront, TDI or proprietary high-end software packages.
TDΓÇÖs and other CG employees traditionally have degrees in Computer Science from a variety of schools. Recently, weΓÇÖve hired several assistant TDΓÇÖs out of the Visualization Lab Masters Program at Texas A & M. Note: Demo reel showing computer animation work is required.
PATHS TO CAREERS IN VISUAL EFFECTS
Industrial Light & Magic consists of a broad range of divisions. The following suggestions represent the background of some of their employees, as well as their recomendations to those wishing to get a start in the visual effects field. Please keep in mind that like the visual effects industry, educational institutions frequently revise their methods, so contacting schools directly is the best way to find out about current programs.
Many of ILM employees have BA/BS or MFA degree(s) in film production/communication studies, fine arts, classical animation, model and industrial design, camera engineering, illustration, theater arts, graphic design, and computer science. Their professional experience and backgrounds, which are also desirable, lie in computers, programming, art design, audio and/or visual production, and traditional illustration.
For Film Production There are many schools which offer BA & MFA degrees in film production. The Producers Program in the Department of Film and Television at the University of California at Los Angeles (UCLA) and New York University (NYU) are known to have strong programs. For physical effects done during filming (i.e. rigging explosives, etc.) try looking at the University of Southern California (USC) or again UCLA. San Francisco State University (SFSU) and Hampshire College in Amhurst, MA also have film production programs; as well as some courses in computer graphics. There is also an independent program called The Assistant DirectorΓÇÖs Training Program. Information can be found on this at your nearest film commission.
For Computer Animation Many 3-D animators believe a strong Fine arts/classical animation background is necessary for quality 3-D character animation. Their perspective is based on the belief that the computer and software alone cannot create a character with complexity - an artist must be at the keyboard. Likewise, a strong background in computer graphics may lead into the other ΓÇ£more technicalΓÇ¥ side of 3-D animation, such as creating software or directing the technical elements of each shot. ΓÇ£The Complete Guide to Animation and Computer Graphics SchoolsΓÇ¥ by Ernest Pintoff and published by Waston-Guptill, may serve as a helpful reference source. It is a basic guide containing information on schools, and also contains about fifty autobiographical essays by famous animators. Sheridan College in Toronto or Cal Arts, in southern California provide classical animation programs. For computer graphics try looking into programs offered at the University of California at Berkeley, Ohio State University, the Ringling School of Art & Design in Sarasota, Florida, or Texas A & M (which also offers courses in effects animation). These are by no means the only schools to look at, try asking around at universities in your area, many schools have strong programs in computers.
For Model/Creature Making Numerous model/creature makers have backgrounds in art, more specifically, three-dimensional art. Architectural and industrial modeling, as well as experience in sculpture is important. Experience with life casting, rubber molds and plaster are helpful; and some knowledge in make-up artistry is also beneficial in creature making. Keep in mind it is very important to establish a portfolio in order to obtain an internship or an entry level position at any model/creature shop. Some universities have departments in these areas, so call around to see how extensive each program is.
For Camera Engineering It is somewhat difficult to find programs focused specifically on Camera Engineering. One way to acquire skill and knowledge is through studying cameras, photography, and film (i.e. attending film school). Another possible route could be to attend a trade school which focuses on mechanical aptitude. Other options include internships and/or volunteer work at camera rental houses (where they rent and fix cameras) with the intention of trying to get hired on as an assistant to gain experience. Try looking at local listings to see what is available in the near vicinity. If you are located in a rural area, investigate one of the nearest major cities (i.e. Los Angeles, San Francisco, New York, etc.).
For Art Design There are many schools which provide excellent art programs focusing on some of what they do at ILM. (storyboarding, illustrating, etc.) As a start, try contacting the Art Center in Pasadena, UCLA, or the Academy of Art In San Francisco.
RECOMMENDED READING:
For further information, contact your local library. A few books we recommend are: Industrial Light and Magic: The Art of Special Effects by Thomas G. Smith and Special Effects in Motion Pictures by Raymond Fielding. Cineflex and American Cinematographer are two magazines which focus on special effects and provide more up to date information on the special effects industry. You may also be able to find a list through your local library or University, detailing film companies that offer internships, which may be one of the most valuable routes you can take in gaining knowledge about the effects industry. The Lucasfilm companies do offer internships to currently enrolled students in their junior or senior year of college or at the graduate level. To request an application, contact their Human Resources Department at P.O. Box 2459, San Rafael, CA. 94912. Good luck!
American Cinematographer Manual
Compiled and Edited by Charles G. Clarke, A.S.C.
Assisted by Three W. Tyler
An Official Publication of the American Society of Cinematographers
CinematographerΓÇÖs Field Guide
KODAK Motion Picture Camera Films
Creating Special Effects for TV and Film
Bernard Wikie
A Focal Press Book
Hastings House, Publishers
Professional 16/35MM CameramanΓÇÖs Handbook
Verne and Sylvia Carlson
American Photographic Book Publishing Co., Inc.
Special Optical Effects In Film
Zoran Perisic
Focal Press Limited, London/New York
The Technique of Effects Cinematography
Raymond Fielding
Communication Arts Books
Hastings House, Publishers
The Technique of Special Effects in Television
Bernard Wikie
Focal Press, London
Hastings House, New York
Industrial Light & Magic: The Art of Special Effects
