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Title: <\/strong> Word Count:<\/strong> Keywords:<\/strong> Article Body:<\/strong><\/p>\n Getting a break in film special effects is hard, but not as hard as you may think. The following ten things will go a long way to help you achieve your dream job.<\/p>\n 1) Understand the Industry<\/p>\n If you want to work in special effects, it\u2019s important not just to know the difference between a Stag (stagehand) and a Director, but know how special effects itself is divided up. Long gone are the days when Ray Harryhausen (Jason and the Argonauts) would lock himself in a shed with a small team of people and do all the special effects himself. Now, everything is spread across different teams and departments. So, if you\u2019re interested in sculpting sets and large monsters, you want to work as a film sculptor; if you’d prefer smaller more technical projects you\u2019d be better off choosing the model unit.<\/p>\n 2) Be a Realist<\/p>\n Working in the creative industry and particularly the film industry is not easy. You\u2019ll often be faced with challenging projects and demanding deadlines and there\u2019ll be dozens of different people waiting for you to finish so they can complete their own jobs. You\u2019ll have to strike a balance between the time allowed and quality of what you produce; you can\u2019t get too precious about your work. Not only that, you\u2019ve got to promote yourself \u2013 all special effects artists are freelance and you\u2019ve got to hunt down the jobs out there.<\/p>\n 3) Study Art<\/p>\n Whether you\u2019re self-taught or went to Art College, it is vital you have a keen interest in Art to work in special effects. If someone asks you to sculpt a life-size Roman-style Statute or an Egyptian sarcophagus it\u2019s invaluable to have a point of reference in your own mind. But more important than this, it\u2019ll make the job more enjoyable. You may be flicking through an art book over the weekend, and on Monday morning you\u2019re asked to recreate one of the pieces you\u2019ve been admiring.<\/p>\n 4) Drawing<\/p>\n In the film industry all technical drawings are done by draughtsmen in the Art Department. So is this just padding to reach the magic ’10’ steps? No. If you want to create any 3D object, particularly the human form, it is vital to learn to draw and keep practicing. Sculptors regularly liken sculpting to drawing their subjects in clay from various angles. The key to good sculpture, like drawing, is defining the lines and shadows.<\/p>\n 5) Practice<\/p>\n This is obvious but it’s also vitally important. If you practice creating and sculpting things in your spare time, you will improve. It is also very valuable to recreate a film working experience \u2013 so limit yourself to reference photographs (rather than a life model) and give yourself a challenging deadline for the job. A little more difficult, but just as valuable, is to try different mediums. You may be an expert in steel construction and welding, but unless you join the engineering side of special effects or metal work team, these skills are useless. The materials of choice in the films tend to be low-grade potter\u2019s clay and polystyrene.<\/p>\n 6) Approachable<\/p>\n Almost everyone in the film industry is self-employed and so they understand the only way to get work is to promote yourself. This doesn\u2019t mean you should go around to a potential employer\u2019s house or create wacky self-marketing campaigns; it means most people in the industry are approachable. If you cold call a relevant Head of Department (HOD) and show commitment and desire to learn they\u2019ll often agreed to meet you for 5-10 minutes to look over your portfolio.<\/p>\n 7) Persistence<\/p>\n When you do finally meet the man or woman you\u2019re hoping to be your future boss, don\u2019t stop there. They\u2019ll take your details but it might be 18 months before they have a suitable project and give you a call. You need to make sure you meet as many future employers as possible, and stop and have a chat with other people in the department if you feel brave enough. Try and leave a card or better still, copies of your favorite 1 or 2 pieces of work with your contact details on (and ideally your online portfolio address if you have one). Then, give them a quick catch-up call every 6 months or so \u2013 even if they can\u2019t offer you a job, it\u2019s amazing how much information you\u2019ll get about different opportunities.<\/p>\n 8) Portfolio<\/p>\n Vital. In a word. The key rules to a good portfolio are simple:<\/p>\n >Diversity \u2013 show different types of work you may have done \u2013 you may be proud of the series of 18 statutes you\u2019ve done, but don\u2019t show them all. Also, you may not think that 30ft polystyrene snow drift shows you\u2019re finesse as a sculptor, but it shows your versatility so put it in.<\/p>\n >Honesty \u2013 it should go without saying but it doesn\u2019t. Only one thing gets a HOD’s back-up more than seeing a large piece of work with someone claiming to have created it single-handedly, and that\u2019s seeing a piece of their own work being claimed by someone else. Believe me, it does happen. So, be honest. If you did the left foot of a giant, then say so and don\u2019t be ambiguous about it.<\/p>\n >Concise \u2013 use your opportunity wisely. 10-12 photos are definitely enough to show a range of your work and skills.<\/p>\n >Best Foot Forward \u2013 most people will make a decision about your work within 2-3 examples so put your best work at the very front.<\/p>\n >Presentation \u2013 try not to have scraps of paper tumbling out of your moth-eaten portfolio. Invest in an easy to carry A4 portfolio and use plastic binders. If you have any Photoshop skills to improve the presentation of your work then use them. Don\u2019t feel the need to take in an example of your sculpture \u2013 you will be showing your work to professionals who are very used to assessing work through photographs.<\/p>\n >Information \u2013 you may have produced a full-scale replica of Michelangelo\u2019s David, but if it took you three years it\u2019s no good to the film industry. Make sure you note down the scale of each example of your work, what material you used and how long it took. These simple pieces of information are important for HODs and will be appreciated.<\/p>\n >Online Portfolio \u2013 if you can, get an online portfolio designed and make sure any contact details contain the address. Ideally, try and get the HOD\u2019s email address so you can send them the link. Any time you update the contents of the portfolio, it\u2019s a good excuse to contact the HOD with another link to your work.<\/p>\n 9) Networking<\/p>\n Networking can feel a bit uncomfortable and embarrassing at times, but it is important to get to know what jobs are out there. After you\u2019ve worked on a job or two you\u2019ll get the phone numbers of a few fellow workers \u2013 make sure you give them a ring. But be warned, if you\u2019re first to hear about the new James Bond film and then tell everyone, you\u2019ll find yourself joining the queue to show your portfolio. This doesn\u2019t mean you shouldn’t share information you may have about up coming jobs, it means you should bear in mind that everyone is trying to get employment. It’s also a good idea to keep an eye on movie news websites.<\/p>\n 10) Watching Films<\/p>\n A great perk for those times when you\u2019re not in work \u2013 you can watch films and claim it\u2019s research. Obviously, it\u2019s a great feeling to see your own work on the big screen, but it\u2019s also exhilarating to see the work and names of people you know. After your first job or 2 you\u2019ll very quickly start to feel part of the industry and start recognizing names and faces. Also, for those jobs you missed out on, you can go and have a good grumble about how you would have done it better!<\/p>\n Working in the film industry is not for everyone; but if you\u2019re keen and develop you\u2019re skills and knowledge, then you\u2019re likely to get an opportunity to show what you can do. Best of luck!<\/p>\n ======================================<\/p>\n What you can do:<\/strong><\/p>\n [YES] Can be Renamed, Rewritten or edited. What you CANNOT do:<\/strong><\/p>\n [NO] Give away resale rights for free 1. You may not sell this product or the any of its rights if you ask for a refund. Your license will become null 2. You must keep this license to verify yourself as an official licensee. You must be able to show the license 3. You may not market the product in any immoral, illegal or unethical way (Spam).<\/p>\n 4. You are responsible for your own hosting, download locations, payment processor and customer service to 5. 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\n10 Steps to Getting Your Dream Job in Film Special Effects<\/p>\n
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\ncareer, films, movies, work, entertainment, advice, special effects, art, craft, creative, media, sculptor<\/p>\n640 Jobs PLR Articles<\/h3>\n
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