Pixar directing animator Andrew Gordon has seen a few demo reels in
his time. When he isn’t working on stunning animations at Pixar, he’s
busy sharing industry tips and techniques on his blog, and teaching masterclasses in animation and storytelling (he’s in Rome in May).
Here,
Gordon walks through some stand-out demo reels from the last decade,
explaining why each one won its creator either an internship or a job…
01. Stefan Schumacher: Demo reel 2010
“This
one was done by Stefan Schumacher, who was one of my interns a few
years back,” explains Gordon. “All of the scenes are based on a simple
rig that has been modified to be a character. Also, he put sets in and,
in general, shows really great acting ideas. Especially in the scene at
00:30…”
02. Allison Rutland: 2009 animation demo reel
“Another
reel that I remember being wonderful was this one from Allison Rutland.
It’s a professional reel that showed great potential at the time,”
Gordon explains.
“She didn’t have much feature work on her reel,
but she did two personal tests that got her a job. The last one on the
reel [at 00:50] I think really closed it for her. It’s a great example
of believable acting,” he says. Rutland went on to win an Annie for best
character animation for her work on 2015 animated film, Inside Out.
You can watch her 2017 animation showreel here.
03. Cesar Tafova: Animation reel 2016
“There
are many rigs out there – many are attached to schools that ‘give them
away’ for free as a marketing tool,” says Gordon. “Just know that when
you see the same rig over and over from hundreds and hundreds of
students, it’s very hard to separate yourself from the pack.
“This
example [at 00:17] shows a good use of changing the scene and
character. It has a good hook. It’s the Malclom rig,” he adds. “I see
lot of demo reels with this guy. If you’re going to use a rig from a
school, come up with a really original design and test.
“Look at
the rig as the actor, and you as the director who needs to put him in a
costume. Make the scenery and direct the acting to tell a story.”
04: Carlo Vogele: For Sock’s Sake
“Once
you get past the work from schools that teach animation by using stock
rigs and running you through animation exercises, the stuff that really
stands out is the student films from other schools in the world,” says
Gordon. “When you see a film that’s well-crafted, it means a lot. This
film by Carlo Vogele was one of those you see and, right off the bat,
you say: ‘That’s a great idea – using clothing to animate.”
Don’t fall into the trap of being a shot animator. Try to be a storyteller
“It’s
so important to remember to be a film-maker and not just try to do
exercises that you think will get you into this or that studio –
especially when you’re a student. Now’s your time to make films, because
not many people out there are going to give you the money to make a
film.”
“I was personally hired out of school on a two-minute
Flour Sack test that turned into a little story. I saw another student
get an internship based off his Flour Sack film and go on to Pixar, then
Disney feature animation,” he continues. “You don’t need complex rigs
to get noticed. Just great ideas. Many times it’s the story telling, the
entertainment value, what you bring to the work… Don’t fall into the
trap of being a shot animator. Try to be a storyteller.”
