Issue link: http://digital.copcomm.com/i/21561
OUTLOOK Schools amazed with is that there isn’t one point at which workflow changes immediately. It’s always based on what came before it, or some variation. “[Another] weakness, if there is one, is to show kids the potential of what they are getting into.” OPPORTUNITIES: “On one hand, media produc- tion is a huge part of the American economy and we have such an iconic connection to it — Hollywood and just generally media.We have plenty of people inter- ested in pursuing the study of storytelling using media. There aren’t an abundance of jobs out there now, so I think there is a lot of interest in studying this in a more formal way in the context of a liberal arts college, like this.You do acquire a broader college education on top of just learning some more of the technical things.” THREATS: “Filmmaking is a very collaborative process, so as much as there is a democratization of media and technology, and it’s easy for everyone to get a camera and a laptop, that’s not really the whole picture. Peo- ple can go to a digital trade school, or go on Lynda.com and you can learn a lot — you can learn all of the technical stuff that you need to know, but that leaves a lot to be desired as far as the ‘whole’ process.” OUTLOOK FOR 2011: “As a program in general, I don’t see any- thing that is going to be remarkably different. But I do see that there is always an evolution to the program and what we are doing. “What we saw was a dip [in enrollment] initially last year, but it picked up again this year, and I think right now we are cautiously op- timistic.The way higher education has worked in the past is, when times are good, people will go to college because they can.When times are rough, people go to college because they feel like they should. In a way, it’s somewhat recession proofed.That said, there are always concerns about how education will be financed, so should something change in a big way there, that can alter the picture.” DOM DAVENPORT CEO/Founder Escape Studios www.escapestudios.com London/Santa Monica Dom Davenport is a former 3D artist who set up London’s Escape Studios in 2002, providing training, recruitment, placement and even reseller services. Next spring, Escape will launch a new school in Santa Monica via a 9,000-square-foot location at the Yahoo Center. STRENGTHS: “The need for formal training:The industry has moved on so much in the last couple of years and the education system is still playing catch-up.Talking with key industry players, there's a gap between what is being taught and what is actually needed. So many students finish their study but don't have the hard-core skills that they need. In such a competitive industry, it's essential they're given the training which allows them to hit the ground running. “Because of the economy and the globalization of the VFX indus- try, costs are an essential part. Employing junior level talent [who] are very hungry and have the right skill-set is incredibly important in reducing that cost.What we teach gives you a good grounding in all 40 Post • December 2010 www.postmagazine.com Student training at Escape Studios in London. of the nuances of how to create a good camera track, and all about CG integration into live action. [Students] are given an armory of tools that are applicable, whether it's for commercials or film or tel- evision work.” WEAKNESSES: “Generally, the majority of universities and col- leges that are teaching things related to computer graphics are edu- cating people, which is very beneficial, but they are not giving them the vocational skills that they need. I suppose we are more like a trade school than a competitor to a university. I think the biggest complaint in the industry is the lack of focus on the fundamental skills that are needed on a day-to-day basis in the workplace. Simple things like how to use Linux rather than a Windows system.Things that would unnerve people if they arrived in a facility and had no idea how these things worked. How do you interact with a pro- ducer and team of people? How do you interact with a client? What happens on set? Those things seem to be missed a majority of the time.They seem to focus on the more artistic endeavor, which has its merits, but when it comes to a crunch, are people ready straight away? Normally, from our experience, they are not.” OPPORTUNITIES: “North America.We have plans to get something up and running in LA and get that working, and then to look at other areas of the States where we may be able to operate as well.Whether that’s San Francisco or Vancouver or New York,we haven’t decided.We have plans not to build a mas- sive center in a central location, but to have lots of boutique, fo- cused, training facilities that are concentrated on the localized needs of the industry.” THREATS:“[There are] much more in the US, but the market- place is much bigger as well. Online [is a threat].We have both op- tions. Something that is akin to the Animation Mentors of this world, but it’s 100 percent visual effects focused.” OUTLOOK FOR 2011:"The industry is changing rapidly and new technological advances mean that training will have to move with it.The industry is going to require individuals with an under- standing of everything — from on-set supervision to 2D and 3D software, as they offer the most value. Having theoretical knowl- edge and being able to push a button just isn't enough anymore — the industry needs people who understand both film and dig- ital pipelines."