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72 cgw s u m m e r 2 0 1 9 provide them with further learning of project management principles and col- laborating with various personalities and departments. It is also important to teach core skills rather than trying to chase industry trends, leading Jim McCampbell, department head for computer animation at Ringling, to point to the constant fluctuations in aesthetic trends and production methodology as some of the biggest problem areas facing students. To combat this, he says Ringling makes certain that its graduates are versa- tile throughout all phases of the production process in order to give them the widest range of opportunities, while at the same time keeping a laser-sharp focus on story- telling skills. Without question, having the proper skills can boost a student's confidence. And at Animation Mentor, the focus is on teaching those skills. The online animation school focuses on teaching its students the fundamental skills needed to succeed in any studio environment. They learn from professional animators working in the in- dustry, experts who can best prepare them for a career. Animation Mentor's students also work and manage their files through the school's integrated pipeline, which mimics the production workflow of major film and game studios around the world – a unique but important element in learning. As a school rep points out, the Ani- mation Mentor community is tight-knit but expansive, with global connections that begin as school friendships. Each stu- dent graduates with a demo reel, strong communication skills, and a network of talented mentors and peers, all of which empower them to pursue their animation dreams and tackle any hurdles that come their way. Academy of Art University, like Animation Mentor and others, places tremendous value on having students instructed by professionals in the industry. According to Derek Flood, associate director of VFX, oen students coming straight out of school lack the practical real-world experience to be able to handle demands of a production – and this includes working on a team and under a deadline. For this reason, the school has developed what it calls "StudioX," which are a series of advanced-level classes that emulate a production environment but are faculty-mentored. In these classes, students are working on real shows, with real deadlines, and encoun- ter real problems and challenges that come up in the course of making a film, Flood notes. "The students learn to work together as a team, how to work well under pressure, and how to creatively solve problems," he adds. "The work that has come out of these classes speaks for itself, but beyond that, the experience students gain in these Stu- dioX classes (the X stands for eXperience) has been tremendously important in prepar- ing them to be ready to go from school into a studio job." Escape Studios is of similar opinion, not- ing that the biggest hurdle that students face today in relation to their education in VFX and animation is the skills gap between graduating and the industry stan- dard that is required. Achieving a strong foundation of core skills while demonstrat- ing lots of potential in a portfolio to indicate you could progress creatively and artistical- ly early in your career is key to getting hired, a rep there maintains. Thus, Escape Studios maintains a good relationship with some of the best studios and companies in the industry; and by working with these companies, it is able to provide its students with a range of opportunities that will help support and guide them when starting out in their creative career. The school regularly liaise with industry to ensure it is teaching exactly what they're looking for, and they help design all of Escape Studios' degrees. Moreover, these industry partners will come in and do entire feedback days with students and tutors as well as set industry standard briefs for the school's students to work on. Indeed, building confidence, teaching a thorough, relevant curriculum, helping students find their voice, helping them achieve problem-solving skills, and enlisting guidance from top industry professionals will help soon-to-be artists overcome some of today's biggest obstacles to finding success in their future. n Karen Moltenbrey is the chief editor of CGW. IMAGE FROM LAURA HAN, ANIMATION MENTOR. ART BY GEORGIA SAROJ, GNOMON. Summer 2019, Volume 42, Issue 1: COMPUTER GRAPHICS WORLD (USPS 665-250) (ISSN-0271-4159) is published bi-monthly with special additional issues in January and July resulting in 8 issues per year by COP Communications, Inc. Corporate offices: 620 West Elk Avenue, Glendale, CA 91204, Tel: 818-291-1100; FAX: 818-291-1190; Web Address: info@ copprints.com. 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