Ebook - Allan McKay - Ultimate Demo Reel Guide PDF

The
Ultimate Guide
for Making a
Successful Demo Reel
b y a l l a n m c k ay
THE ULTIMATE GUIDE FOR
02 MAKING A SUCCESSFUL DEMO REEL
BY ALLAN MCKAY
TABLE OF
CONTENTS
Table of Contents 02-03
Introduction 04
Section 1 SETTING THE TONE AND ELIMINATING DOUBTS / MYTHS 05
1.1 So Why Have a Reel? 05-06
1.2 Who I Am 07-08
1.3 Why This is More Than a Demo Reel Guide 09
1.4 Types of Reels You Will Make Over the Course of Your Career 10-15
1.5 Demo Reel Myths 16-18
1.6 Breaking Bad Habits 19-23
Section 2 THE ANATOMY OF AN EFFECTIVE REEL 24
2.1 What Actually Makes A Good Reel? 24
2.2 The 3 Things Your Reel Needs to Communicate, Above All Else! 25-27
2.3 So, What Does a Good Reel Consist of? 28-30
2.4 Conclusion 31
Section 3 UNDERSTANDING YOUR AUDIENCE 32
3.1 Who is Your Target Audience? 32
3.2 Role Reversal -- Viewing Your Work Through the Eyes of the Employer 33-34
3.3 Making Your Reel is Only the Beginning 35
Section 4 EXPOSURE 36
4.1 This Section is About Getting Exposure 36
BY ALLAN MCKAY
TABLE OF
CONTENTS
4.2 Publishing Your Reel 37-38
4.3 The Long Term Strategy 39
4.4 1 Million Views 40-41
4.5 Making It Happen 42-43
4.6 Be Omnipresent 44
4.7 Gaining Traction on Your Reel 45
4.8 Conclusion 46
Section 5 COMMON QUESTIONS & ANSWERS 47
5.1 Should I Put “Breakdowns” on My Reel? 47-48
What if Multiple People Worked on a Particular Shot?
5.2 I Don't Want to Look Like I'm Taking Credit for Other People's Work 49
5.3 Should I Show My Personal Work or Student Work? 50
5.4 What Do You Do if ALL of Your Work is Under NDA? 51
5.5 What if My Role is More a Support Role? How Do I Cut My Reel? 52
5.6 Difference Between Reel and Portfolio 53
5.7 Should I Show Tutorial Work I've Done on My Reel? 54
5.8 Should I Include the Software I Used in the Reel? 55
5.9 Should I Put My Reel on YouTube, or Vimeo? 56
Is Your Reel Always “One Size Fits All?”
5.10 Or Should I Make Custom Reels 57
Section 6 WRAPPING THINGS UP 58
6.1 So What’s Next? 59
BY ALLAN MCKAY
INTRODUCTION
Having a reel is a way to demonstrate who you are almost all the articles, videos and other subject
and what you can do in the fastest way possible. matters related to reels are typically put together by
There is no other way that you can show PROOF that those on the sidelines of the creative industry --
you can sit down TOMORROW and do the actual either artists or teachers -- but very rarely have I
work. This is critical for all of us to be able to not seen any information shared by those who actually
only attract the attention of employers, but give do the hiring. I have worked in the industry for over
them confidence that we are the right hire for them. 20 years and reviewed thousands of reels, built
teams and hired hundreds of artists. I wanted to
There are many major mistakes we make when share the perspective of my own and of many other
making reels that can do more damage than good, supervisors and managers on what we both look for
and the worst part is -- not only do we not know that in an artist’s reel, but also on the reasons we will
we're making them, but we're not there to defend stop looking at your reel and move on to the next
ourselves when a potential client or employer first one. So you can use this Guide to ensure you are
comes in contact with our work. able to captivate your audience -- and land the job
every time!
Typically, the job is already awarded to you by the
time the job interview call comes in. For most Most importantly, a lot of us don't even factor in that
projects, the reel is the most vital part of the process what your demo reel, reel or showreel is: It is really
and the deciding factor of whether you are the your 90-second TV advertising spot, a chance to
solution to their artist search. get out in front of the world and show your stuff. It's
not unheard of for the most eye-catching reels these
There are many myths circulated around what you days to circulate around the internet and go viral, or
SHOULD do, and what you SHOULDN'T do when have blog articles written about them, if they're that
making a great reel. Most of them aren’t all too good. Anything is possible, and you need to factor
accurate and can be vague on the specifics. But this in when coming up with your content.
BY ALLAN MCKAY
SECTION 1:
SETTING THE TONE AND ELIMINATING
DOUBTS / MYTHS
1.1 SO WHY HAVE A REEL?
In any creative industry, your resume is by far the Typically, most of us see a reel as a collection of our
least important factor of getting a job. It's important, work. We might cut it to fast paced electronic music
but it's rarely what counts when evaluating an artist's and put a lot of emphasis on all the wrong type of
ability. After all, you could have all the education in things. What we should realize is our reel is the
the world or have spent time at many successful single most valuable asset we have to represent
studios; but if you can't sit down and do the work at our ability, and it's also the one that can
the level your possible employer expects, then your communicate what we are capable of faster than
time there is going to be very short. anything else!
BY ALLAN MCKAY
I will say that there are factors to getting work that But, I'll be honest: There's a lot of fluff when it comes
weighs more impact on landing a job than your reel: to this subject. Most of it is kind of right; some of it is
primarily your reputation and endorsements from blatantly wrong, some of it is even damaging if you
other co-workers. However, they're less frequently were to trust and follow it. But all of it is focused on
needed -- but have more pull -- than almost anything the small picture. The mindset of the information out
you personally can present as to why you're the there is basically like this: "Send reel and cover
right person to hire. letter, hopefully land job".
But your reel is the visual proof. It's what plays the Let's go beyond that. Let's instead focus on the big
biggest factor over whether or not you're capable picture!
of doing the work, and also how much you're
“
worth when it comes to Some of the subjects we
negotiating. Not your cover are case studies,
resume, not your others are step by step
website, not the job actions you can apply
interview, or what OUR REEL IS THE SINGLE right now.
school or studio you've
previously worked. Your MOST VALUABLE ASSET WE HAVE But here's what we are
reel -- is everything! TO REPRESENT OUR ABILITY, going to cover:
But, let's go beyond that. AND IT’S ALSO THE ONE • How to create a clear
Because honestly, I THAT CAN COMMUNICATE cut, laser focused mes-
never thought I would be sage and attract the type
writing a How to Make a WHAT WE’RE CAPABLE OF of jobs you want.
Reel Guide in my entire FASTER THAN ANYTHING ELSE! • How to use your reel to
”
life. Some of the content build your brand -- and
I've focused on are position you as the
articles like: obvious expert in the
areas you want to work.
• How to Negotiate $1,000 per Hour • How to make your reel go viral.
• Launching Your Own Studio • A case study on how to get 1 million views on your
• Mastering Interview and Communication Skills demo reel (and then what NOT to do).
• Building Your Brand • How to get your reel noticed and understand also
• Pricing Yourself as an Artist who typically is going to view your reel and how to
• ... and more! communicate the right message to each of these
audiences.
I want to focus on the areas that are going to make • And many more subjects.
the biggest impact in your career and put you at
the next level. Interested? Okay. Let's dive in!
BY ALLAN MCKAY
SECTION 1:
DOUBTS / MYTHS
1.2 WHO I AM
I think, with the amount of information readily I publish a weekly career based Podcast, focusing
available at our fingertips these days, the big on helping creatives 10x their careers: You’ll find
question is not so much "Can I find the right laser focused, actionable episodes on anything
information?"-- it's more "Whom can I trust to deliver from negotiating money, to launching your own
the right information?" I know how valuable your time studio, building your brand and more. I have guests
is, and I want to respect it. Here's a quick summary of like Freddy Wong of YouTube fame, Andrew Kramer
my background within the creative industry, which from Video Co-Pilot, Ben Snow one of the senior
hopefully will shed some light as to whether you feel I'm VFX supervisors at ILM, studios like Imagine Engine,
the right person to be preaching about demo reels and Unit Image, id Software, senior product managers
gain your confidence. from Autodesk, RedShift, Zbrush and more. I’ve
interviewed the 30th employee at Weta, who was
I am a Visual Effects S upervisor w orking i n responsible for creating Gollum; as well as the top
Hollywood. I have been doing this for over 20 years. immigration lawyers in the US, Canada, UK; Peter
And during this time, I've hired close to a thousand Jackson's immigration lawyer for all the thousands
people personally. By now, I have also assembled of employees at Weta in New Zealand. All that -- so
hundreds of teams, hand picking artists and we can shed light on how to work in any of these
reviewing tens of thousands of reels in the process. countries and to understand the steps to take to do
Having ran the website ReviewMyReel.com was a so. The Podcast is in the top 200 podcasts in the
fun experiment also: There, I would bring on guest careers section of iTunes, out of 50 million or so.
supervisors and other influential artists who typically
hire talent for productions on a regular basis, and I I've spoken at many events worldwide from
would hold live webinars, reviewing and critiquing SIGGRAPH to Autodesk University, Digital Media
various artists’ work LIVE with the artist, in front of Festival, CG Overdrive, Animago, and dozens of
hundreds online. I also do this regularly inside of my other events. Also, I have been a judge for Visual
FXTD Mentorship. Effects Society, CG Awards, Creative Pool and many
others. I even presented Weta and ILM an award for
But I don't just work in games and film. In fact, my studio their work on Avengers. I regularly speak or teach at
used to create most of the covers for Popular Mechanics studios such as Industrial Light + Magic, Ubisoft,
Magazine and dozens of other high-end, world-wide Remedy, Prime Focus, Frantic Films -- and the list
known magazines and brands. I also received a Gold goes on.
Promax award for some of the TV design work I created
in New York, as well as dozens of other awards. I I have provided training in the past for companies
received my first Emmy, as well as my first Oscar like Gnomon, Pluralsight, Digital Tutors, CG Society,
nomination at age 21, while living in Los Angeles. I've FXPHD / FX Guide and every other training
worked on dozens of AAA video games ranging from company. However, I felt like those experiences
Half-Life and Bioshock to to Call of Duty, Destiny and weren't enough so I created a personal 12-year
Halo. And I've been tied to all of these industries over Mentorship in which I devote my time to training
the 20-something years I've been doing this. both those new to the industry, all the way through
to those who've been in the industry longer than I
BY ALLAN MCKAY
to those who've been in the industry longer than I

have, on how to improve their skills, learn FX, learn
to code and really take their career to new levels in
all the areas they want to focus. For me, this has
been the most rewarding experience I've ever had
and my single most proudest feat.
I don't say this to impress you but to leave an

impression on you. I think it's critical to set the tone
early on about where and why this information is
being presented; and to validate that typically this
information is going to apply to you no matter which
industry you're in. I've tried to make it specific but also
broad enough to make sure no field is neglected.
Let's just address ALL the information currently out

there on the web. It's... NOT GOOD. What made me
interested in writing this in the first place was that
after holding dozens of online demo reel reviews --
from live CG Society reel reviews with the Blur
Studio team, to collaborative events such as
ReviewMyReel.com (which is a website I own), to
occasionally doing public events that hundreds of
artists attend, to the private demo reel reviews we
do inside of my Mentorship. I wanted to put together
some new information specifically for my personally hired over a thousand artists, assembled
Mentorship, and I thought I would look at what over a hundred teams, has worked for all of the
information is currently out there. And out of the industry leading studios like Industrial Light + Magic,
dozens and dozens of articles, videos and other Activision, Ubisoft and dozens of others. Someone
information readily available, most of it was vague. A who has owned or managed numerous studios over
lot of those sources all said the same generalized the course of his career. More so, I've been doing
things (which I shockingly feel was more damaging this for well over 20 years. That, in my option, is
to your career if you were to actually do it). Things important because your reel is everything. If I
like making your reel 3-5 minutes long, or “ending could only say one thing, above all else, it would
with your best work”. I will elaborate later but just a be: "Don't underthink the amount of work that
quick question: Do you expect the person viewing should really go into your reel"!
your reel to wait 5 minutes, before they see your
best work? Why not show your best work, keep your Seriously.
reel short, and set the tone from the very first shot to
keep them captivated, so they stick through until the You are competing for a job against dozens if not
end? And how about the end being more likely 90 hundreds of artists from all different backgrounds
seconds, max? and with different unique skills and experience. You
can't talk yourself up, you can't explain why you're
Check it out: I'm generalizing, but most of these the better candidate, you can't explain the amount
articles, YouTube videos, etc. are created by people of work that went into a project, or how hard you will
who write articles or by college teachers that promise to work for them. All they have to go by --
haven't really been in the industry. (Maybe they is your reel. Your reel has to fucking rock! There's
were in the industry for a year or two but faded out.) nothing else that in 2 minutes can win them over
None of these are written by people who actually or lose them for good. In that moment, your reel
do the hiring. I wanted to build out a thorough Guide has to be everything.
on what to do to get hired, from somebody who has
BY ALLAN MCKAY
SECTION 1:
DOUBTS / MYTHS
1.3 WHY THIS IS MORE THAN A
DEMO REEL GUIDE
In a nutshell: I want to focus on how to build a reel of someone who hires artists, what we seek and
that will build your brand. It will ultimately get you what we don't seek. I want to shed some light on
jobs and eliminate your chances of not getting how critical it is that you do all the right things,
hired. And more so, I want you to focus it on the long and that it can take something so trivial or small
term to help build exposure for you and help you to get your reel tossed to the side. This is based
grow your name, and get the jobs you want to get, on not just my experiences, but the experiences
long term. I want you to think of your reel like your of collaborating with dozens of supervisors over
agent, it represents you and if you have a good the past two decades, and their perspectives
agent, it will shop you around and get you work and what goes through their minds when looking
“
without you needing to at reels.
do the work yourself.
This is what your reel can The number one mindset
potentially do, it can gain shift you need to have
traction on the web and right now is that when a
get noticed by more
I WANT TO FOCUS ON supervisor or depart-
studios and more people HOW TO BUILD A REEL ment head is looking at
over time. That will lead THAT WILL BUILD YOUR BRAND. your work, it's not
”
to landing jobs, without because it just arrived
you needing to apply for today. Typically, they
the job and compete look at it when it's time to
against all of the other hire, and they've stacked
candidates. Ultimately, you want the work to come up a list of over a hundred reels that need to get
to you. graded and decided on very quickly. And all it takes
is that one vital second of disinterest or invisible
This is what we're going to cover. And this is why - mistake to instantly have your reel dismissed and
unlike the other articles I mentioned earlier, it isn't a move onto the other 99 reels that are in line to get
3-Step To-Do List of how to make your reel. It's about through in the very short amount of time that they
a mindset you need to change, and many bad habits have, when they could be doing a dozen other
we need to break. things that need to be done. Keeping the viewer’s
attention is as critical -- and as fragile -- as moving
Rather than building a book focused on what to onto a moving train.
do to get a job by an artist who may or may not
have a job, I wanted this to be from a perspective Now, do I have your attention?
BY ALLAN MCKAY
SECTION 1:
DOUBTS / MYTHS
1.4 TYPES OF REELS YOU WILL MAKE OVER
THE COURSE OF YOUR CAREER
Thinking of your reel as the same reel, just improved position you're going for, or if they're not fully
with the latest work each time of your career is engaged in consuming your work -- you need to
probably going to wield you the same results. We rethink your whole message.
want to change up our reel as time progresses. I
want you to think of your reel as your first What you want is them be FULLY ENGAGED --
impression on someone. But more importantly, commenting or yelling out to others around them to
what if it was the most critical first impression you come and check out your work. You want them
could ever make? It had to be perfect. I want to do commenting on it and even re-watching it when it's
this because it's going to make you want to think less done. You want them to make it their priority to
about how tight your work is or how awesome the reach out to you as soon as they finish watching and
track is that you cut it to -- and more about the mindset placing you in their mind (and spreadsheet) as a
you want the person watching it to be in; what you definite hire.
want them to be thinking while they're watching it,
and how you want them to feel after it ends. Going beyond this, do you think this is going to
affect what kind of salary you can ask for when it
So, am I overthinking this? Because this probably comes to negotiating if they're in this state of mind?
doesn't line up with those fluff articles you've been Because this is all about frame control, which is a
reading and what your 3D teacher told you in psychology term for basically saying “you want to
college, right? control their state of mind”. You want them to be
impressed, you want them to understand your
Again, this is results driven. Results being: If that message and you want to make sure the work
supervisor watching your reel, starts to click through you're showing them, aligns perfectly with the type
because they're bored, they're not engaged -- and of work they are potentially looking to hire
you are doing something wrong. If they're watching someone for. This is how you cut through the noise
it and something comes up, and they instantly pull and get results.
out your resume to check "Is this person a student?"
Doing it wrong! If they have no idea what your There are dozens of types of reels. But I want you to
contributions to a shot were, or even what kind of think more of the evolution of yours over your career.
BY ALLAN MCKAY
STUDENT REEL
When I say “student reel”, it doesn't mean you have the attention of the audience very fast. I interviewed
to be a student. You can be 40 years old and Ryan Connelly of Film Riot recently on my Podcast. I
wanting to change careers. That's fine. But it does was actually surprised when I asked him what the
mean it's your first reel and typically 100% your work, single most important aspect of film was and he told
and it typically won't compare too well to the reels of me it was the edit. I had expected to hear lighting or
those even one year into the industry. (I cover this sound, but (and I'm generalizing here) typically
further down the page.) But your first reel is a everyone's films, video, etc. falls short in the edit.
throwaway reel. It's there to get you in the door, They're unnecessarily long and lose the audience.
and then it's time to rebuild your reel from the
ground up, entirely made of production only work It's also easy to get overwhelmed and never even
that's a team collaboration. Work that's made by a finish your reel in the first place if it's too long.
team of professionals and a budget and schedule Typically, most of my reels are 90 seconds. Max!
behind it for tv or film, or games, or whatever, is That's with 20-something years of VFX and at this
going to look better than whatever you're able to stage probably a thousand projects under my belt.
put out at the start of your career. And that's fine Why am I making them 60 seconds? Because it's all
because the role of your first reel is just to get you in that's needed. LESS IS MORE. Worst case, they
the door. come back asking to see more work, rather than
feeling like they've seen too much.
This reel can be 1 to 3 shots. Make it longer at your
own peril but keep it under 60 seconds. There's no These days my reels are longer, but that's because
reason to make this any longer. If it's any longer than they're aimed at clients, not employers. (There's a
this, then it's probably badly cut and it's going to lose difference, which I'll explain below.)
“LESS IS MORE.
WORSE CASE, THEY COME BACK ASKING TO SEE MORE WORK,
RATHER THAN FEELING LIKE
THEY’VE SEEN TOO MUCH.”
BY ALLAN MCKAY
YOUR PRODUCTION REEL

Remember when I mentioned your first reel was a years. Typically, most of us start out as generalists in
throwaway? Well, unless you want to keep it for the beginning. We might have areas we want to
laughs a decade from now, that's exactly what it is. specialize in, but I think it's critical that you learn all
Once your foot is officially in the door and you're the areas of your trade before you specialize. It's
working, you want to quickly accumulate as much frustrating when an artist with a 5-year experience
production experience as possible and discard any can't do something really basic in a slightly different
of your previous work. It's not that it's terrible, it's area, because they literally dove into learning one
because personal work is like waving your hand in the thing “really well” at the start. It's like a Navy SEAL not
air saying, "Hi, I'm a newbie". knowing what to do with a knife because they just
trained how to use a rifle every day of their life.
Let's assume you're 1-2 years into the industry and
your reel is amazing. When someone watches it, But freelancing those first 2 years, especially focusing
they're going to evaluate you based on the work on tv commercials lets you:
you've done. They might glance at your resume to see • Build your contacts at many studios, exposing you to
where you've worked, but probably not process much more and more opportunities every single week.
beyond that. After all, when we hire artists, what we • Exposes you to more studio pipelines, more
“
want is results. If challenges and
you can sit down maximizes your
and do the work, growth.
that's what we • Lets you
need -- and “TAKE ADVANTAGE OF THE TIME YOU HAVE, accumulate 10-20
typically we have kickass pieces of
a dozen other MAXIMIZE YOUR EXPERIENCE, amazing content
artists we need to YOUR GROWTH for your reel in the
hire. So the first 2 years.
AND WHAT YOU HAVE TO SHOW FOR IT.”
”
sooner we can
tick that box, the That's right: The
better! more stuff you
work on, the more
I've seen this dozens of times. We're watching a reel stuff you have to put on your reel!
and it looks great. We're impressed. And then
someone's student work pops on screen. Instantly, If you were to go to a big studio, work on a CG feature
every time the default reaction is, "Oh, is he a for 3 years, more than likely you're not going to get
student?" And then we reach for the resume to much growth during that time, and you're definitely
confirm. not be given much responsibility. So at the end of the
day, you might end up with some background
There's nothing wrong with that, but it does lessen the snowflakes or some rig removal, or something very
impact you're trying to make. And it definitely lessens basic to show for your time -- which is not going to
the price you're going to be able to negotiate. Every help you land the next job. Take advantage of the
single time the student work pops on -- whether it was time you have, maximize your experience, your
just this really cool shot you're proud of, or because growth and what you have to show for it.
you worked so hard it deserved to go on the reel --
alongside all of your updated production experience Then use those 10-20 killer pieces to cut a new reel to
work. As soon as it does, we reach for the resume to land the next 2 years of work, and continue to improve
see how much experience you actually have. and build upon that every single year. This way you're
never going to keep any of that old personal work on
What you should do is, as soon as you get your foot in your reel, because you've got too much rock-solid,
the door -- freelance as much as you can in the first 2 production proven work to show for it.
BY ALLAN MCKAY
“TIE YOUR NAME AND YOUR BRAND TO A PARTICULAR NICHE,

AND DOMINATE IT!
YOU WANT YOUR NAME TO BE THE ONE THAT ALWAYS COMES UP
WHEN THEY NEED TO HIRE SOMEONE.”
SPECIALIST REEL
As I mentioned earlier, it's best to start out as a discipline and being able to communicate that to
generalist and specialize later. You might find other employers -- makes it much more easy for them to
areas you enjoy more or naturally are good at. And place you. If you're applying at ILM or MPC as "3D
it makes you stronger as an artist being able to work Guy" on your resume, how many other "3D Guys"
on your own shots. I've had many discussions with are you going to be up against? How does Human
senior team members and supervisors alike about Resources know how to place you? But when
this, since a lot of us who come from smaller you’re able to communicate “Character
countries, with smaller industries, and have had to Animator”, it is much, much easier to know what to
hold our own in any area of the 3D department. It's look for on your reel, which department to send
only later that we grow into specializing. It doesn't your work to review, and what type of projects
mean I personally didn't want to focus on a they can use you for.
particular subject and really own it. But if a talking
dog commercial came along, or we needed to do a This really is where you want to be. Get to the point
modeling job for some TV ident, or animated where the work you're doing is so focused, it's easy
dancing logo -- we'd need to tackle that with as for you to stand out. And then OWN IT. Make your
much enthusiasm as the tornado or fireball, or reel the most badass creature modeling reel on the
whatever it was that we jumped at the chance to planet -- or whatever it is you're seeking! Own your
tackle. niche and become the person they always think of
when they have a meeting and say, "We need an FX
However, as you mature and get more of a person. Hey, maybe we can get so and so.”
reputation, and get the experience under your belt
-- and more importantly, get enough content on your I talk extensively about this in my Branding Course:
reel to prove you can do the work -- you can Tie your name and your brand to a particular
eventually specialize if you want to. This is a much niche, and dominate it! You want your name to be
bigger subject, I will always recommend specializing the one that ALWAYS comes up when they need to
as much as possible. Being smart in what you hire someone.
specialize is one thing; but being able to own a
BY ALLAN MCKAY
SUPERVISOR REEL rather than the work you oversaw of others. So I

always look at my own reel as my “reel” on my
Eventually you're going to move into other roles and
move out of being the worker -- and use the website, even though A. I haven't really had to use a
experience you have to manage productions and get personal reel since about 2004, and B. it's old and
more of the big picture experience. Not everyone very outdated.
moves into being a lead or supervisor; but for most of
the time, it's where you might want to end up. Some STUDIO REEL
people never get the opportunity or others like not Ultimately, some of us decide to launch our own
having the responsibility. Some places supervisors companies and we want to showcase what we can
aren't eligible for overtime, or it’s too much stress, or do. This is technically where the studio reel comes
they just enjoy being on the floor. into play. In 2018, I launched a course and I spent a
lot of time on developing, specifically around how
I think getting the experience as a lead and then as a not to necessarily launch your own company, but
“sup” is a really valuable experience that also how to position yourself as a company as an
translates over to being a better artist in the long run individual. My course 6 Figure Freelance was a
as well. I've had probably about 5 years of not ever course specifically on how to move more away from
touching the box, just working either as a producer or the artist level work and start positioning yourself to
supervisor. Then when I later got more hands on take on the $200k-$500k jobs and attract the
again, it had definitely made me a stronger artist higher level clients. Once you're ready to move into
having the 30,000-ft view of the production always in this position, one of the many factors you will need
the back of my mind (rather than focusing so much to start looking into -- is developing your studio reel
on just my part in the project). (even if you're still essentially just you working as an
artist).
Typically, your supervisor reel is something that
will build up over time. The more responsibility Typically, your studio reel is much longer than your
you get, the more you're able to tack on a few regular artist reel was. Before I have communicated
extra projects and start to beef up your reel over to make your reel 90 seconds, or less. Keep it short!
time. In the beginning you mightn't have enough The length of your studio reel doesn't matter so
work to showcase on a Supervisor Reel. Instead it's much. It's not typically for employers, it's for
more something you communicate from job to job: clients. And clients are more likely looking at your
what you can do (your reel) and what experience work as more a sample reel of what you can do for
you have (as a supervisor). them. So the more -- the better. I've lost count of
the amount of times I've been contacted to do XYZ
Eventually, if you want to position yourself this way, for them "from my reel". In other words, "We want
you can start to get a strong supervisor reel. Later, if you to create that sand storm, from your reel. That
you decided to go client side as a Visual Effects nuclear blast, from your reel".
Supervisor, or Art Director let's say, you can seek
representation from agencies and have them shop Eventually, especially if you actually are launching a
you around to directors and producers for particular business, you'll want to break your reels into more
projects you might be able to potentially work on. custom ones. Car reels, destruction reels, pyro reels,
So this is the path that it leads toward. I personally water reels, digital double reels. You name it. As well
have about a dozen types of reels at this point, and as sometimes cut very specific reels for certain
it just calls for the right scenario and opportunity. So clients or bids you're doing. This is a whole other
I have supervisor reels that I will typically show subject which we dive heavily into in the course 6
directors, or I have a director reel I will show an Figure Freelance however this is where you can
agency. But neither are as cool as showing what you really create those laser-focused / ultra-specific
actually did yourself, your own personal work -- reels, but for a much higher playing field.
BY ALLAN MCKAY
OTHER REELS
Obviously I'm just scratching the surface on the then used those tools to create the shots. That
types of reels you have. But these are the makes it very difficult to communicate your
foundation for any type of reel. There are, of course, contributions. I still think you should have a reel
experimental reels which, especially more in the with a handful of shots to visually demonstrate
design world -- are a chance to create some and wow employers. But in addition to being very
professional-personal work, do collaborations, and clear what you did and did not do, it's worth
theme the type of work you're doing. This is a great having an accompanying technical reel. Which
way to get exposure and showcase certain styles, might be less attractive, more screen recordings
new technology or looks you've been developing. of the tools in action, so you can visually
But there are also technical reels, of course. Which demonstrate how these tools might work in
is when you're more of a Technical Director, production. One reel ends up being what regular
showing the work and contributions you did for a folk see at the studio, and then pass it on, alongside
particular project can be hard, because visually the the technical reel to the TD (Technical Director)
contributions you did might not be able to be seen. department that might want to grasp specifically
For example, when you’re saying you created the what you were doing on the job. Like I said, there
entire render pipeline for a studio production and are lots of additional reels beyond the ones
when not a single shot in the movie was ever covered. But they generally fall within the areas
created directly from you. Or, you created some hair mentioned above.
tools for a sequence in a movie, but other artists
BY ALLAN MCKAY
SECTION 1:
DOUBTS / MYTHS
1.5 DEMO REEL MYTHS
I mentioned earlier there's a lot of fluff around the subject of reels. I wanted to just quickly set the record
straight about some of these.
“YOUR REEL NEEDS TO TELL

A STORY.”
I just want to be clear: Your reel does not need to
tell a story! Unless the story was how you were
able to sit in your chair and knockout killer work.
Your reel is there to showcase your talent. If you
decide to present it in a way that is creative and
interesting -- that's your prerogative. But it's not
going to have any real effect on whether you get the
job or not. What matters the most is: Can you do the
job?
I do think if you want to show your creative ability, “PUT YOUR BEST WORK FIRST!
and do something interesting, do it! But go make a
short film. Why waste the chance half-cocked in a YOU NEED TO NOT ONLY
reel, when you can actually do exactly the same CAPTURE THEIR ATTENTION,
thing but in a form that can get circulated and build
some amazing opportunities for you even at the BUT ALSO SET THE TONE
start of your career? I've interviewed a handful of FOR WHAT’S TO COME.”
amazing artists at Disney, Pixar and other studios
that had huge success at the start of their career
with short films, that then became iconic and landed
them awards and status and opportunities as well as
their dream jobs, and more. I can easily think of a
dozen friends or colleagues that had careers that
shot to the top very quickly because of this.
Whereas positioning their work as a reel, they can't
hit the film circuits or get nearly as much exposure.
Food for thought.
BY ALLAN MCKAY
“YOU GOTTA END YOUR REEL your actual work. You gotta keep their attention,
keep your reel tight! And definitely put your best
ON YOUR BEST PIECE!” work first, your other best work next, and your
This is probably one of the most common things I "pretty good work" in the trash.
hear from people early in their career -- and
probably one of the most dangerous! What's the YouTube definitely takes some of the frustration of
point of having your best piece at the end, if loading, playing, ejecting videos all day long out of
someone decides to stop watching half way the mix. But don't think for a second that just
through? We get into this later when we start to because it's easy to click and load a link these days
discuss the perspective of your target audience means your reel will get a fair viewing. I cover this
(typically your employer), but it's so critical to have more again in the later part of this Guide. But
your reel tight with ONLY your best work, short sometimes 3 people will load up a spreadsheet of
enough to keep their attention at all times, and yes names and we'll all take 20 names each and start
-- definitely end strong. But put your best work first! clicking through them. If your website is loading
You need to not only capture their attention, but slow, or if your title (like I mentioned) is playing for
also set the tone for what's to come. It's the too long before it actually gets to your work, we
difference between them having your reel on one might just start clicking through the reel to get the
screen while they look “gist” of what to expect
“
through the dozen other and decide if we want to
names they need to also watch it. After all, there's
get through that another 19 reels we gotta
morning, or having their watch and probably a
full attention from the IT ONLY TAKES ONE BAD SHOT dozen other things we
start. need to do. We're just
TO COST YOU THE JOB. looking for someone
”
Things are different now who fits the category or
but: (and here's where I need we have, at that
begin to sound old) particular time. Or maybe
"back in my day" when we're just curious. So
we needed to hire artists, it was a painful experience again, keep their attention at all times!
of bringing in a box of VHS cassettes that typically
took about 15 seconds from inserting into the video
player to actually seeing something come up on “YOUR REEL'S LENGTH”
screen. CD's weren't much different. (Thank you, Following up from what just got mentioned, keep
YouTube, for changing my life!) Which meant, if your reel short. Less is more. You don't need your
something looked kind of amateurish or just not reel to be 5 minutes. Your reel just needs to
what I or someone else was specifically seeking -- demonstrate that you can do the job and keep
we'd hit fast forward and probably stop half way their attention the whole time. You want the
through. In the next section I cover some of the big viewer to want to see more, not feel like they saw
mistakes commonly made, but if you hang on your too much. It only takes one bad shot to cost you
title too long at the start, there's sometimes a the job. I talk about this later, but I witnessed one of
chance your reel will never even get looked at. my top hires on my list when we were looking to hire
artists on Halo at Blur Studio, be at the bottom of
Because 10 seconds goes by staring at your name another's list because the contact information at the
or how cool your name is being displayed on the end of the video was displayed poorly at the end of
screen, before it ever gets to anything related to his reel. Honestly. To quote the other person, "He
BY ALLAN MCKAY
was at the top of my list too, until I saw that." He

instantly went to the bottom of the list! This is meant
to scare you because it made me realize how cut
throat some supervisors can be. He explained how
he came to that decision to me (which I'll get into
later), but it definitely had a lasting effect on how
critical it is to make your reel tight. No fat. Just the
good stuff.
“GOTTA FIND A GOOD TRACK”

I've heard artists, even senior artists brag how they
spent days trying to find “the right track” for their
reel. There's two sides to this. One side is: The
music does not matter. Most employers are going
to list to your reel muted, because there's only so
much Crystal Method we can take. Music does not
play a factor, whatsoever. If you want to have music
on your reel, go for it, but it’s probably never going
to even get heard and definitely never play a role in
whether you get hired.
However, this is where I stray away from the regular

advice I would recommend. Later, we're going to
head down a path very different to the typical advice
you might hear about reels. Because yes, the goal is
to get you hired. But I want you to start thinking
bigger than just cutting a reel to land the next job. I
want you to start thinking about how you can start
to build up your name, build up a following, build
up a brand. So, short term, employers, supervisors,
and studios alike are not going to care what music
you have on your reel. But if you do want to cut a
badass reel that goes onto the internet, that regular
folk consume -- sadly a track may actually catch their
attention more. Because at this point you're not just
watching cool CG, you're also watching a cool video
and deciding whether you're going to like, comment
and share it. And this is where I think presentation is
important, and production value goes a long way. So
when you start to think not just about landing jobs
with your reel -- but putting out something that
represents you and something you want people to
say “Kick ass!” when they watch it -- all of these
things can play a bit of a factor. Even though I kind of
wish they didn't.
BY ALLAN MCKAY
SECTION 1:
DOUBTS / MYTHS
1.6 BREAKING BAD HABITS
This is pretty much my quick list of the top things you should not do. This is the kind of stuff that are like the
Myths above, but I'm waving my hands at you: Do not do these! Because they can be the things that cost
you the job, time and time again. Why have a reel if you know there's something that might cause your reel
to get declined?
Are you ready?
INTRO TITLE who was at the top of my list not getting the job
because he had 3D text at the end -- and it was bad!
I mentioned earlier: Don't hang on the front title for
too long! Definitely display your name and what Bad enough that the lead supervisor assumed that
your discipline is. But at 3-4 seconds max! You'll this is the level of work he must put out without a
have this information at the end of your reel. Keep supervisor to push him. Which is an interesting
their attention. Get to the good stuff first. view. Either way, he went to the bottom of the list
and never getting the job. Meanwhile, we both
actually liked his work a lot. He was at the top of
OUTRO TITLE both our lists, until that text. Just keep this in mind
We cover this later in-depth but here's what not to not to risk fudging anything up when your arial font
do: Don't have crappy text, flying logos, or anything of your name, email, phone number and website
that's just going to undo all the hard work you just and title (Discipline: e.g. Compositor, Designer,
showed on your reel. I mentioned at Blur, the guy Animator, etc).
BY ALLAN MCKAY
BREAKDOWNS OR be only if the shots differ greatly, and both these

shots really require showing how they're put
TURNTABLES AFTER together. If the shots are obvious, skip the
EVERY SHOT breakdowns. If the shots are badass, bring on the
breakdowns. We all love some eye candy -- as long
I do a live reel review every couple of months with
as it's going to be presented well and typically
hundreds of students online and review their work.
only take up about 5 seconds, 10 seconds max!
Typically I bring on other guest supervisors to share
their insights too. And I'm always having to bring this
up and I always ask them why are they doing it? STEALING OTHER
Typically there's 5 shots on their reel -- so what
could be a 30 second reel ends up being a 2 minute PEOPLE'S WORK
reel because every single shot then displays a JUST DON’T DO IT! The industry is so small, my next
breakdown of the shot. Showing wipes of each of door neighbor works for Autodesk, and the
the layers, showing the wireframe, showing the bartender up the street recognized my name when I
beauty pass, the spec pass, the reflection pass; put down my credit card. I have spotted artists I've
showing turntables of the models. A lot of the time never met at basketball games, I've met students in
these shots are all almost identical too, so typically my mentorship at dinner at a restaurant, and I've
you can see the process for one is identical in every literally been at a bar talking to a girl for 2-3 hours
single shot. This is where you need to be before we both realized she was my producer on a
considerate of the audience: Showing the same project I'm working on from home. The industry is
shots, the same way, over and over for an so ridiculously small that everybody knows
additional one and a half minutes is kind of everybody. And that also means your reputation
inconsiderate of the person reviewing the reel. will be burned long before it ever gets off the
Because if they have a lot of reels to get through ground. I even know senior artists that try to steal
and they're watching stuff like this -- it's very easy to others work thinking it's not going to get around,
get frustrated after the second or third breakdown; and watched it take 2-3 minutes for a couple of
after which we're just going to skip to the next reel. emails to go out:
This is why it's a big DON'T! When asked, most of Supervisor 1: "Do you know who worked on this shot?"
the time artists say the reason they added these Supervisor 2: "Oh, yeah Keith worked on that shot."
breakdowns, wasn't because they thought it was Supervisor 1: "Oh. I have a guy claiming he worked
informative or showcased how their shots came to on this."
be, what their process was, etc. The number one
answer was always, "Filler! My reel felt short, so I And then within the hour a big email chain of
wanted to make it longer." Thirty seconds is fine! supervisors at every studio are picking apart the
Two minutes of showing the same 30 second video artists work and all the shots they've stolen and
just “filled in” is what will get you reel skipped. literally having that artist blacklisted from
everywhere by the end of the day. It happens so
So, here's the deal: Putting breakdowns on your reel fast, and it's brutal.
(i.e. those cool wipe passes showing each layer, or
render element, or however you want to do it) or I have had my own reel sent to me dozens of times
turntables of your models (If you're a modeler / with someone else's name on it. I've been on set on
sculpter) is totally acceptable. And if anything, it a movie, when someone in previz is trash talking our
does share some insight into your process. But company to someone on the other side of the world,
keep it at 1-2 of them at most. Even 2 of them would who is literally relaying that information back to me
BY ALLAN MCKAY
in realtime, and then having that exact person that you're not quite at the level you need to be
applying for a job at our company the very next yet, but you're working on getting there. But if you
week. Instead, they go on the international blacklist say you know it, I'm not going to cut you any slack.
for all of our studios worldwide. At the same time if you just straight up don't know
something, it's probably better to pass on the job
This is just scratching the surface of these kinds of anyway. Just as I'm not going to apply for a job as a
stories. It's easy early on to just want to get that heart surgeon, I'll wait until the right VFX job lands in
first job, or get some headway in the industry, but my lap. Faking it till you make it or "winging it" can
nothing replaces hard work. Pay your dues, do have long-term damaging results to your reputation.
the hard work, land the job. It's even worse to Transparency and candor is much more effective.
steal work, get the job, and then later find out you
don't cut it and have to get fired. Which leads to the MAKE SURE YOU PUT YOUR
CONTACT INFO ON YOUR REEL!
next one:
BE HONEST ABOUT YOUR This sounds stupid but people forget this stuff all the
time. The number of times I've tried to hire someone
SKILL LEVEL and all I have is their Vimeo page and no real actual
I think this is a critical one. I talk about this on my info! Or I have their website, and their website
Podcast on certain episodes. “Faking it til you make doesn't exist anymore! Or I have their Art Station
“
it” -- is not a solid account and it doesn't
philosophy. If you apply have any info other than
for a job and they say their handle
"Maya Experience (CyberArtGuy54)!
Required" and you're a BE REAL FOR A SECOND:
Cinema 4D artist, or you Be real for a second:
know After Effects and
THIS IS A BUSINESS, This is a business, treat
TREAT IT LIKE ONE!
”
they're looking for Nuke it like one! You're not
Compositors -- don't going to hand out flyers
raise your hand and say, on the street to your
"Yep, I'm an expert in the business and forget to
said software". Not just because it's lying, but put the address or phone number. Make sure to put
because you're setting the expectation high. If you your information and as much as possible on the
go in saying you're amazing at this software, they're end of your reel. (Remember how I mentioned to
going to expect amazing results. I think the best keep the front part of your reel fairly light?)
approach in any situation is to be honest. You can
still word things in a way that work in your favor, Also, put your phone number. That's up to you, but if
but it's better to set the right expectation. you're not comfortable putting your actual phone
number on your reel, get a Google Voice number
I talk about this a lot on the Podcast as well. But you and put it on instead -- and let it go straight to
can say: "I don't know Nuke all that well, but I do voicemail. There's been a lot of times I've gone to
have extensive compositing experience, and I do hire someone, and the only information they had
have some experience in Digital Fusion and other was their email. So by the time they respond to their
node based compositing packages. But I know I can email about a job, I've already hired someone else
pick it up fast and I'm very willing to put in the time because they answered the phone, they got hired
before the job starts to get my skills up as fast as I immediately. This is how production typically works.
possible, and I have no doubt I can get up to speed We decide, "Oh shit, we have 3 weeks left to finish
quickly". Then I'm going to be blown away by your this music video!" -- and we start staffing up our
enthusiasm to do the job right, and I'm also going team with more artists the next day. You gotta be in
to be a bit more patient with you understanding it to win it, so make yourself available.
BY ALLAN MCKAY
KEEPING STUFF ON YOUR employees who might be even cheaper than

outsourcing to those remote facilities, which
REEL JUST FOR THE cripples the artists in these situations.
SAKE OF IT
I've mentioned this one to death, but some people So, what do you do? Well on one side, I'm always
keep stuff on their reel for nostalgia or because they going to say to respect your contracts. I can think of
bled for that shot, and they feel sentimental to the dozens of stories of VFX studio owners and
shot. All it takes is that one or two shots to producers getting calls from Marvel or other furious
completely reframe the mindset of the person studios because there's work being leaked on the
viewing your work. Just like that one single student internet from some artist's reel. Even articles about
shot on a production reel can change the that artist's reel going mainstream talking about the
impression completely of how they perceive you. As work and the studio's contributions when discussing
Anna in Frozen says, "Let it go!" these newly leaked images of the film. It's not so
much your reputation at this point, but lawsuits can
CHARGING MONEY TO VIEW start flying around very, very quickly. You're
contractually obligated to not showcase this
YOUR REEL sensitive material, and it's not a reality that you can
I'll talk about this later. I just wanted to mention it get sued for most artists. Until it's a reality, of course.
more for amusement: Don't get too cocky where
you think Framestore, ILM and Weta and everyone On the other side of "I'm not a lawyer and I don't play
else on the planet should have to pay a fee on one on the internet", I've personally never done this.
Vimeo to watch your demo reel. I mention this I'm not saying that to sound cool or cover my ass, just
because it's funny, but it has actually happened. personally I've never really needed to do this. But: I
do know plenty of artists who have gone over with
DON'T POST WORK YOU'RE their own work on USB or hard drive to a studio or on
their own laptop and shown the work to the studio
NOT ALLOWED TO SHOW they are talking to, so they can see the new work
Just a couple of days ago I had this discussion with they've created. And then, they leave with the work.
someone from Weta, who had been asking for Yes, you're breaking rules, but you're expecting them
advice on being able to showcase his work since to respect your privacy (although I've also seen some
he's worked on a lot of great stuff lately BUT none of studios not be so discreet) and not acknowledge that
it is coming out for another year or two. And he you ever showed them privy work.
wanted to know "How the hell do I get any work?!"
This is one of those tricky situations to be in Same goes with sending password protected reels
because sometimes you are under NDA and not on Vimeo and such. But these can always come back
allowed to show your work, and I've been on to bite you in the butt. And worse, which is kind of the
projects that never ever saw the light of day. And it's perspective I always tend to lean towards: If you're
frustrating to work on something so great and never showing confidential work to me, then who's to say
get to show a soul. you wouldn't do it to others about the projects I bring
you on for? Just like if you're trash talking colleagues
There's many studios in India and China who make to me, it's assumed you're probably doing the same
their employees sign NDA's that they can never to others. It's foresight about your character, and
actually take credit for any of the work they did. It especially if this is how you're approaching landing a
could mean that studios go directly to the job. It can make for a bad initial impression.
BY ALLAN MCKAY
ASPECT RATIOS CONCLUSION:

Finally onto some lighter more happy-feely subjects This is a lot to take in, but necessary to set the tone
to do with reels! Obviously there's different aspect and get a good understanding before we dive into
ratios and framing depending on what the project the specifics, and later into the more advanced ways
output was. It can really be distracting to have your to approach growing your reach and visibility with
reel jump from letterbox to super wide to 4:3, back your reel and really establishing a presence with
and forth all the time. Try to keep your reel your work. For now, use these insights to get a
consistent and match the aspect ratios good solid understanding of what's critical for the
consistently throughout the edit. (Google aspect success of your reel, by knowing the types of reels
ratios to shed more light on this subject.) that you might need to make over time, as well as
setting the tone for what you shouldn't do when
TMI (TOO MUCH starting down the path of building your reel.
NFORMATION) Now that's been said, let's actually look at what to

It’s worth noting, more for a job application, but do to make a highly successful demo reel!
you want to work in phases of communication. No
need to overwhelm the person you're sending
your reel to with how you need a visa, and to be
relocated to their city / country, or other
information. Keep the communication light, get
them interested and invested in you. Some of the
situations you need to then address become
obstacles, rather than walls.
BY ALLAN MCKAY
SECTION 2:
THE ANATOMY OF AN EFFECTIVE REEL
2.1 WHAT ACTUALLY MAKES A GOOD REEL?
What makes a good reel or portfolio? It's a combina- speaks of your work and the results you can deliver.
tion of many things. But the most important thing -- More than anything else! As well as, how important
is the content! Forget about the music, forget about it is not to walk off the beaten path. Because by
the transitions, forget about all of the other distrac- understanding how easy it is to lose your audience,
tions. Nothing beats good quality content -- that is I can communicate all the better ways, we can make
clear cut and can demonstrate your skill level, your your reel great -- by simply knowing the limitations
experience, and what you can bring to the table. you need to work within!
After all, that is the only message that you want So, by having a core understanding of these
your reel to communicate: That you are the right guidelines, we can now know not only what makes
person, for the job. a killer reel, but really what makes it stand out
from all of the others -- without risking losing our
I made sure, in the first module to really hammer in audience or by breaking any of the core rules
how critical it is to focus on making something that we've set up.
BY ALLAN MCKAY
SECTION 2:
2.2 THE 3 THINGS YOUR REEL NEEDS TO
COMMUNICATE, ABOVE ALL ELSE!
#1 - WHAT IS THE JOB YOU'RE ACTUALLY GOING FOR?
Honestly. You would think that this is a no brainer. But, By contact information, this also means your phone
there have been so many times when reviewing reels number, not just your email. I mentioned this earlier,
of artists that we want to hire during production but I personally have hired many people in the past,
where we are literally having to put in time to figure where in between sending an email to an artist
out what exactly the artist did on the reel. Are they a asking if they're available -- I've then gone and hired
compositor? Are they an animator? A lighter? Your another artist, before they even had a chance to
message and tone needs to be crystal clear from respond. Why? Because there was somebody else
the moment the reel starts. “3D Artist” or “Designer”, on my list that had put down there phone number. It's
or other ambiguous words will only cause confusion. as simple as that. They put down their phone number
so I picked up the phone, called, asked "Are you avail-
When the supervisor who is reviewing your work has able?" and hired them on the spot -- before I ever got
to put in time to try to figure out what your contribu- a response from the person who only listed their
“
tions were -- or worse, email address.
reach out to you to get
clarification -- there's a The more accessible you
high risk they'll just are -- the easier it is to
move onto the next one THE MORE ACCESSIBLE YOU ARE-- hire you. As I mentioned,
of many reels in the line we want to "tick that box"
up to review. More so, THE EASIER IT IS TO HIRE YOU. and move onto the next
”
I've actually seen man- seat we need to fill on our
agers reach out to ask team, and typically in a
artists what they did on short turnaround time.
the reel. After they clarify that they did specifically the
"Animation", the manager then asked if they have the It's also worth having your website, for many reasons.
contact information of the lighting artist instead! Which I'll get into later. But even if you have an old
reel with old email and phone numbers, at least then
The less clear you are on what you did on the reel, we can go to your site and get your updated contact
the less focused they can be on what you are information. I just finished up a game cinematic a few
selling to them (i.e. Yourself). months back where we didn't have one of our remote
artist's phone number available. And we had last
• So, make sure to be clear what your job title is as the minute issues with their work the client was freaking
reel starts: In those first 4 seconds when your name is out about. Luckily going to their website, it was right
displayed -- so should your discipline! on the front page and we could call and get the issue
• At the end of the reel, make sure to include your resolved and everyone was happy (as opposed to
name, discipline (again), contact information, the mistake ever becoming a real issue).
and website.
AGAIN: The more accessible you are the better.
BY ALLAN MCKAY
#2 - PROVE THAT YOU CAN SIT DOWN TOMORROW -- AND DO THE WORK!
That's really the underlying message that your reel job at any big Hollywood visual effects studio. This
needs to showcase. I've mentioned this before, and I’ll was intentional.
keep mentioning it throughout: Your reel needs to be
able to quickly demonstrate that "If I hire you, I feel And the best part is that by the time you send your
confident that I can put you in a chair tomorrow and work to any studio, you've already been through a
start giving you shots to work on." real feature film production pipeline. And you
have mimicked the entire process that they
One of our flagship courses is the Live Action typically would typically go through, on a real
Series (www.LiveActionVFX.com). It is a 12-month feature film.
long, intense training course focused on taking FX
artists and Technical Directors through real So the risk of hiring you and you not performing is
production shots, from start to finish. We go almost completely removed. We've gotten a reputa-
through the entire production process. It's also one tion of putting out that set level of quality in the
of the most demanding courses because you're course. So students are always able to say they stud-
doing real feature film quality shots (not the ied this course with pride knowing it means some-
"tutorial quality" that you see in almost every other thing in the industry. That's always been the intention
course or work-shop typically out there). of the course. And when you're cutting a reel, it needs
to communicate the same thing: That you understand
I take pride in this, because we have such a massive a real production pipeline and you're able to work on
success rate of artists being hired midway through shots the same way that a studio does, rather than
the course to studios like ILM, Weta, Scanline VFX, how you “think” they might be doing it.
Atomic Fiction, MPC, Framestore, etc. My students
go on to work on movies like Avengers, San Long ago, you could apply for a job and get
Andreas, Deadpool and literally dozens of other big trained on the job. Studios would invest the time,
Hollywood films. to take you under their wing and train you up. But
times have changed, and it's a lot more rare that
The reason the course can almost guarantee you a studios are willing to invest in you so early. Rather,
job is because the entire focus is that by even it's more typical that they expect you to come
halfway into the course, you'll have almost 10 com- onto a project and be able to provide the result
pleted VFX shots at feature film quality that look like right away.
they're straight out of any AAA Hollywood Film. I can
proudly say no other course on the planet (and It's not always the case, but it's a good rule to live
we've looked!) can come close to giving you this by. More so, it's what is going through every
kind of experience. Knowing what I would want to employer’s mind as they review your reel: "Can I
see from any job candidate when they apply put them in a chair, and get results, tomorrow?"
allowed me to focus on getting those results inside Because hiring and firing is costly, let alone how
of the course. So it's entirely focused on going tight schedules typically are, hiring the wrong
through a real feature film production pipeline. person can cause major tension on a project.
You don't even need a reel because the work you
have -- even a third of the way into the course is So your reel needs to SHOW -- that you can
exactly what you need on your reel to land you a do the work.
BY ALLAN MCKAY
#3 - SHOW THE LEVEL OF QUALITY YOU'RE WILLING TO PERFORM AT

Your reel allows you to communicate that you have higher than any other project Blur had ever
an eye and you have an understanding for the level previously created!
of quality you need to always perform at; that you
know the standard that’s expected of you. You're Midway through the project, we needed to bring on
going to hear me say this a lot because it's the some additional FX artists to help deliver the project.
single concept that always seems to be I had looked over 100 plus reels and narrowed down
consistently undermined: a list of artists I wanted to bring onto the team. One
of these artists was at the top of my list. After
Quality, over quantity! comparing notes with the senior FX supervisor at the
studio, he mentioned to me, that this particular artist
You see, every shot that you let onto your reel -- is was at the top of his list originally as well. However,
showing to the person that’s reviewing your work now he had instead decided to actually move him, to
that this is the level of quality you're willing to put his do-not-hire list instead.
out. That this -- is acceptable by your standards. Any
shot that falls short -- that doesn't wow and captivate This single moment made me realize single
the viewer -- communicates that you are willing to handedly how all it takes -- is a single error in your
put out subpar work; and that this is the level of work to be completely dismissed from any
quality that you're willing to let represent you and opportunity to ever get to work at a particular studio
your brand; and the level of quality and effort you're or on a particular project. His reel was actually spot
ultimately willing to perform for them, if they are to on. All of the work on his reel was impressive, and
bring you onto their team. we both agreed that it met the level of standards we
wanted on our team. However, at the very end of his
That might sound harsh, but hear me out: When you reel, he had created a final still image in 3D of his
show great work on your reel, it catches the contact information, which looked pretty shotty. I had
attention of the person watching. The minute seen it before and thought the same.
there's a single shot that isn't great -- that isn't
your best work -- it communicates that this is But the other supervisor had decided that if he was
acceptable, by your standards. More so, it pulls willing to let this onto his reel, that this must be the
them out of the experience. It makes them question quality level he's willing to put out when he doesn't
what level of experience you actually have. Besides have a supervisor around to push him. Because it
actually stopping watching your reel altogether, the was the one piece of non-production work on the
single worst thing that can happen -- is they reach entire reel: His contact information! It could easily
for your resume to check the level of experience have been just a black empty screen, with white Arial
you actually have. Are you a student? Do you not font text just simply displaying his name and email
have that much experience? Why all of a sudden, address, made straight in Adobe Premiere. Nothing
are you showing work that isn't consistently at the complicated. His title card was in fact the reason he
level of everything else? was moved from the top of the list of candidates to
hire -- to going straight onto the do-not-hire list.
Lastly, I would like to share an experience I had
during production on the game Halo, at Blur Studio. True story. It redefined for me, how absolutely
This was for the big 10-year anniversary game. They critical, it can be that you always put ONLY your best
wanted to do over an hour of cinematics. The work. Because all it takes is that one single frame to
schedule was tight, the budget was almost 10 instantly dismiss you altogether.
million dollars. We had aimed to set a new standard
for the quality and realism in game cinematics -- I'll let that sink in for a moment.
BY ALLAN MCKAY
SECTION 2:
2.3 SO, WHAT DOES A GOOD REEL
CONSIST OF?
I remember chatting to Tim Miller, the director of not as good -- but will help “beef up your reel” -- is
Deadpool and the upcoming Terminator reboot with the moment you will lose your audience. So it is
James Cameron in 2019. We were working on better to keep it short and sweet and keep their
Gopher Broke, which later got nominated for an attention the entire time, rather than risk them
Oscar. This was a while ago, probably 2004. We skipping ahead -- or worse, stopping entirely and
were talking about all the thousands if not tens of moving onto the next reel.
thousands of reels Blur Studio receives. Tim's
observation was always that the really cool pack- • Show your best work first. You can end strong with
aged ones, the ones that artists put so much effort a great piece, but don't save your best until last. Or
into the presentation of -- things like soldering their they may never actually get to that shot in the first
VHS cassette into a giant Campbell's soup can they place. Consider the first 2-3 shots as what is going to
had constructed, or all of these other elaborate set the tone for the reel. Set the expectations high
ideas -- typically were the weakest of the reels. with amazing shots that have them stop what
they're doing and actually watch -- and give you
The ones who were amazing were the ones who their complete attention.
didn't have time for fluff. They wanted to put amaz-
ing work on their reel, no bullshit -- and just get it out • You want that person watching your reel to be so
there. So they can get to work. All of the fancy titles, captivated, they actually call out to all their
the creative fun whacky presentations, countdown colleagues in the room to "come check this out"
clocks, or Star Wars-esque title sequences or other and take a look as well. You want them to all
creative ideas were really a big waste of time. comment on each shot as they come up about how
cool it was or guess how you actually went about
What worked was just letting your work speak creating that particular shot. That is your end goal!
for itself. When you can pull that off, you know you have a
rock solid reel that’s going to stand out against
I. If I were to put together a summary of your reel in every other reel.
seconds, it would be this:
• Music, cool titles, other stuff is not going to get
• Fast loading -- no long fade-ins -- just get right into you the job. You can put this stuff in -- but consider
it instantly. Within 3-4 seconds max, display your it only for the sake of good presentation on the web.
name and communicate the department you Not for any employers. If your focus right now is
want to work in. Be clear on this so they don't go solely on getting a job, then forget all of this stuff.
through the reel blindly wondering what your But later let's talk about this, as it's what can help
contributions are on the reel. make a reel captivating to an online audience that
might stumble across your work on YouTube. But
• Your reel needs to be no longer than 2 minutes that's it. Music is not going to get you a job! I loath
long. It doesn't really matter if you have "20 minutes hearing artists mention how they spent all weekend
of the world’s best CG". That would be awesome, trying to find the best track for their reel, and they
but the moment you're using that filler content that's “nailed it!"
BY ALLAN MCKAY
• Put your energy where it counts and focus on hired someone if I had known they were actually in
keeping your reel captivating and less about what the same city. In general, I personally want to know
music is playing in the background. Because what city you're in.
ultimately none of us ever listen with the music on.
We hit mute and watch through the 20 + reels we But I can understand the flip side of this, that maybe
need to look at with our headphones off and purely you would rather I don't know what city you're in, so
focused on the quality of your work. Music does not that we can open up a line of communication --
play a factor. before putting obstacles like visas and plane tickets,
hotel cost and relocation needs into the mix.
• Throw in a breakdown or two of the layers and
elements if you want to help deconstruct the shot II. Optional information to put into your reel are these:
and show more insight into your process. As long
as it looks good, the same goes with displaying • Software: List the software you use at the start or
turntables. We've already discussed this but just end of your reel. Even just the logos of each product
don't overdo it. None of this these additions are is enough, and can sometimes look more elegant.
going to get you the job, they just help communicate But this answers a lot of questions that can be
your process sometimes. So focus on what's important. Communicating the software you are
important. There are times where it's not really clear confident and competent in will communicate you
exactly what you did in a shot. It might be are compatible with their studio pipeline. Again,
completely photoreal or just too much going on. So sometimes you might want to leave these off, if you
it's okay to show a breakdown of the elements and aren't able to list the same software as the studio
render passes to help explain this visually. Just don't uses. As it might rule you out, before you ever
overdo it. interview and get the opportunity to sell yourself.
• Showing breakdowns or turntables too often or • Contributions: Another important fact is to be

unnecessarily can cause the person viewing your able to communicate what you did on any
reel to lose attention -- or worse get frustrated -- particular shot. There are lots of ways to do this,
that the pace of the reel is lost, focusing on like having a breakdown sheet or PDF they can view
unnecessary bits and pieces. Again, we are trying that explains exactly what you did in each and every
to avoid this, I've lost count of how many times I've shot on your reel. However, the easiest way by far is
skipped ahead on a reel because it's just hanging to simply put -- inside of your reel -- a small bar of
on the same shots over and over when it's not text at the bottom of each shot with exactly what
necessary. One to 2 breakdowns in a reel, where you did in any given shot. This helps clarify what
needed, max. your contributions were. It's something very helpful
when more than one person has contributed to a
• Your contact information: I mentioned it before particular shot and it's unclear which work you are
but don't risk showing fancy, cool 3D creative taking credit for. It's actually really common for there
titles that can do more damage than good. Focus to be misunderstandings in these situations.
on just going straight to your contact information Because you haven't been absolutely clear what
and list these key things: you did, you can sometimes be accused of taking
• Name credit for work you didn't do. It's really common, and
• Discipline (i.e. the department you want to work in) the worst part is that in those situations -- you're not
• Phone number actually there to defend yourself or clarify what your
• Email contributions are in that particular shot or sequence.
• Website So, instead of getting a job, you're labeled as a thief
• City, country for taking credit for other people's work. Even if it's
not necessarily true. It happens a lot. Never leave
NOTE: You can leave out your city and country if you room for misinterpretations and make sure to be
think you're moving around a lot. But this is really very specific about what contributions you are
important. There's been plenty of times I would have taking credit for in every shot on your reel.
BY ALLAN MCKAY
• Social Proof: You can also add client branding to when applying for a position at my studio, or other
your reel. This usually consists of a quick 3-4 studios I was at, at the time. Which clearly does not
second screen of many of the studios or clients go very well for them!
you've previously worked for. This should go at the
end of your reel. The reason for this is that it's visual. So watermarking your reel is an effective measure
It quickly communicates the type of studios you've to take to prevent others stealing your work,
worked for in the past and is considered social especially with your work so readily accessible
proof. Which essentially is a way to again set the online these days. Some artists will put a large
tone for your reel and communicate your transparent watermark of their name over the entire
experience in seconds. For example, If you have the video -- which personally I find a bit distracting -- but
logos of Blizzard, Blur, ILM, Weta, Double Negative it definitely ensures that nobody is going to take
all flash up on the screen at the end of your reel -- in credit for your work. Or you can always put it at the
that 1-2 seconds -- it's quickly going to communicate bottom of the screen somewhere. It's entirely up to
that you have a lot of experience at a lot of very well you but it is definitely something to consider doing.
established studios. It can sometimes just be that
extra nail in the coffin to stand out. Social proof is Also, when you're close to finishing your reel, start
used everywhere, and it's very effective for you to an email thread with a few close colleagues and
use in your reel to help showcase the level of get some feedback. Sometimes staring at an edit of
experience you have quickly and non-verbally. your reel for too long, you go numb to what's
working and what's not. You don't have to listen to
everyone's feedback, but it's a good guideline to
point out things you're not seeing.
Now, you might have noticed that I've been trying

to really hammer a few critical points home. Your
“THE WORK THAT GOES ON reel should be your absolute best work. You
aren't going to put the pretty good shots in the
YOUR REEL HAS TO BE middle, there's no room for filler here. The work
YOUR ABSOLUTE BEST! that goes on your reel has to be your absolute
best -- or else it should go in the trash. As I've
I’M GOING TO KEEP mentioned, you want to show just enough and
REITERATING THAT not feel like you've shown too much. I am going
to keep reiterating that until I've made it
UNTIL I’VE MADE IT absolutely 100% clear: Quality, over quantity!
100% CLEAR:
Lastly, how long should you spend cutting your reel?
QUALITY, OVER QUANTITY! Usually I will knock out a reel in a single evening. It
doesn't take that long to cut together a reel. If you're
taking longer than this, no problem. But just
understand that this shouldn't be something that
consumes all your time. The main focus is making it
tight, making sure it communicates what you're
capable of, and keeps their attention the entire
Other things to consider is watermarking your reel time. Feel free to create some variations of the
with your name or website. The reason for this, is same reel, different cuts, etc. Feel free to
that it's just a sure way to ensure that nobody steals experiment. Just don't overcomplicate things by
your demo reel (which I've experienced more times thinking a reel should take days to make. It should
than I'd like to mention). I've even had a couple of come together pretty fast. There are definitely much
times when artists not only download my reel off the more time consuming tasks that we need to do after
web and put their name on it -- but then send it in you've cut your reel.
BY ALLAN MCKAY
SECTION 2:
2.4 CONCLUSION
So let's recap.
Keep your edit tight: No more than 2 minutes, and

even as short as 1-3 shots, that's it. Don't have filler,
just keep it at its absolute shortest. Less is more.
This is essentially an ad campaign for you and

your services. Think of the amount of effort that
goes into an ad for the Super Bowl. How many
millions of dollars are invested into that short video,
how much time, how much effort, how carefully
articulated their campaigns are -- even for just a 30
second commercial! Because they know they have
to compete for your attention, to be the most
memorable ad out of dozens during that event.
There are only going to be a handful that will stand
out and that will catch your attention and have you
remembering, or even talking about them after the
event is over.
This is how seriously you need to take your demo

reel: You need to see it as a campaign that you
need to carefully plan and know that you only
have one chance to leave a lasting impression.
Remember that there are not dozens -- but
hundreds! -- of reels competing for the same
attention. And only a few are going to stand out!
Only a few are going to leave a lasting impression.
And only a few are going to get the call -- and land
the job. It's on you to ensure that you are one of
those people.
BY ALLAN MCKAY
SECTION 3:
UNDERSTANDING YOUR AUDIENCE
3.1 WHO IS YOUR TARGET AUDIENCE?
We've learned what to do and what not to do. And One of the FX TD's at Image Engine in Vancouver
as long as you work within those guidelines you was telling me some time ago he was looking for
should have a tight, attention grabbing reel that work and went through multiple job interviews with
communicates your ability well and keeps their another studio. Until he finally was flown out for the
attention the entire time -- and knowing what ways final interview, and only then it was communicated
you can lose the attention of the viewer or the position was for a Compositor -- not for FX,
accidentally eliminate yourself -- gives you the which he was applying for. Not one single interview
advantage of knowing what to avoid. along the way did anyone ever mention this or pick
up that he was an FX Technical Director, not a
But the other critical factor is to know who it is that Compositor. Think that kind of thing doesn't happen
is actually looking at your reel. Because it's not often? Think again. Which is why sometimes you're
always initially going to be the decision maker. going to have to overthink and over-communicate
Initially, there are many gatekeepers that may your message to compensate for the fact that not
review your work who might not actually know everyone is necessarily as well versed in the
anything about CG. Human Resources is a good specifics of each department as you might expect.
example. Which is why, again, if you're only Granted they probably have a lot of other things
communicating you're just a 3D artist on your reel, they are more well versed at, but it's something you
HR, Producers or other management may not really need to consider.
know what they should be looking at or even where
your reel should end up. Essentially when you So always keep in mind that the people your job
communicate better, at least they'll know who application passes through may not be up to speed
exactly they should pass it onto -- rather than it with all the industry terms or other things you might
landing in a more general “demo reel cemetery” want to communicate.
with everyone else's reels.
BY ALLAN MCKAY
SECTION 3:
3.2 ROLE REVERSAL — VIEWING YOUR WORK
THROUGH THE EYES OF THE EMPLOYER
It's pretty easy to go numb looking at your work. And things they might look for based on the type of work
it's easy to look at your work and think "I ticked all they do, the type of team they might already have
the boxes from Chapter 2, I should be golden". (this is something I cover in the Podcast and other
articles, and courses much more in-depth). It doesn't
But the most important factor to consider is to take much work to look up the company on LinkedIn
actually stop and think subjectively about your and track down the reels of the artists that are
work from the viewpoint of someone not familiar currently working there, to see the caliber and
with your work, not familiar with you; and more standards they expect, as well as the type of work
importantly -- what their needs are. The person they might do. Looking on their YouTube or website
hiring you is looking at a couple of dozen reels, they will make it clear the type of shots they're typically
have specific needs; and again if you do your due doing and what style they might output. The more
diligence here and research your employer, you're you're able to align your work within that realm -- the
going to have a pretty good idea of the type of more you're a “shoe in” at that studio.
things they might look for based on the type of work
they do, the type of team they might already have
(this is something I cover in the Podcast and other
articles, and courses much more in-depth). It doesn't
take much work to look up the company on LinkedIn
and track down the reels of the artists that are
currently working there, to see the caliber and
standards they expect, as well as the type of work
they might do. Looking on their YouTube or website
will make it clear the type of shots they're typically
doing and what style they might output. The more
you're able to align your work within that realm -- the
more you're a “shoe in” at that studio. It's pretty easy
to go numb looking at your work. And it's easy to
look at your work and think "I ticked all the boxes
from Chapter 2, I should be golden".
But the most important factor to consider is to

actually stop and think subjectively about your
work from the viewpoint of someone not familiar
with your work, not familiar with you; and more
importantly -- what their needs are. The person
hiring you is looking at a couple of dozen reels, they
have specific needs; and again if you do your due
diligence here and research your employer, you're
going to have a pretty good idea of the type of
BY ALLAN MCKAY
You can think more broad than this if you like but It's not to say any of it is accurate, but it is to say that
getting a better understanding of the person or in I know communicating efficiency and an
general the type of person that is likely to review understanding of their process is going to help
your work, and what their needs are, helps you give me a leg up when it comes to landing a job in
ensure the impact your reel is going to make. Like I games over film. Showing more creature work than
said, they're probably reviewing a lot of reels. Yours squash and stretch animation when applying at
is one of many and they are more than likely Weta is going to help communicate that you are a
skimming through reels to see which ones they good character animation candidate for their
should give proper attention to. If they have hours of studio. Destruction and water FX makes you a great
reels, they're going to put their focus into the ones candidate at Scanline VFX. Knowing your
that grab them. audience and presenting yourself in the right
light is everything.
If I were to apply at ILM, for example, my focus
would be on demonstrating that I have a solid Lastly, there's typically a need they're hiring for. I
technical understanding; showing I can code, etc. actually had to bring up a hire during a movie some
Even just a little of that is going to speak volumes. years ago who wasn't working out after many,
Whereas for smaller studios, you should many attempts. When I asked the supervisor who
demonstrate speed or being able to handle different hired them what was it that made them decide to
tasks than just let’s say "Water FX". Also, smaller hire this person. The Sup said, "we needed
studios are typically wary of artists coming from someone for dust and she had some CG dust on
larger studios. Their assumption is that big studio their reel, so we hired her". If you know the needs
teams are slow and need a lot of time, support and of the employer, all it takes is having the right
typically multiple people to get anything done. None content on your reel at the right time to make you
of this is necessarily accurate and not everyone stand out from all the other applicants. If you
thinks this way. But it is a general thought process have crowds and they need crowd simulations on
that comes up all the time. their latest project, you're going to get the job over
all the other applicants who haven't demonstrated
I think that this is just a different understanding of crowds. This is something to think about. That’s
film vs TV, but it's also why a lot of larger studios where you must do your research! Or, even asking
love nabbing up staff from iconic commercial them what type of artists or needs they have right
houses because they’re those freaks of nature who now before you apply takes two seconds. (Join my
can do entire commercials pretty much on their inner-circle list to get actual scripts I use to reach
own and in 1-2 weeks. Some things are out to studios for work, as well as on how I gather
misconceptions but there is this underlying information on this sort of thing, as well as
assumption -- the same way game studios have hundreds of other valuable subjects, if you like:
similar thoughts about film people -- because www.allanmckay.com/inside/). But once you
they're not as attune to the technical limitations you know, you can easily angle to your advantage. As
have to work within a lot of the time. GI Joe says, "Knowing, is half the battle".
BY ALLAN MCKAY
SECTION 3:
3.3 MAKING YOUR REEL
IS ONLY THE BEGINNING
You cut a reel -- GREAT! But how is it going to stand planet -- but if nobody knows who you are, then how
out from every other reel, every other applicant, all are you going to find any work? Well, this applies to
of your competition? How are you going to make your reel.
sure your reel is viewed?
It's time to learn all the ways to get exposure and
And what about your online presence? How do you get your reel the audience it deserves, and more
maximize your reach online? This is the critical part. importantly -- get it in front of the right people.
I always say, you could be the greatest artist on the
BY ALLAN MCKAY
SECTION
EXPOSURE
4:
4.1 THIS SECTION IS ABOUT
GETTING EXPOSURE
You've heard the expression, "If a tree falls in the clear cut ideas on how to make a laser focused reel
woods and no one is there to hear it -- does it make a that is going to captivate their audiences (i.e. the
sound?" Well, if a reel gets uploaded -- and managers at the studios they want to apply at).
NOBODY SEES IT -- does it even matter?
But I ended the webinar with a simple question:
I recently hosted a public Reel Review online with my How is your reel going to get the visibility it needs
Mentorship group where I reviewed everyone's reels to be seen by the employers you want? This is a
and gave advice on what to change, take out or add. much bigger question, but one I want to start to go
It was really great fun and everyone went away with down the rabbit hole with, inside of this chapter.
BY ALLAN MCKAY
SECTION
EXPOSURE
4:
4.2 PUBLISHING YOUR REEL
So you finished your reel. Congratulations! Now and making decisions on whether you are a right fit
here's the dilemma: How are you going to get it in aren't even in the department you're trying for. How
front of the right audiences? There's a direct does someone in Human Resources know whether
strategy for employers you might want to send your you're a good Camera Tracker -- or a better one
reel to. In addition, there is the long term strategy than the other applicant? If your matte paintings
where you want your reel to go beyond those you look real, how does a Producer or studio manager
directly send it to and have an organic reach where necessarily know what your contributions actually
overtime, employers and other industry people are if they don't have that eye for talent?
discover your reel on their own.
This is critical because the bigger the studio -- the
These are very different strategies but ones you more people will touch your application before it
need to put in place. Initially you want to focus on lands in front of the person who ultimately makes
getting your reel in front of the decision makers at the decisions. And unless your communication on
the studios you want to work for. So let's discuss what your contributions were and what you
the direct approach first: ultimately are trying to get hired for are crystal
clear, there's more room for interpretation and
There is definitely a much bigger subject that isn’t miscommunication.
specific to your reel in general. So I will touch on
this subject now, but if it's something you get I might have mentioned this but a perfect example is
curious about and want to get more information a colleague that was applying for a senior FX
about -- join my inner circle email list (it's free). I am position at a studio in Canada, went through 4
regularly sharing content and proven tactics that I interviews before being flown out for the final
use to get in front of the right clients, employers, as interview only to find out they had been interviewing
well as getting in front of specific people, him for a Compositor position all along. How did this
celebrities and others that I want to talk directly happen? Where in the chain of communication was
with -- or have as guests on my Podcast. I actually it miscommunicated that he was a Compositor, and
share email scripts that I have written that work not an FX TD? It happens all the time, and it's
every time. They are easy to just copy and paste something you need to take into consideration.
and modify directly to the employer you want to Another Lighting Artist was waiting 6 months in New
reach -- and they tend to always get a response! Zealand for his work visa to go through so he could
Check all of this information by signing up here: work in Los Angeles on an upcoming project. Six
http://www.allanmckay.com/inside/. months in, the immigration lawyer was on the final
stretch to get him approval to work in the U.S. as a…
Once you know what studios you want to work at, trapeze artist! Seriously.
it's important to find the right people at those
studios. Typically, you can go through traditional Not only do you have to make sure your
channels, but it means your reel is going to go communication is crystal clear, but you also have to
through multiple people and get filtered out over anticipate everything that can go wrong and make
time. Sometimes the people reviewing your reels sure to keep things on the straight and narrow.
BY ALLAN MCKAY
And the more people your work is passing between As I mentioned, there are so many tools that are
-- the more communication can break down. available on the web that might scare you how
effective they are. They're built for sales people to get
So, why not cut to the source? It's not hard to find sales leads, but also allow you to bring up every bit of
the right people at the studio to get your work in personal information about a person, what they look
front of. You just need to know the right tools to use like, where they've traveled recently, you name it -- as
and the right tactics to apply. And then you need to well as their contact information, even when you send
know how to make a compelling email that's going them an email you can instantly get notified when
to get their attention -- and more importantly get they open it or if they clicked the link. It changes
them to click the link and watch your video. Which everything when you can tell who is engaged, if they
isn't as easy as it sounds. Put yourself in their shoes, got your reel, if they watched it. And the more tactical
even with all the people filters in place, they are you get the more you can understand whether they
getting dozens of emails and applications more than watched the whole thing or where they stopped
likely. I know I do! And my staff typically take care of watching your video. You can also tell if they watched
them for me. But occasionally there's one that does it multiple times or if multiple people are viewing it
capture my attention, and when it does -- their from that link you sent. The more you get into the nuts
success rate goes up tenfold. and bolts of using this information, the more
effectively you can communicate to them long term.
Again, go to www.allanmckay.com/inside/. Get on
the list and get the email scripts, and approaches I I will say that if you are only sending your reel to a few
use for all interactions I have with studios, clients and specific employers, why not at least upload individual
future employers. Because it's important to mention reels to your YouTube and mark them as private?
that this is an art form in itself, but it's also one that is Then you can send individual links to each employer.
a much much bigger subject than to segue into At least then, on the simplest level, you can see
when discussing the subject of reels specifically. whether they've viewed your video and how many
times. It's a good indicator to know if they've watched
LinkedIn is a great resource. Also, company it and if they're rewatched it. Then you will know if
websites are a great way even to initially find who is they might be interested. If they never watched it,
in charge of which departments. There are also then it might be worth following up or trying a
dozens of free tools, like Google Chrome different strategy (or a different person entirely).
extensions, etc. that allow you to validate or even
find email addresses easily -- and to then email The more you know the more you are able to use
those department heads. But even then, it's this information to be more impactful. But these are
sometimes worth building more of a strategy around all short term strategies, direct communication
it, rather than just emailing them out right to give you strategies. I could write a book on this subject, it's a
a job. Check out the podcast episode Breaking Into much bigger subject than specifically tied to reels.
the Industry Through the Side Door at But one that you can apply to your entire career
www.allanmckay.com/7/. This covers some inside and outside of your creative industry once
great information on this. you've learned it.
BY ALLAN MCKAY
SECTION
EXPOSURE
4:
4.3 THE LONG TERM STRATEGY
Ultimately, your short term goal is to gain build your reputation, your brand and having zero
employment. You want a laser focused reel that's competition by being the first person they contact
going to get the attention of the right employer to -- before they ever even post anywhere they're
get you the right job. looking to hire someone?
Long term, you want to think big: Do you always It all starts with gaining visibility.
want to be sending your reel to studios, filling in
webform job applications, and going to interviews You gotta be in it, to win it, right? Having your work
alongside a dozen other applicants? Or do you out there, being smart about how you post your
want studios reaching out to YOU about specific reel -- and where you post your reel -- makes all
jobs they had you in mind for? Do you want to the difference.
BY ALLAN MCKAY
SECTION
EXPOSURE
4:
4.4 1 MILLION VIEWS
I have a talented colleague in New York that posted it in a chat room, or on another forum, or their own
his reel online. He got over a million views. A million! blog; share it in a Facebook Group or another place
Can you imagine? What do you think that would do that other like-minded people might see it, and
for your career? Do you think you would necessarily share it on their networks? This is how things blow
need to be sending your reel to studios all the time? up, and this is how you're able to get more attention
Or do you think you would probably have that than ever before. But none of it matters -- and none
visibility you need to not have to ever introduce of it will happen -- if you haven't made sure your reel
yourself again? is as tight and as impactful as possible, and that it
doesn't break the rules we cover in previous
Obviously, something happened along the way. It chapters. Even then, it has to land in front of those
wasn't that a million people came to YouTube and people, which means knowing where they
saw his video in the right side panel and clicked it. congregate, how information finds them. So you
Instead, his reel was featured in a blog, shared in have to have an understanding of tags, titles, and
other channels or added to certain playlists. Bit by where the right audiences are -- so you can get your
bit, it got in front of the right audiences through work in front of them.
the gatekeepers. When people who have influence
post something -- it gets a lot of traffic. I've seen people who were fans of Warcraft and
Blizzard, sculpt an Orc and post their work in a small
I've seen this happen time after time long before demo reel video on CGTalk or other sites back
there was such a thing as influencers, or even before Art Station. When the right person saw it and
YouTube or Social Media. All it took was posting mentioned it to a colleague at Blizzard, who
your work on a forum or emailing it to a news blog mentioned it to their supervisor, and within that
that had high traffic. And if it got featured, it would same day they've been contacted and offered work
drive tens of thousands of people to view your work. -- at their dream job! THIS is what we all love to hear.
It's a dream to land a job right off the bat, at the
Now, what if each of those people were to mention place you one day hope to work for!
“DO YOU WANT TO BUILD YOUR REPUTATION, YOUR BRAND

AND HAVE ZERO COMPETITION
BY BEING THE FIRST PERSON THEY CONTACT --
BEFORE THEY EVER EVEN POST ANYWHERE
THEY’RE LOOKING TO HIRE SOMEONE?”
BY ALLAN MCKAY
But if it was that easy, then we all would work where working directly with me for an entire 12 months --
we wanted to, right? Obviously everything comes once you’re accepted (and there is typically a big
down to timing, luck and knowing the right waiting list), it doesn't mean that you then have the
people. Really, a critical part of it all is being ability to create effects, script, code, and land your
strategic. Which 99% of us don't do: We don't put in dream job. The real work begins AFTER you sign up.
the effort, we are happy to just have the reel done Once you sign up, it's 12 months of pushing yourself
and we upload it expecting job offers to roll in. This to greatness. We can't buy results. But we can buy
is like someone starting a new business -- once the opportunity to then be great. But the work
they've made their business cards and their website begins then. And if you don't do the work, you don't
-- they can sit back and just expect business to do get the results.
great, right?
So building the reel gives you the opportunity to
I have an analogy for this in my Mentorship: Just now start getting that visibility and getting your
because you paid for a new gym membership, name out there. And eventually, it will start to turn
doesn't mean you just paid for 6-pack abs. You don't around and the work will start to come in for you,
swipe your credit card and expect your abs to arrive without you needing to put so much effort in. But it
in the mail. All you have done -- is given yourself all starts with you being strategic, putting in the
permission to get the that thing that you want. The time and getting it out there. Hustle!
real work begins after you sign up. So, when you
join the FXTD Mentorship -- a 1-year, intense course Remember how I said, you gotta be in it, to win it?
BY ALLAN MCKAY
SECTION
EXPOSURE
4:
4.5 MAKING IT HAPPEN
When learning to hustle and take risks, you can valuable lessons I could learn and one that I see in
overthink things. After I got a few years experience, every stage of life, applied over and over:
my ultimate goal at the age of 18 was to work in Los
Angeles. I was a massive fan of Blur Studio. I loved You gotta be in it, to win it! You can't win if you don't
their work, I loved Tim Miller. This was before he play the game. In other words, if you don't try, then
directed Deadpool, and before Blur ever got any of you won't fail -- but you definitely won't succeed.
the many awards their studio has received for their Which sadly I feel most of us tend to do: We play it
work. They were a small PC based (in the days safe and not try, because if we can't win -- and we
where all studios were using Silicon Graphics can't lose. We're just going to be in the exact same
workstations) studio, in Venice, California. They place as we are now, forever.
were creating groundbreaking game cinematics. At
the time, any game cinematic you saw that was I nearly choked when Tim emailed me back
notable was likely made by them. personally to say he loved my work and asked if I
would move to Los Angeles to work at Blur! That
This might sound familiar but this was my strategy. I moment was such a huge turning point for me. To
had 4 years experience. I figured, if I work really send a reel to a place I had mentally told myself,
hard, maybe by the time I'm 25 -- I'll have over a “Give it another 5-10 years and then maybe -- just
decade of experience. Maybe then, I'll be good maybe! -- I would be ready to go to a place like this”.
enough. Maybe then, my reel will be good enough. I And instead I thought screw it, what's the worst that
just gotta work hard and keep hustling -- and could happen? They would say no? The best part of
eventually I'll be good enough. Hopefully. that dilemma is: What if they say YES?
I was cutting my first production reel -- the first reel I I never applied at Industrial Light + Magic, they
ever had, which I would not consider a “student reel”, called me on my phone mid-week, early morning. I
as I classified in the first chapter. This had nothing have no idea where they even got my phone
but my best work from a year of working in number. Digital Domain wanted me to work directly
commercials and working alongside other talented with David Fincher on what was at the time going to
artists. So not a hint of personal work or anything that be this massive visual effects shot for Mission
might cause for them to question my experience. It Impossible 3, long before JJ Abrams got his hands
looked good. Not Blur good, but good enough that I on the movie. I said no to Weta over half a dozen
thought I could start my freelancing career! times because "the timing wasn't right". All of these
opportunities that have come up over the years!
But on a whim -- and I barely even remember doing Eddie Murphy's best friend called me to ask if I
it -- I sent my work to Blur Studio. I went to their jobs could come over to his house to chat about
page and sent my stuff. It was more a gag, a total exclusively doing his next 3 films that he wanted to
joke -- knowing if I'm lucky, maybe I'll get a rejection move into the space of directing. I have had
letter or something. But this is one of the most hundreds of life-altering opportunities. Some I've
BY ALLAN MCKAY
passed, others I pursued and they’ve been so is it's your decision whether they are dreams, or
memorable. None of these I actually sent a reel in or whether they are goals. And goals you are willing to
applied for personally. take strategic risks and go after.
But none of this would ever happen if I hadn't After all, what's the worst that can happen: They say
sowed the seeds early on. If I were to listen to that no? That's fine! Then it just means you need to get
self doubt in the back of my mind and not take back up and try again and again. But, like I said
action, not take risks; if I were to instead wait it out, before: What if they say YES?
play it safe, lay low and be humble (humble really
being the replacement word for actually making Most of us are afraid to put ourselves out there.
excuses to not be vulnerable and try to do anything) We're afraid if we show our work, our talent, our
-- I would have set myself up for something worse most vulnerable parts, we're going to get judged.
than failure: I would have set myself for And so we make excuses to never try in the first
nothingness! I would have set myself up for a whole place. I don't know what is worse than never trying.
career of playing it safe, playing it ordinary, and There's a quote from Garrett J. White that goes,
seeing dreams as dreams and not as opportunities. “You’re going to suck, you’re going to suck real bad
at first. What you’re going to find over time though is
I can't make you get out of your comfort zone and that eventually you’re going to suck less. And,
try to take action with all those dreams that you eventually, you might even get to the point where
have, that you think are impossible. But all I can say, you’re actually good."
BY ALLAN MCKAY
SECTION
EXPOSURE
4:
4.6 BE OMNIPRESENT
Sometimes we're at a standstill. There are things we

need to face before we can actually get out there.
But when you are ready, when you are willing,
when you're able to say “Fuck it!” and get yourself
out there, get your work out there, and start to
make an impact, get the visibility you need to do
to succeed -- then it's time to do it, and do it over
and over, until you are everywhere! Until you are
able to realize that the world is not going to stop and
point fingers. The world isn't going to turn on you.
The world's too busy being insecure about
themselves to be concerned about your
insecurities.
Not all of us are in this boat, but there are going to

be some of you that genuinely have a fear about
getting out there, building a name and getting your
work seen. So this is why it's relevant to say all of
this. But when you get over yourself (seriously!) --
then join us here. Because now it's time to take
action and get busy!
Post your work everywhere! One of my good friends

James Bennett (check out our conversation on the
Podcast at www.allanmckay.com/27/) is one of the
founders of Zerply which is the #1 resource for
posting your reels on the web right now. Posting
your work here is a must! But also do your research
-- use Google -- and find where there are job sites
that you can post your work. Get your work on
YouTube, get it on Facebook Video, get it on
LinkedIn. Post your work everywhere!
Build a checklist or a spreadsheet of everywhere

you are posting, so you can keep an eye on it later,
you can update your reel later, you can see where is
getting the most traction.
Do your research. Figure out where others are

posting their work. If there's an audience there,
make sure your work is there too.
BY ALLAN MCKAY
SECTION
EXPOSURE
4:
4.7 GAINING TRACTION ON YOUR REEL
One of my friends at Industrial Light + Magic probably dozens of videos in the feed of other
contacted me one day saying, "Dude, what did you people’s work that is relevant to the things that you
do?" It turns out that his reel that had been up for like. Whom you are following and what they liked is
months had gotten only a few views, and not much showing up in your feed. So if you were to even find
traction. I think I had been looking at his reel one person who has a big enough following and
because I was thinking about asking him to do a having them “Like” your work -- it's going to send
Podcast about some of the work we had done a lot of other like-minded creatives to your video.
together. I must’ve clicked “Like” on his reel after I And those who click “Like” are going to then show
watched it. Not much more thought went into it than your video on other feeds of people they follow.
that!
So what if you were to actually put some thought
When he reached out to me, it was because his reel into this? What if you were to reach out to some
had then gotten thousands of views in only a couple people who have the right audience that you want
of days since I had done that. Jokingly he had called to get your work in front of. You don't need to ask
it the “Allan McKay Effect” of driving an entire them so transparently to like your stuff, so you get in
audience to his video by liking it. I hadn't really front of their audiences. But you can at least get
thought much about this sort of thing, prior to that them to look at it, and those power-influencers can
day. After all, this wasn't even on YouTube. It was on potentially drive others to your work, which boosts
Vimeo. I figured maybe the algorithm works by the its relevance. There are obviously many more
more likes the more relevant it becomes. Kind of like factors that play into this, but I want to keep this
up-voting posts on Reddit. simple and focus on one concept right now.
It didn't occur to me how who “Likes” your reel Obviously, these need to be people who are in the
actually plays a factor. And it started sending me same industry as you, or else your video is going to
down a rabbit hole of research into how to really show up on feeds unrelated to your work and lower
hack the system to really make it all work for you -- your relevance score (i.e. the more impressions you
the subtle tweaks you can do to gain so much get -- the less interactions / plays). But this is just a
traction to your work. small step to getting the views you want.
Even just that one thing: Who views and likes your Remember when I mentioned my colleague with 1
content should be really relevant for you to know. million views? This was playing a very big factor in
Because if you click your Vimeo feed, there's creating that initial snowball.
BY ALLAN MCKAY
SECTION
EXPOSURE
4:
4.8 CONCLUSION
The subject of reverse engineering a million views or completing jobs on time and budget. Everything is
intentionally getting videos to go viral is something data. And everything should be experimented and
I've studied heavily. I've worked on campaigns with paid attention to, so you can see and repeat the
directors on getting their short films to go viral and wins and avoid repeating the losses. Eventually
then getting the coverage they needed to get you're going to get the target outcome you want in
picked up. It's something that is a mixture of science any part of your career, especially with your reel.
and the movement you create around it. And it’s Figure out your KPI's (Key Performance Indicators) to
something I want to talk about more, and thoroughly. look for, pay close attention, and start tweaking
But for now, nothing works better than just things until you start to see your reel is showing up
experimenting and trying things out. What works -- next to all the places where other studios, artists
double down on that. What fails -- do less of! and especially supervisors at studios might typically
come across your work. Regularly see to upping the
That's the formula for any marketing campaign. chances of your reel getting viewed -- and the right
Everything is data. The more you see everything as people becoming more aware of your work,
data, the more you're able to break it down into services and availability.
repeatable steps to recreate the same results over
and over. Same goes for getting jobs, getting clients, You gotta be in it, to win it!
BY ALLAN MCKAY
SECTION 5:
COMMON QUESTIONS & ANSWERS
5.1 SHOULD I PUT “BREAKDOWNS”
ON MY REEL?
First of all, what are breakdowns and why are they from back to front or vice versa. Or, they can be
important? A breakdown essentially is a quick displayed through other creative ways. But the point
deconstruction of a particular shot. They'll show is to not show the image a whole but rather break it
the viewer all of the elements that went into down into its raw elements, which slowly build up
making a VFX shot; all of the raw passes and the into the final shot.
process.
So, why is this important? Well, because it can
Typically these can be either “wipes” of your render demonstrate how you actually work and what you
elements that appear sequentially, showing the actually did on the shot. What if the shot you're
progression of a shot. Or, they can appear in order displaying was photo real? How could they tell what
BY ALLAN MCKAY
you actually did on the shot? You don’t want your • No more than 2 breakdowns on a reel. I find the
work be under-appreciated, if they can't tell the most common thing is to show a shot and then show
difference between what's real and what’s CG. all of the render passes of it; then follow up with
another shot that is almost identical to the last, and
More importantly, it just helps to show some insight then show how it was made as well! Obviously a
into how you work and what was involved in making single breakdown made it more than clear what
the shot. This can be extremely powerful and work was involved to make the shot.
effective. It also can look really cool, and sometimes • So only put shots on your reel where they are
just peak their interest again after they get a little needed -- where it really shows how much
numb to seeing dozens of effects shots one after painstaking work went into it. Don’t explain the
another. So it's a good way to snap their attention process on every single shot on your reel.
back on point.
Lastly, do your elements hold up on their own? I've
The problem lies in the fact that a lot of us aren't been in some portfolio reviews, where less is
thinking about the why definitely more. Showing
“
when we’re inserting some of the elements by
these breakdowns. themselves is definitely
Instead of it being at a exposing yourself to a lot
point where we want to of scrutiny. Compositors
snap that interest / THERE'S NOTHING WRONG can work wonders with
attention back on track, your elements and
or deconstruct a shot to
WITH RENDER BREAKDOWNS, sometimes untreated raw
showcase a real JUST DON'T OVERDO THEM. elements can definitely
”
understanding of the not look very attractive.
work involved, break- So bravo to you for being
downs are more used as that confident to show
filler to help make the them because sometimes
reel go for longer. Have I said it enough times yet: I would have looked at a completed shot and been
Never put shots on your reel for the sake of filler! very impressed. But seeing the shots untreated -- or
They should only be there if they are needed to be elements by themselves -- gave me a lot more insight
there. into the quality of the work. And helped me decide
not to hire that particular artist.
The bigger problem is that a lot of the time, they're
just plain overused. Honestly, besides bad CG, I've So to recap, there's nothing wrong with render
stopped watching or felt frustration watching reels breakdowns, just don't overdo them. And only do
that just have too many breakdowns. It's like them when they're actually needed. It can be a
watching the same shot on loop, over and over again. really effective way to show your talents and the
work involved in a particular shot. But it can easily
Here are the common mistakes made: give a lot of insight into what your specific work
looks like, without the Compositors or others
• Breakdowns should be punchy: They need to treating your elements; as well as just plain lose the
appear on typically 2 passes per second. There's attention of the viewer -- or worse, frustrate them
no need to display a pass and stop for 1-2 seconds. enough to stop the reel entirely. Which is probably
How is that going to help keep their attention? the most common occurrence.
BY ALLAN MCKAY
SECTION 5:
WHAT IF MULTIPLE PEOPLE WORKED
5.2 ON A PARTICULAR SHOT?
I DON'T WANT TO LOOK LIKE I'M TAKING
CREDIT FOR OTHER PEOPLE'S WORK.
As mentioned earlier, it's better to There was a reel at ILM that was famously
over-communicate this than risk looking like miscommunicated of one artist’s contributions on
you're taking credit for others’ work. Because not Pirates of the Caribbean 2. It was an amazing VFX
only is it easy for this to be miscommunicated, but shot involving loads and loads of ocean splashes,
you're not there to clarify or defend yourself if it waves and other simulated effects. The artist listed
comes up. There's no easier way to get “water effects” which later was realized to be the
blacklisted from a studio -- and potentially very background rain particle system that was quite
multiple studios (as word travels fast) -- than for blurred and subtle in the shot.
stealing another artist's work. And especially
when it was just because of a misunderstanding! But the easiest thing -- rather than attaching a PDF
or sending a printed breakdown sheet in -- is simply
That's why we always provide reel breakdown to put your contributions at the bottom of your reel.
sheets (not to be confused with shot Simply mentioning in 3-4 words what you did
breakdowns, mentioned above). A reel sheds light on the work you did and the work you
breakdown, or outline, simply communicates didn't do. If you need to elaborate further, you can
what your contributions were on any given simply say, "Everything, excluding XYZ" or
shot. Sometimes communicating "FX" isn't something like that.
enough. It's better to say "spark FX", or find other
ways to get specific. Better safe than sorry!
BY ALLAN MCKAY
SECTION 5:
5.3 SHOULD I SHOW MY PERSONAL WORK
OR STUDENT WORK?
But when it's your own work, you're working
I've had many discussions with other supervisors
about this who all agree that your personal work is
within your own budget, planning and using your
worth ten regular production shots because it shows
creative abilities. So it's on you to do great work
what you can do on your own and you have the final
or let work out that is sub-par just because you're
say on what you consider worthy of calling finished.
sick of looking at it or haven’t anticipated how
long something might
“
There are loads of take. Whatever the
projects I've worked on reasons, typically
that I didn't like the this is a key indicator
creative calls made by of the level of effort
the client or director. But and level of output
they have the final cut. YOUR PERSONAL WORK IS WORTH you're likely to do on
When I see a bad shot in TEN REGULAR PRODUCTION SHOTS a production you're
a film, I don't instantly hired for.
assume the studio or BECAUSE IT SHOWS
artists did a terrible job. WHAT YOU CAN DO ON YOUR OWN. So, nothing is more
Typically, I imagine naked and vulnerable
”
there's a story behind than your own work. It
why it turned out that speaks tenfold of
way. The Matrix sequels’ your ability in
CGI in some of the more production. Which is
famous bad shots is one example of where it's not why amazing personal work shows how much
necessarily the artist's fault as to why those shots didn't potential they have to tap into by bringing you
hold up. Schedule, technical limitations, budget -- or on. But not-so-great work will have them
budget affecting the schedule therefore being questioning why you let it onto your reel, and if
constricted by the technical limitations to get things out this is the acceptable level of quality you're
on time (i.e. all three!) -- can be just some of the reasons. willing to let slide.
BY ALLAN MCKAY
SECTION 5:
5.4 WHAT DO YOU DO
IF ALL OF YOUR WORK IS UNDER NDA?
This is common. And there's no straight forward there were shots from their project leaked on the
answer. A colleague at Weta asked me this recently, web. And I can look at plenty of scenarios in the past
because his work is all tied up for the next 2 years where this has happened. With the internet, there's
before he can show any of it. Yet, the work he's no such thing as "nobody will find out"!
performed could land him a whole different level of
quality work than he previously could potentially But, I will say it's not too uncommon to password
seek out. protect your reel and send it privately to a studio, or
take the work in on USB and show it to them
So, if you can't put your work on your reel, how do personally and leave with the work. It's definitely a
you get the next job? It's a double edged sword. common practice, but you're still breaching your
Show the work -- and risk getting in trouble. But, you NDA.
may get the job. Or, maybe they're going to wonder
if you're willing to show private work to them, if As far as I can recall I've never done this, but as I
you're likely to do the same thing on their mentioned -- it definitely does happen. I personally
production, if they hire you as the artist? have at least a few projects I worked on that I have
been so proud of the work I contributed that never
In reality, the answer is to respect your contracts saw the light of day. Ever! Which is sad because you
and don't show work you're not permitted to show. want to show it off. You want others to see the hard
This is not a situation where "it's easier to ask for work you and others performed on a project. But at
forgiveness, than to ask for permission". I can think of the end of the day, you're a gun for hire. You're paid
one recent scenario where an artist that worked for to typically work for a studio that is hired by a client
a big LA based studio put out his new reel, thinking -- and to create their vision. And, it is at the end of the
it won't get much traction -- and the head of the film day, their property. Not yours! I think we forget that
studio personally called the owner of the VFX studio from time to time.
he worked for, in the middle of the night, furious why
BY ALLAN MCKAY
SECTION 5:
5.5 WHAT IF MY ROLE IS MORE A
SUPPORT ROLE? HOW DO I CUT MY REEL?
We talked a bit about this earlier. Let’s say you have in action or communicate your process better than
a technical reel. If you were a Character TD, or if you through a montage of shots.
were in systems, etc., those are all important roles --
but ones that are less easy to demonstrate visually Other times, you might be able to showcase files.
with a reel. Having a link to your website, with an easy to access
link like www.JohnDoe.com/reelfiles/ or something
Sometimes, you might need to cut a reel and have similar is all that you need. From there, you can have
an accompanying reel that is more focused on a list of files that are on your DropBox or other cloud
screen captures of the tools you developed, or file sharing service that will allow them to easily open
other things like that. You can simply show the tools and download the files you want them to inspect.
BY ALLAN MCKAY
SECTION 5:
5.6 DIFFERENCE BETWEEN
REEL AND PORTFOLIO
I almost feel this isn't worth clarifying but. Your more and avoid ever snapping out of the “Wow”
portfolio is typically a collection of your stills, like trance you're putting them in. Showing still images
your painted work, your personal work, client print of rendered print work or illustrations can definitely
work. Your reel is your reel, it's a video. Actors have do this. So even a still image that you pan across,
demo reels. Videographers have demo reels, definitely kills the pace of your work.
animators, CG artists -- all have demo reels.
Photographers have portfolios. Illustrators have I don't think this is a solid rule to not put stills on your
portfolios. It just comes down to if in your work you reel. But just consider whether it will have any
are demonstrating a series of stills, or does it move? impact at all. There was some brilliant stills on a reel
I saw recently, heavily photoshopped 3D elements
This also helps you understand what platforms you that looked great. In that case, I recommended to
should be on. You can showcase your stills on Art make it kind of a breakdown of all the photoshop
Station or Instagram, Pinterest etc. Whereas Vimeo layers. Just bring it into AfterFX and have them all
and YouTube are typically for videos. If it helps load on over time. That way you're focused on
categorize your work based on the ideal platform to watching the shot come together like a breakdown
showcase it on. -- but without there being any motion at the end.
So, should I put stills on my reel? One of the Other times, I recommend trying to render it out in 3D,
underlying messages we're trying to communicate with at least some camera motion, a slight shift even.
here is that your reel should draw your audience in. Having some parallax in the shot can do wonders,
You want to make them really interested to see just something to bring the still moment to life.
BY ALLAN MCKAY
SECTION 5:
5.7 SHOULD I SHOW TUTORIAL WORK
I'VE DONE ON MY REEL?
There's nothing wrong with showing tutorial work. settings to put in. And you need to replicate it in a
Typically the viewer might recognize the piece and new scenario.
know it came from a tutorial. But that's fine.
However, it's always impressive when you can So much growth happens in these moments, and it
take what you learned from a tutorial and shoot really helps you understand the knowledge you're
your own footage to place it in. Plus, it will make it picking up. I really encourage this in my courses: to
unique to you. Nobody else will have a shot that go out, even with an iPhone, and shoot something
looks like yours. Lastly, I feel when you are able to to make the shot your own. I still provide
take what you learned and apply it in your own professionally shot footage on RED or Alexa
shots, there's so much more that can go wrong (this cameras, so we have professional film shots to
is a good thing) when you step outside the perfect work with. But I still applaud those who take it a
tutorial environment where you know the exact step further!
“IT’S ALWAYS IMPRESSIVE

WHEN YOU CAN TAKE
WHAT YOU LEARNED FROM A TUTORIAL
AND SHOOT YOUR OWN FOOTAGE
TO PLACE IT IN.”
BY ALLAN MCKAY
SECTION 5:
5.8 SHOULD I INCLUDE THE SOFTWARE
I USED IN THE REEL?
Mentioning which software you used can definitely Communicating you have some experience in
answer questions and shed some light on your Maya or 3DS Max, as opposed to "I don't know that
process. It's worth showing what software you used package" is the difference between an obstacle, or
at the end of you reel, or on a shot by shot basis. a wall. Communicating you have some scripting
The only downside is if you think by mentioning you experience means you might not be a pro, but you
are exclusively one software package, it can can potentially put in the time to learn.
eliminate you from consideration for the job. So
sometimes not mentioning which software you use I always say it's the difference between lying in a job
can actually be counter-intuitive and work in your interview and saying you know a software package
favor. Just something for you to think about. that you don't, or being transparent and saying you
have some experience but you're willing to put in
Ultimately you can also put a little percentage bar the time and get to know the software right away. If
next to each piece of software you know at the end you lie and say you know the package, you're going
of you reel. So that you can list After Effects 95%, to be going into an environment where people have
Nuke 55%, etc. This way you are elegantly the expectation that you're able to perform at
communicating you know some of the other production level in that package. Whereas being
packages, but you are more of a seasoned pro in, honest and saying you have some experience and
let's say After Effects. you're willing to learn means you're dedicated and
willing -- but you won't have that pressure to
I think it's worth learning all software a little. perform at a high level from the minute you start.
BY ALLAN MCKAY
SECTION 5:
5.9 SHOULD I PUT MY REEL ON YOUTUBE,
OR VIMEO?
The short answer is both! You want your reel to be their mind that you're not a weirdo and want to
as accessible as possible. You're limiting your hire you. After all, the creative industry does attract
potential reach by not having your reel somewhere, its share of odd or eccentric people, and hiring
which limits your opportunities of people potentially someone with personality -- that you want to share
discovering your work, as well as eventually growing countless long hours on high-strung productions
more of a following and building your brand. with -- can be the difference between a memorable
experience or a very painful one.
The key thing is to link it all back to your website.
Ultimately, that's where you want everyone to end But like I said: The key thing is to drive them to your
up. Your website needs to have your most site so they have your latest info and other ways to
up-to-date reel, your most up-to-date contact reach you, your LinkedIn, etc. Keep in mind that
information; as well as other information that will YouTube is in fact the second biggest search engine
show more insight into your abilities and personality. on the web. So when it comes to visibility --
especially embedding to a page on your website --
Personality is important. The more they can put a it will make your page rank higher and get your
face to your work, the more they'll remember you. website visibility. Just something to keep in mind in
This is a fact. But it also might help them make up regards to SEO (Search Engine Optimization).
BY ALLAN MCKAY
SECTION 5:
5.10 IS YOUR REEL ALWAYS “ONE SIZE FITS ALL?”
OR SHOULD I MAKE CUSTOM REELS?
Your reel should be designed to communicate your also to the next Marvel film, they're not going to
skills and services to the many. But if you have the be able to appeal to both audiences. Whereas
time, having a reel that speaks to a single audience cutting the right reel for the right job will make
is the difference between someone speaking to a your reel stand out from every other reel that
crowded room or speaking to one single person. sent in. Putting that bit of extra effort into your
You're going to make much more of an impression reel can 10x your chances, and if you're putting
and say exactly what you can do for them. any effort in at all and ensure you're on point
every time -- go that extra mile and make it
If your reel is being sent to an arch-vis firm and worth it.
BY ALLAN MCKAY
SECTION 6:
WRAPPING THINGS UP
This is probably not the Reel Guide you expected if really get the exposure you need to 10x your
you were expecting to only skim the surface on career and to establish yourself as a brand long
what you should do to make a successful reel. If you term -- you need to be willing to take risks and get
wanted something vague, we've definitely gone the out of your comfort zone. Nobody ever did
opposite. This is a deep dive into the mindset you anything great while playing it safe. We're all going
need to align with the audience you're aiming for. to wrestle with this but the best results come from
Knowing how busy a potential employer is and what taking risks, educated risks and seeing it all as data.
they're typically looking for at the moment they're Remember: Double down on what works and learn
looking at your work; how their attention is so from the things that didn’t. And repeat, repeat,
fragile, you need to fight for it every second; and repeat -- until you are getting those thousands of
how making a reel is barely views and people are
“
the beginning. You need to linking back to your site,
control your message, and reaching out to you for
and more importantly work. Build that machine,
control where it goes and and oil it frequently -- and
who it gets in front of. You you'll never run out of
need to put effort into GO OUT THERE, MAKE NOISE. work!
creatively finding ways to GET YOUR VOICE HEARD.
get your voice heard over What I'm saying is: Go out
others and making sure GET YOUR WORK SEEN! there, make noise. Get
”
that you are seen as the your voice heard. Get your
obvious candidate, the work seen. Never accept a
obvious hire for the job. no for an answer -- and
Competition for a job keep taking rejections as
against others is the wrong constructive criticism, as
way, and that you should eventually, like a yo-yo, data on what you need to improve. Every win I
have the audience that you were initially reaching have, I still look at what I could have done better. But
out to, now repelling toward you organically. If you every failure I have -- is where I get excited to see
are doing your job right. where I can make it a win the next time.
Think big with your game plan. It's not a matter of There are those of us that are in a reality where
edit, make, publish. It's a matter of having anything is possible. It's not because we're
something that is able to be a walking billboard dreamers, it's because we're doers. We aren't
for your services; attracting an audience that putting those dreams on a shelf and saying, “It
specifically needs your talent and making you would be nice to have that some day, wouldn't it?"
stand out from the rest. But instead we go after those goals. We're
relentless, we see any dream as a goal we just need
We talked about the mindsets that we wrestle with to break down into actionable steps -- that we can
and how if you're to really get out there -- I mean then go after TODAY.
BY ALLAN MCKAY
SECTION 6:
WRAPPING THINGS UP
6.1 SO WHAT’S NEXT?
• For further Guides, videos and training on the subject of leveling

up your career and building your brand, go to:
www.AllanMcKay.com.
• Also, check out Allan’s Podcast at

www.AllanMcKay.com/category/podcasts/ to listen to the
Podcast which is focused on building up a successful career as
an artist.
•
Finally, there are links on Allan’s website to his YouTube Channel
and other resources he regularly publishes on these subjects.
•
You can also email Allan directly with your success stories, other
experiences and how this Demo Reel Guide has helped you.
Please email amckay@allanmckay.com.

Ebook - Allan McKay - Ultimate Demo Reel Guide PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Ebook - Allan McKay - Ultimate Demo Reel Guide PDF

Uploaded by

Copyright:

Available Formats

The

to those who've been in the industry longer than I

I don't say this to impress you but to leave an

Let's just address ALL the information currently out

YOUR PRODUCTION REEL

“TIE YOUR NAME AND YOUR BRAND TO A PARTICULAR NICHE,

SUPERVISOR REEL rather than the work you oversaw of others. So I

“YOUR REEL NEEDS TO TELL

was at the top of my list too, until I saw that." He

“GOTTA FIND A GOOD TRACK”

However, this is where I stray away from the regular

Are you ready?

BREAKDOWNS OR be only if the shots differ greatly, and both these

KEEPING STUFF ON YOUR employees who might be even cheaper than

ASPECT RATIOS CONCLUSION:

NFORMATION) Now that's been said, let's actually look at what to

#3 - SHOW THE LEVEL OF QUALITY YOU'RE WILLING TO PERFORM AT

• Showing breakdowns or turntables too often or • Contributions: Another important fact is to be

Now, you might have noticed that I've been trying

Keep your edit tight: No more than 2 minutes, and

This is essentially an ad campaign for you and

This is how seriously you need to take your demo

But the most important factor to consider is to

“DO YOU WANT TO BUILD YOUR REPUTATION, YOUR BRAND

Sometimes we're at a standstill. There are things we

Not all of us are in this boat, but there are going to

Post your work everywhere! One of my good friends

Build a checklist or a spreadsheet of everywhere

Do your research. Figure out where others are

“IT’S ALWAYS IMPRESSIVE

• For further Guides, videos and training on the subject of leveling

• Also, check out Allan’s Podcast at

You might also like