THE STORY OF ADAM
Once upon a time there was a kid named Adam. He was fun loving’ little tyke, and fortunately for him, his family lived in Hawaii, on the island of Maui. "All RIGHT!" rejoiced Adam, "Maui RULES!" And for a while, it did.

But soon Adam found that there was naught to do on Maui but bodyboard, watch movies, and spend quarters at the arcade. "This stuff gets old!" said Adam.

Indeed, young Adam grew restless. In the meantime, however, he also grew adroit on the waves; skillful at chomping power pellets; and masterful at watching films. It seemed his nebulous fate was slowly taking shape, even as he spent his days in the breaking surf and his nights in the arcades and theaters. He envisioned himself one day working as a professional in an industry related to one of his favorite pastimes. "I’m just a crazy kid with a dream," he said, "but I believe that one day I’m going to do this for a living". You never know what the future holds, Adam…you never know.

Years passed. Adam competed successfully in several bodyboarding competitions. "This is cool," he mused, "only I can’t help but feel that my destiny lies elsewhere."

And so, during the historic and pivotal winter of 1991, Adam was faced with a choice: remain in Hawaii with his family and friends, or pack his trunks for college and the unknown. He had no idea what school to attend, though, or even what his major should be. In many ways, it was the hardest choice of his life.

"Darn! This is a hard choice!" he thought.

His future in Hawaii as an apprentice graphic designer looked promising, yet he felt the familiar longing in his soul -- a beckoning to the world that lay beyond that blue line of the horizon. One night after meditating on his dilemma, he decided to go take in the new Disney film, Beauty and the Beast. As he watched the ballroom scene in rapt wonderment, he was struck by a revelation. "Maybe I can do visual effects like in the movies! "He ran home as fast as his legs could take him. "Ma!" he screamed, "I’ve figured it out! I’m going to go to art school! I’m going to the mainland! I’m going to work in computer effects!"

"But what school shall you go to, Dear?" asked his surprised mother.
"Hmm…" Adam pondered for a moment. "How about the Ringling School of Art and Design in Florida?"

And so it was that young Adam grew from a boy to a man, and decided that he would leave Hawaii, and attend art school in Florida.

"Good-bye, Ma!" he shouted merrily as he walked away from the only home he’d ever known. "I’m off to see the world!"
"No, no, Dear -- you’re going to school in Florida," his mother replied.
"Oh, yeah," said Adam.

While attending Ringling, Adam was able to work as a digital artist intern for JHT Multimedia, and Tiburon Entertainment. He enjoyed his experiences in the video gaming industry, but he still felt his true calling was the cinema. "With hard work," said Adam, "I’ll make it to Hollywood." Adam did work diligently, and it paid off. Adam's thesis project, "The Stomach Pump," is featured on the Computer Animation Showcase DVD from Odyssey Productions.

In 1996, Adam graduated with a BFA in Computer Animation and was hired at Warner Digital Studios. There, he began as a technical director working on Eraser, Mars Attacks! and Batman & Robin. Warner Digital was a marvelous company, full of friendly and talented people, and it produced a wide variety of astounding effects. Adam finally felt like he was where he belonged. A year later, however, tragedy struck. The division was shut down, and everyone was laid off.

"Sorry!" said the Suits.
"Aww!" said Adam.

Then Warner Bros. Feature Animation, a different division of Warner Bros. Studios, asked Adam if he’d like a job as a CG animator for animated features. "Awright! Just like in Beauty and the Beast!" said Adam. But after working in visual effects for a year, Adam had to learn a whole new way of doing things. "I know I can do this animation stuff," he thought. And he could. He soon made the transition, and had an incredible experience working on The Iron Giant with Brad Bird. But once again, live-action visual effects came knocking on Adam's door with the advent of Limpet, a production that eventually came to a halt at WBFA, which led to more lay-offs.

"Sorry!" said the Suits.
"Not again!" said Adam.

Adam worked freelance for Inertia Pictures for a while, lending his talents to an independent project. Later, Dream Quest Images contacted Adam to do animatics for Mission to Mars. While he was at DQ, Warner Bros. decided they needed a CG character for Osmosis Jones. So, the Suits called Adam back to work for the WB...again. "Doh!" said Adam.
This time, his supervisors wanted Adam to animate Drix, one of the main characters for the film. "This is hard work," he said, "but I know I can do it!" And he could.

Adam is now doing development work for future WB projects…and developing his resume. "Will those wacky suits at the studio ever stop with their shenanigans?" he wonders. You never know, Adam…you never know.
THE END

Adam's Thoughts on Production:
There are different aspects to this job market. Most visual effects studios labor a crew for a 45 to 55 hour minimum work week. So if you don't like the long hours, you might want to go apply at your local Jamba Juice.
I'll be sure to say "Hi," when I come in for my Cranberry Craze smoothie.

If you are looking for a set 40 hour work week, seek out a union job. Most likely it will be with one of the larger studios....Dreamworks, Disney, or Warner Bros. But this doesn't mean that you work the 40 and go home for the day.
Be prepared to stay long hours when the crunch is on.

On top of the long hours, job security has become an extinct dinosaur in this business. Having been with a company that has laid me off more than once, I've learned to cope with the fact that the industry is quite volatile.

Forty hours, 80 hours....whatever, If you enjoy what you do, working your ass off doesn't seem hard to do.