Getting Your Dream Job - Interview with Top Recruiter from DNEG

hey guys have you Morton from flipped normals here and in today's episode we have a very special guest Remus we're sitting here with we're actually sitting at Enoch now where we used to work like just a month you and they're not sitting here with one of our friends Harriet okay who's a recruiter or a demon she was actually the one who hired both more tonight so you might say the tables have turned no we don't we don't want to go up saying you can't afford to hire so this is this gonna be like a fairly relaxed conversation with an actual recruiter or notice what they're talking about where we just we just talk about some general stuff like hiring practices and some showreel stuff yeah just some general stuff yeah yeah sure so I'm Harriet and I've been working at DNA for almost five years I started out as a recruitment administrator and over the last four and a half years have worked my way up through to looking after almost at least some point along the way almost every department that we have here at Dean egg whether it was for a short amount of time or extensive but at present are it currently look after all the entry-level roots into the business so all our greenlight programs so apprenticeships internships graduate schemes and running and junior roles across like editorial accounts and that kind of thing so a bunch of stuff what stuff I'm there's loads more as well yeah important person so we're not really gonna do super tight hard-hitting questions yeah what we're talking about all kind of crazy stuff is but we just want to start off with one which is something I think maybe the most common question we get which is doesn't formal education matter and I don't mean it sure you go to school I just mean if you have a bachelor degree are you and some somebody has the same portfolio who does not have a bachelor degree will you have a real advantage there where you do you just don't care at all about somebody's formal degree not really we've had it before where I've hired people that have been completely self-taught and it depends on the role that you're essentially applying for if you're going for a senior role I mean that's you know across everything if you're going for senior role and yet the experience that you have just isn't at that level then of course you're not going to be considered for the role but no I think as I said we've had people that have come from being self-taught lots of people coming from fine art backgrounds and being actual hands-on sculptors that have then started getting into the computer side and maybe just been doing it online self-study so no I don't think it's really important what it's essentially down to is the showroom itself and you as a candidate whether that means you've come from a master's degree or you've just been seeing a home online teaching yourself it doesn't really matter that seems fairly aligned with what we've seen as well but I work with people here I mean at Dena yeah like some guys literally had PhDs and young guys what is insane to me but and some guys have some guys have nothing and as far as I know that doesn't really impact hiring process or your salary more like essentially not any of that it's also like I think just what it comes down to is just your skills yeah absolutely that's what we're looking for at the end of the day you'll see these says so much about you but then your showreel is kind of the important bit to get that slide across but also when we sit and have an interview with someone how do we feel like they're going to fit into the team you know they might be extremely senior on paper and on their shoval but you meet them and you just don't see them fitting into the team we're not going to disrupt the team that we've got at the moment just based on the fact that they're an amazing artists they need to fit into the role but they're doing yeah so how how does the whole process work if you want to apply here like going from like how do you apply to like interview process can you just take a let's take us through yeah kind of go through it relatively quickly because it can be quite like paper so the best way to apply 2d Nick is online through our website we do get people getting in touch over email but their response is always going to be online and that's only because it means that everything we've got from you is on our database like you'll see there your covering letter you'll show real link and also there are several questions that we tend to ask depending on the role that you're applying for that just help us as well get a bit more information from you so if you're just emailing your CV in we're not necessarily going to get that from you so that's the best way to do it once you've applied online the respective talent acquisition partner who are the recruiters then picks up that application so whoever is responsible for hiring for that Department will review your work if it's an application where you don't need a CV oh sorry it's showreel then it will just be down to your CV and covering letter but if it is based on a Cheryl then of course we'll have an initial look at it but the team in Talon we're not artists so there's only so much that we can gauge you know we can tell it a bad wheel you know they're fairly obvious now but the ones that are sort of mid up we're not we don't have the eye for telling kind of what's really good or not so we'll kind of make sure that they maybe fit into the requirements that we've got based on everything else and then they go out for a real review where we've got selected people in the business who have been trained how to look at everything on the system and they essentially review you as an artist and say yeah this person's got a great show real or no they need to improve significantly whatever it might be from there if it's if it's a good good thing then we have a pre-screen with them so that's where the talent acquisition partner responsible for that department again where it's very informal about a half an hour phone call just to find out a bit more about your experience in a bit more detail so we've essentially then got almost like a mini profile to go to the artist manager and hiring manager of those roles and say look this is Mickey Mouse he's this for this many years he's worked on these kind of projects he uses this software this is when you can start these nisonger expectations so they have a bit more of an understanding of them as a person if they then if they're very availability fits in with our needs if they're showreel as Goods if they're using the right softwares then that artists manager will then interview that candidate usually face to face or if they're outside the UK or can't make it to London then over Skype just so again you get more of a good interaction with them so if somebody is not from from London they can't locally be here would that then be an issue for a no it's absolutely fine what we have to take into consideration is whether they need a visa if they do and we know that they're applying for a role that those needs are urgent we just have to take into consideration are they actually going to be able to get there these there in time for them to start the role when it starts at Dean egg if not that doesn't mean there are no it just means that we'll think okay this person visa is going to take four weeks to get therefore we need to think four weeks ahead of the start times get in touch with them and make them an offer it has nothing to do with whether you're in or in the UK or outside of it does that make this any if you have to sort of similar candidates one requires a visa and one doesn't would you typically go for the one who doesn't because it's easier to if it means though if it's for the role that starts sooner yeah and it means that they're going to be able to get any quicker then yes we do tend to go for that if you've got two people and for some whatever reason the the candidate that does need a visa for whatever area of your application does come off as a stronger candidate then no will hire the stronger hand today but we just have to make sure that we've got enough time to actually get them a visa to get them started for the role and we've had it before where delays have happened they've been out of our hands been up the candidates hands and we've just had to make sure we're keeping up with the schedule and we're updating the hiring team to say look this person's visas been delayed they're not going to start until next week and they just update it so we're always communicating so when you issue just for the visa stuff like that is that typically like people that stay here for a longer time because you have to go through the visa process and get them a visa is that you know we hire people that need visas for three-month contracts will depending on the role that you're going into there are two types of visas you can get here to which are for more strategic hires so if you want someone to be in the business for like three years and then tier five which you can apply up to twelve months initially and then you can extend that certainly for an additional twelve months and maybe even further 12 so we would say okay we've got a three month contract for you come in as you get closer to that we would extend their contract maybe if we have the work and we'd simply update the visa end date and our we've got a specialist in who sits in with us in talent who deals with all our global mobility and she's a visa genius and once they're in the building and they're hired and they're here she then becomes their contacts from that side and she makes sure that we're doing everything that we need to do you know as per the government's requests and stuff so your visa is always in line with your contract and then it's a case of just updating it and extending it when when we can I have a point here like which we had a question here which was our four nurse considered and here I don't mean just like you have to be in a country but there are a bunch of people who will justify that what if I'm Swedish or more different country they're not from the UK I mean then we'll have been considered for it and like I just want to make a point here this is like one of the most diverse industries I ever see yeah we if you're sitting anyone two rooms here at Dena give anyone any other studio you're sitting with like ten different counties different skin colors different background different ages yeah it is it is diverse and pretty much every single way you can think of yes but is there because I know they have this in Canada with hiring like priority hires within the country first like looking for talent within the country yes if you can't find that yeah you can hire yes so Canada had their more restrictive when it comes to that kind of things yes they do have to look at Canadian talent over everything else it's a bit different in London it's so it's a lot easy for us so Canada a struggle a lot more to hire Indian nationals than we do here in London so if they've got a good candidate in Vancouver that they're talking to and it turns out that they require these are because they're Indian they'll either send them to our Indian locations or even here in London because it's a lot easier for us it's still a lengthy process but it's fine I'm in terms of your question Henning and it doesn't matter where you are in the world as long as you're being realistic with the job that you're applying for the restrictions that we have here in London with visas is there's a minimum salary that you have to offer that person so because that's at a certain level anyone below that based on their experience isn't we're not able to consider so that is that does mean people wanting to come in as runners or as graduates or you know just junior artists in general we can't consider and that's not because of us it's because of the restrictions and I think set up by the government which is heartbreaking to tell a lot of people you know we get so many people that come from international countries you know doing masters or studying here and they're not told how difficult is then going to be once they graduate and they're no longer on a student visa and quite often I've been the only person or the first person to tell them how how it's not possible and you can just see their hearts breaking in front is important to know yeah so you know it's almost but respective of the salaries yeah and if you're if you're a graduate and actually yes your work is like okay you are at this level then fine but realistically that it's not in terms of visas at least if you're in the European Union at least for now at least then you're fine in terms of any of the UK studio yeah so then it's a country sin which would require visa I guess would be India Australia New Zealand yeah and the US the US China you have another Chinese applicants coming over and we talk personally I've been in chatting - yeah quite quite a few people from China recently because I wanted to comment like there's a lot of like I see a lot of people online now posting from China yeah yeah yeah base effects is huge in China at the moment and it worked the way that obviously I'm recruitment it works you know you talk to someone you hire them it's like right who do you know yeah who can we hire out of your friends and so as soon as you know you start getting people from those occasions it then does sort of have that snowball effect where they can recommend people that they've worked with previously we can get in touch with them have those conversations and you know essentially hire them as well so yeah it kind of snowballs like that so we've got a bit off track you're talking releasing stuff so we're whereas is you had a phone in to go to Canada oh yeah yes so usually its final minute sir this is the flowing conversation yeah so once you once you have your Skype or face-to-face interview with the artist manager again those respective recruiters and teams have weekly catch ups to go through all the people that they've spoken to compare that against the CS and the requirements that we know we've got and we'll then basically start thinking about who they want to make offers to the artist manager then comes to the recruiter with the the contract dates the salary that you know they would look at very careful based on the team that that person would be coming into and how that balances out with with the people that you'd be working with do they need a visa are we offering relocation based on that so they'll give us all the information and then the talent acquisition partner cause the candidate and talks them through that information if for any reason then there's a negotiation process again recruiter will go between the candidate and the department to you know come to an offer that both parties are happy with and then we send them an offer they they accept hopefully and you know if they're outside the UK or international hires and we're offering relocation then it would be a case of then assisting with that and supporting them with visa application processes so we have immigration lawyers that we use so they're all external but would then be that point of contact and then they would update D neg on how the application is going and hopefully is supporting flights and accommodation as well and that process continues on from there once they start at D neg talent wash their hands of them and they become hey Charles responsibility you never see you again yeah we don't see you for like two years and now I can't get rid of you yeah so and then obviously a child look after their employee care and stuff I was thinking about this is this something I've been thinking about ever since I started working when it comes to covering letters yes so in my world it's always been like no I just gotta get this over with cuz I don't really care yeah I have my show real this is what I want to do you were talking about like you have this sort of base I look at the real you're like okay this is good enough to tips okay to go through yeah how important do you see covering letters you say all the fee honors that look doctor yeah that look so covering letters are really important in my opinion for people that don't have professional experience so you know their CV essentially says I've just graduated and they're showing well again is all University work so at that level they're in my opinion very important when you kind of go up the ladder and you've actually got a strong industry portfolio and you've kind of got a few Studios listed on your they're far less so but for runners and things like that because because essentially you've got say ten candidates all apply for a runner role they've all just graduated they've all got University projects on their show bill was probably the same time very similar yeah you know you get people who point from the same uni it then does come down to the covering letter and you know that is a chance for them to say why they want to work for dean egg specifically not any of the other studios you know see that a lot people here at NBC know unfortunately just they don't check their application and you know you'd be amazed how often we see that so making sure you've got the right studio listed on there that you're talking about you know essentially how and why you got individual effects it's your opportunity to get your passion across for visual effects for dean egg and then just talk a bit about you kind of what you've done you know again you're see CVS and they'll be like I was a supervisor but it was on your University project so you know the level of supervisors we have here at Dean egg compared to that are very different so more of a chance kind of talk about what exactly you enjoy and love about the role why why you've got into it and that kind of thing because at that level the runners that we're bringing in all the people that are passionate because we do so much training with them that you know we can get them to a point based on the stuff that we do internally but you can't teach passion and stuff like that like you know so that's where that comes across in a copywriter ya know I guess I was working with I think it's an interesting part with the runners was working at a different company only years ago where they actually had runners that didn't care about going into effects afterwards yeah cuz once you cheese wanted to be police officers yeah yeah but so that's here you you would only bring in runners that are then interested in then moving up in them yeah yeah so historically we've we've always looked at bringing runners in that are interested in 2d 3d on production yeah and then you've got tech run as well because of the way the industry it currently is is working and the amount of work that is being distributed around the world we're now foe and how much production is actually evolving and production at dealing is just getting bigger and bigger so we're now reducing the number of artists runners that we're bringing in but increasing the amount of production people that are coming in so they're the people that we're now looking for so you know people that are wanting to be producers and production managers and coordinators and that kind of thing so now in that area show reels aren't relevant then it really comes down to it really comes exactly and tech runners they historically have you know they have people that are interested more in the kind of technical side so programming pipeline that kind of stuff but we've also had a lot of people that are interesting effects go into that because of how technical the effects roll is they do have a couple of people that are interested in compositing so we'll always you know I'm not going to look at a 3d Runner application and you know their work is incredible but because that's not D next policy I'm not going to say no to them if they're amazing will makes we'll always try and make something work we just have to be conscious of the amount of junior people we've got coming into the business realistically how many of them are going to be able to move up the prisoner like you said you had in your previous company people that didn't care yeah we don't want that to be a thing it's tough this is something we've looked at you know is it worthless just bringing people in that make might be interest in visual effects and this is just kind of a chance of them to get by exposure but it doesn't really make sense to bring someone in this like never married it's like we want people that are going to give it 110% because they're interested in here and if someone doesn't want to do visual effects how interested are they actually going to be in doing the job and things at our time as well as a recruiter or any kind of space and so it's a one thing one thing I've had when I've been applying for jobs is a lot of times you don't deserve it here back yeah or you it takes a long time for a cruise to get back to you so long Harriet why aren't we the most important thing I know and everyone does think they're the most important person and yes of course everyone is very important but we do get a lot of applications and you have any numbers on that like for it if I can say green light because that's recently taken place and we kind of do track that a lot more regularly because we need to sort of work out each year is it worth us doing this that kind of stuff which universities are we going to target based on the successful candidates that we've got so across so we had eight roles for four for the Graduate scheme for for the internship so 2d 3d see effects and effects for the rats and the interns so across those eight roles we had 612 applications that's right I me personally I had to look at every single one of those every single one and that takes a very long time because you know you're what you're wanting to make sure that you're giving everybody the right some challenges yeah the right right same amount of time not just being like no oh yes okay so yeah it does take a lot and I recently spoke to someone you know I applied for the full green light but I didn't hear back for ages and because of the way green light works we wanted I wanted to make sure that people all found out exactly the same time whether or not they got in yeah because quite often you know you've got friends applying and if one person hears that they haven't got in but the other person doesn't hear anything are they going to think that they've got in but actually I've just haven't reviewed their application yet so we waited until every single every 612 applications were reviewed and we then shortlisted that down to the 40 people that we invite for the assessment day in other roles yes we still got lots of people to to review but we've also then got the day to day stuff of actually taking doing interviews contacting people for interview booking those interviews in internal meetings that take place sourcing candidates so we don't just sit and look and apply to animation when you've interviewed I mean typically we'd hope to get back to people if they apply within two weeks but that doesn't always happen no I certa smile my ultimate goal is to make sure that someone knows within two weeks of applying whether or not they've got role but it doesn't always work out like that once you've interviewed or you've had a pre-screen at least again it will always be that we'll try and get back to you within the week because what we want to make sure is that we've spoken to the respective hiring managers we've talked to them about the candidate and they've also had a chance to make a decision on whether or not they want to bring them in so it's not always down to recruitment that are making those decisions we do have to wait for other people so sometimes that delay actually comes from further up and it's not sitting with recruitment my suggestion would be to after about a week send a nice polite email just saying like I recently interviewed you said you'd get back in touch haven't heard anything what's going on again I say that we might not be able to get back so you know without being too pushy yeah do check in with recruiters and they will reply to you like as soon as they can I had a candidate from greenlight that you know he was so keen to get feedback on why he'd he'd not been successful but he started leaving letters with reception he had friends that worked here he started getting those friends to email me and I had to just go back and say I will reply I've just got more urgent things that I've got to do you know your feedback is very important to you and I will try my best to gets them to you but I've got to hire roles that started yesterday and so they take priority so it's just being a bit more understanding about how much we have to deal with on our side of things but at the same time don't don't not take no for it like not no for an answer but don't not hear anything that I think you should always try and gain getting updates but just be mindful of what else we've got going on yes it does happen yeah I've tried myself you know you apply to a bunch of companies and half of them you might not hear back from yeah and then on the second email hey I send this application I'm sorry I'll get back to you real soon but yeah and then it happens again I would love to see a recruiters inbox what I think is a burner people to realize is it's not a it's not an AI with no feelings in your side it's it's a real gentleman with a real name who executes our pub on Fridays yeah don't interview on weekends do you have to take care of oh my god we've so when I first started at DNA I was the administrator and I supported three recruiters and one manager who kind of had taken a step back from routing we've now got one two three four five six recruiters one manager one executive resource manager one resource assistant and we're hiring for another role so yeah we've got pretty big but we need we need that support there you have hundreds of applicants just for just for the green light yeah yeah and also it's not so much about looking after candidates externally it's the amount of involvement that we have here day to day d neg and the support that we have to provide to our hiring managers and stuff like that so we needed to increase that because we were just you know I remember a few years ago of me and a couple of my colleagues would be here every night into about nine o'clock because there's Mountain work that we we had to do and the amount of hours in a day just didn't fit I think it's important to note that like when you're applying first off you're not the most important person in the world and second of all like you have other responsibilities yeah recruiter than just getting four you're not an email machine exactly and Dina is not a small indie company like now in this building here when I was here and or certainly no I was here a month ago although back into you and that was something about the same so I run a thousand people here and and you how many facilities never do I keep keep adding new facilities here yes like nine global size insane so a globally is there are three nap thousand yeah so increasing it's not decreasing so you have a company would three enough thousand employees and you have like and you have it I mean no I wouldn't say that the recruitment team here is that big for to handle that sure we've got obviously teams that work and all the other side but that that's also something for people just to be aware of that if Vancouver have some extremely urgent roles and they're struggling we support them we then start helping them with their recruitment we're not just solely focused on our own sites we do support everybody everywhere else so it may be that Vancouver and Montreal have got a huge drive going on so therefore there will be members of the team that have dropped everything in London because actually it's all very speculative over here and we'll be supporting over there so there's lots of things to consider when when applying yeah yeah like that was one thing which actually surprised me and when I keep telling the students how big these companies yeah and I mean MPC you and the other Studios armor and frames during the door their promises same size did Mike a bit bigger right now it seems but oh yeah and they're all massive companies here yeah you have departments in Canada I think both my kumamon yeah by two two in India five in India I even in India because we've now now prime focus and Enoch have done right there are we've got obviously Mumbai and Chennai that we've always been kind of Dean egg but then there's Chandigarh Hyderabad and Goa that do all the stereo conversion so we've kind of neighbors and also LA that does do their TV oh and there's always you know I know that there are always people looking into where else we can expand to so who knows what will happen next 15 locations it's not like the amount of applicants are decreasing because it's just there are more schools popping up yeah your visual effects courses developing yeah like it's it's crazy so we do need to obviously think about new ways of making sure that all those graduating people are thinking of Dean egg first everyone else yeah that's what we can become pure like trips to like universities yeah that really helps oh it sucks have you got it before yeah we didn't read it did a video on like how to get internships like a few months ago now I remember I messaged you'd be like yeah we're doing a video now and you're like no don't do it because half an hour literally half an hour after we did it we started recording the entire website changed yeah surely half an hour later because it would be around the world from double negative - just enoch yeah website changed that was like the worst I didn't see your messages go mouths words I want talk just about the interview process because whenever I've had a bunch of into City effects including would you yeah yeah I think a lot of people assume that the interview is you're sitting in a dark room gestapo style in your face maybe some fire there and you've been asked questions like what is your biggest weakness yeah and there's just about grilling you yeah but in my experience has been way more just about getting to know each other yeah so when you when you're interviewing somebody what what are you really looking for like what's the purpose of the interview yeah in your view so we've recently changed how we interview we now have this pre-screen part of the interview process something that existed no it didn't so it's only been really going I think it's not boy style no pre-screens are always over the phone so that's always done without people having to travel over to London or whatever it might be so that's when we as recruiters essentially create that profile to then pass onto the hiring managers and at that point it is really informal it's more about yes getting a vibe of who that candidate is as a person so for me looking at people that are graduates and don't have that experience my typical process would be to get someone to talk me through University and what they what they did you know so I went to the University of borås and I study visual effects yeah so what I want to know is you know what each you each year consists of what type of projects did you work on were they solo projects with a group projects if they were group projects who took a lead role how did you decide who took that lead role so really kind of getting an idea of how University was structured we obviously work with a huge amount of university so typically I know exactly how its structured yeah so I'm just being a little bit annoying and I'm like so come on talk me through it but it's really important to me to get their first-hand opinion and their details of how they found the course and stuff from from there and obviously just like briefly talking about their future goals like where do you want to see yourself progressing that kind of thing from interview for the other roles you know sort of 3d 2d animation and stuff the pre-screen is similar to kind of what I would do but they talk more about industry experience and types of projects that they've worked on and things like that and then the hiring managers when they either meet someone face-to-face or over Skype they will tend to typically go into more technical information because they're from an artists back they know more stuff like recruitment to order when you're available what your seller expectations when can you start that kind of stuff there's a person exactly and then the artist managers will be like okay talk to me about the software's that you've used what troubleshooting if you have to do and kind of do it from that side of things with me and my running roles when people come in face to face it's again we kind of go through all the stuff that I spoke with them on the phone but that's because there's someone new in the interview process who who wasn't in on that call and needs to know everything so we kind of go through all that in a bit more detail we talk about what the role is actually like here so day to day what a runner can expect to do how it works and how progression links in with being a runner here you know if you're an artist run oh you do this training if you're a production runner it works like this and also setting their expectations to be realistic when they join you know one question that I always get asked how long will I be a runner for hmm how long the piece of string you know it depends on you like is that candidate sparkie proactive and they going out seeking getting more you know exposure to staff if they're kind of sitting in the background bumbling on through doing the role they're not going to progress as quickly as someone that's going out and hunting for things to do I guess it also depends on the schedule exactly and that was that's the next thing and is there actually a role for that person to move up into if there's not then you would continue to do training can you need to talk people meet people and then as soon as we've got a role I'd be like right you ready to get a move forward so we obviously have to take into consideration those two factors so yeah it totally depends I've had people being runner for a month and I've had people being a runner for 12 months yeah there are people who just didn't never go up for it being a runner yeah and that stuff that is communicated constantly with their artist manager and you know if is it because maybe they're not getting to grips with the training like the others are we don't want to keep people a runner forever now if they are not succeeding for whatever reason it might be then that conversation will be had and you know quite often slight look you might go to a smaller studio and really excel you might just not be getting on here at Dien egg so rather than stunting them and stopping them from going out there's that conversation that has and usually it's a very mutual agreement that okay your role here at denote finishes but that's never see for it like by its stay in touch and we'll we'll see when you get a bit more hands-on experience in the role that you're interested in and you know you can come back in a few years time and that's the same across every role that's not just running you know people coming in as seniors okay you wouldn't see my contract that finishes will continue to stay in touch oh yeah we need you again can you start yes okay great just start an educational company doing videos on YouTube yeah you know it might be six months time you're totally bored of flip normal yeah well great cuz we need some people to be like assist is not like you have black book everyone who left and they're never coming back again depends why they left what if they left to start an educational have you had people like that who would they just totally burnt a bridge needlessly yeah that's bad yeah we want to key things we keep talking about are all the videos just do big don't be a dick trust enough like if it's in the interview process or if it's once you're working or anything this industry like we say there are a bunch of people here but within each like there were thousand people here but there are so many different jobs here like yeah and where's modelers textures all the kind of stuff here within your respective feels like we would do increase your modeling here there really were not a lot of creature motors yeah it's heart of London maybe there are like 30 of them we know each other yeah you start being a dick to people around you like that is exactly that's detrimental and also real we keep notes you know we have a database that we write down everything whether it's good or bad and we also in talent move around Department so you know I used to look after 3d which is obviously high no you guys but no longer do but someone might say I'll Harriet do you know this can today and I can say yeah they were great or no maybe just avoid that one but yeah one of your questions that you sent C hunting was you know kind of what are red flags and and there were plenty I think one that I've noticed of reoccurring quite recently is people being quite negative about their past experiences you know they might come in and name us to do that they prove work previously worked out and say how they felt like it was a total shambles and they'd never go back there again you I completely understand that that usually tends to come down to being very nervous you're interviewing for a company you're interested in working for and it's terrifying and sometimes it is just like word vomit and it's like good but just people being really negative about the experiences that they've had and that doesn't paint a good picture you know it will sort of ring a few alarm bells of why they passing the blame onto every oh well it wasn't my fault it was because that person in the team wasn't pulling their weight put a positive spin on it being like oh that we had this experience where actually someone in the team wasn't putting in as much time and effort but it was a great challenge because it meant all of us had to club together and make sure the work got done and where is going right oh yeah he didn't do anything so we failed yeah but it's also like then you think about okay what if when they leave D Nick are they just gonna go trust you know when they like that has happened before no no someone interview someone was here they then interviewed at another studio not realizing that their interviewer used to work here people move around how many students we've been up like both of us three four like it's every moves wrong we've been at the major studios in London yeah and the recruiter is also move around well and also regardless of whether people move around we as recruitment teams we hang out with the other studios you know we're all we all go on so many events out there we also try and actually get together socially and hang out like we're not mean to each other we do like each other and we have friendships with them and that kind of stuff and I don't know there's like a particularly bad apple you might mention it like we have this guy oh that guy applied here as well yeah yeah you know everyone talks to each other yeah so yeah it's big thing but it also goes the other way as well this is something we yes you also been talking about like if you get a good rep oh yeah I talk about that as well like if yeah if you were loose or negative uncle day absolutely you'll get a good rep here like that spreads as well yeah might spread just as good I mean we keep talking about good people all the time like oh yeah I work for that guy he was amazing yeah and yet happened soft I mean it's might even be more of that yeah like just talking tossing Herat ya knew but that does actually happen more yeah than the bad stuff like that's what more conversation talking about but even like talking about communicating the other Studios you know when when contracts finish here at D neg and there are loads of people that were like oh no we really want to make sure that they're all right we do this thing called the first recruitment and it happens the other way around as well where every time contracts come to an end recruiters will email the other studios and say we're letting go of x y&z here's their contact details get in touch with them so we do a lot of that and communicate constantly and you know when we're looking for the roles one of our port of calls will be to email the contacts we haven't say look if you've got anyone finishing in your environments team that we could consider here sometimes they're like but again it's you know we we do you talk about good stuff and about bags yeah you're you're representing important Sonia as is the studios though as well you know we want to make sure that everyone has a good experience when working at Dean egg so good like you said they don't then go somewhere else and yeah yeah exactly about us if you're like a movie executive or listening right now that is also important always go there and that's one of the things that's all but interviews it does go both ways it's because it's not just Harriet sitting across from you and like like do we want this person's also do you want to work here exactly that is I think that's more probably more so as you progress is in the beginning you you should want to work anywhere do anything I don't they say I've actually seen that which is interesting people getting picky mmm well why don't we do want to cuz it doesn't matter like yeah if its job then you just take it yeah like if it's a small commercial studio or nothing but you really want to do high in the effects you can always transition yeah yeah and we've had the same kind of thing with Dean egg film versus Teaneck TV you know people may not know I don't want to work in TV and it's like just amazing TV is amazing and it's TV is getting crazy and it's getting the projects they're working on are insane and they're such a fun team like not that film aren't but you know film are huge that I know far less people in film than I do TV but you know what what's wrong with working in TV why are you saying no it's an amazing opportunity and Dean egg film TV and feature animation people move around you know you may start in TV you may then work on film for three months you may go back to TV like why put up those barriers at such an early stage in your career like it's just my god the nice thing about having a company that grows into multiple fields like yeah it's also that if film runs out of projects yeah but TV is missing people you're mean okay and you leave people out yeah absolutely I guess technically you're still different companies no no no no so we are still one company but it's just different divisions so you know everyone has their own schedules and their own budgets their own you know that kind of thing but different benchmarks for some intended units essentially but because now as recruiters the way that we work is that I look after layout but I look after layout for film TV and future animation Emily looks after comp but she looks after comp across all the divisions whereas before people I only looked I looked after Dean egg TV and nobody else did so I had a really good knowledge of all the 3d candidates across film and TV but because Emily looked after comp for film and I looked after it for TV that was always a bit of a barrier we might be talking to the same person so now you know it's like film and TV are currently looking for compositor so that's what Emily has got her TV and film hat on and she is talking to everyone on the premise that could you be fulfilled or could you be for TV so it works much better than ice it's really merging into like one thing here I mean if you look at TV today the quality in some cases batchford yeah film I mean you've got excellent writers and yeah crazy production value in TV and you might actually work on something good because I'm gonna say that the movies we worked on aren't good they're not really very good I don't saying that the IMDB score is around 6.50 I mean it's not it's not fantastic in that regard the forgeries are amazing - oh yeah sometimes we get terrible storylines but we know the visuals are going to be great yeah yeah exactly but yeah you know we haven't written the story no but then it's so like that was a crap film but the visual effects are great I think that is that's actually one point like sums up my career agent start a bunch of people who did they're like oh the effects that's that's a very creative feel and it can be but if you think that you can influence the and the end quality of them yeah like if you think you can you can actually have a big dent in the box office or if the Oscars yes for the effects yes you absolutely can when it comes to the writing or the casting I can luck might be uh you know it also knows it might be a place to start they're a bunch of good artists who became directors like me bloom camp and I think I could Westfall who did The Maze Runner yes started as VFX artists but you're not gonna be doing story here no right how much time do we have how much time five minutes Wow okay do you blame bye yeah and you also need to get some food or some points so do you have any any questions or is any questions you have anything you want to bring up any anything is on your yeah a good example so means process we know we always ask people do the rats and what do you say I never know what to say it's a high often we have actually answered all those questions during the interview process and that's always great because it means we've done our job properly but say that say I had all these questions but actually you've answered them during this interview no that's great my favorite question and I feel a bit do I say this because now everybody's gonna know it people asking me and whoever I'm interviewing is with why I like working at you know you know it's it's nice and then we get to talk about actually what we really enjoy about being at Dien egg so yeah just kind of flipping the table you know it doesn't have to be about the role you know it can be a personal question you know how did you get into the egg and then I can sit there I can talk about my experience it doesn't have to be like when will I progress how much money will I get you know think of something outside the box and it's just a little bit more it gives you a more a better idea of what it's actually like to work it you know I could say so much stuff about how great it is and we've done all this I could be lying I mean I'm not so you know it's spinning it round to be a personal question - however isn't in you and I think kind of you know it's like oh you want to know about me I know you feel important okay I feel important I think one of the nice things about interviews in the effects is that it feels very informal yeah it's not like you come into the interview room and say oh I have all these goals and not yeah it's like it's just a conversation that's how it's been for me but ya know that's definitely the message that we want to get out and and you know one of your questions Henning when you sent me the list through was what do you wear to an interview I mean if you wanna wear a suit fine we don't we're not that kind of a company we're a studio we're creatives you know what you just you need to make sure is that you're presentable you know you're smart casual jeans t-shirt I think it's I seen you with a pink dungarees caked on grease nothing wrong with us maybe gray I know other work as I was asking what do you like what you're wearing so yeah just as long as you're smart and presentable you don't need to worry about wearing a suit there are some roles in the business that maybe that does work better for if you apply for the executive role yeah and just you know like finance space stuff it's always a bit got a verse there cuz otherwise how can you even put stuff in a spreadsheet I think a lot of what released where a lot of people wear suits is because they're talking to the pan so I having to Edenic well son you gotta be sure case thanks for your time we got a job in 1962 yeah you had to wear a suit yeah no it's not like that and you know again when people start a DNA they're like oh what should I wear runners you've just got to be comfy on your feet because you are constantly running around but you know we get people that what they're comfortable wearing to work every day is a yeah see I didn't wear shoes would you wear shoes when you're inside I feel like this is something I need to push the world I mean I've done it from time to time but the looks I guess like oh sorry for whatever it's so comfortable yes but no as long as you know you're not causing any offence to two people with your outfit oh it's your smelly feet we did lab suit are we - yeah you should always wear shoes so I think my like on the guys outside doing the mean looks now I really like him I think the last thing I want to I want to plug here is just I mean we both worked for quite some time I mean just a freaky name like for you I mean no no you can keep working for normals all the time so yeah yeah yeah I mean I heard a really good time here it was a really good studio it was a very humane element to it hmm a bunch of really cool people yes super nice building with a cafe yeah a free beer and pizza every every month yeah there's so much pizza man it's crazy like when you have a building with a thousand people yeah when they bring in the bits we still come for that oh I mean you get a people that it's like you don't work would know if we didn't work there anymore yeah yeah but people my sisters come too but yeah Thank You Harriet this was this is raining lightning my pleasure yeah hopefully it helps your listeners if you also listener have any questions like feel free to scream scream out leave a comment we'll try to get back we've tried it back yeah you know how it feels yeah we tried to get back for every but we don't have to hire them yeah we're not giving you an offer oh yes so I thank you so much for listening to this cool and if you if you liked it make sure to LIKE comment and subscribe you

Channel: FlippedNormals

Views: 40,131

Keywords: 3d, sculpting, zbrush, concept, maya, tutorial, autodesk, film, vfx, animation, twitch, mjthehunter, flippednormals, henning, morten, creature, character, texturing, sanden, jaeger, substance, painter, designer, education, foundry, pixologic, nuke, cinema4d, art, fundamentals, art fundamentals, art school, art tutorials, drawing tutorials, DNEG, double negative, jobs, vfx jobs, how to get a job

Id: KJYOE-k3cuI

Length: 54min 13sec (3253 seconds)

Published: Thu Jul 12 2018