3D Artist Interview with Mindy Berardini
Recruiter for Pixar and Blue Sky Studios
Hello hello everyone!
In this week's article, we are doing something different, as I'll be interviewing the great Mindy Berardini. Mindy is an incredibly talented Creative & Technical Recruiter who has helped companies like Pixar and Blue Sky Studios hire the best artists in the world. She is launching her own recruiting company that will focus on connecting Artists and Professionals with companies producing 3D content, and we are honored to have her share her knowledge with us today.
So, Mindy, let's start with some basics.
Could you tell us a little bit about yourself and how you first started your career as a recruiter in an animation studio? Was this your first job out of school, or were you in another field before?
Wow! I can't believe Mike Tanzillo of the 3D Artists is interviewing me. What an honor!
Most recruiters say, "I didn't go to recruiting school and study recruiting, I just sort of stumbled into it," and that is true for me too. I studied Art Education and really wanted to be an art teacher. However, when I graduated, it was during a recession, and no one was hiring art teachers. After a couple of years of substitute teaching, I decided to pivot. My husband is an animator and got his first job at Blue Sky Studios, which brought us to Greenwich, CT. Blue Sky sounded like the coolest place to work for someone with an art background like me. I got a job there as a Receptionist and initially thought I would go into production management, but I found myself loving talking to all the candidates who came in for interviews. I managed to join the Recruiting & Talent Development team, and the rest is history.
And for those who don't know, could you generally describe the role of a recruiter?
A recruiter is usually your first point of contact at a studio and the first person to review an application. They have a unique position of serving the studio to fill open positions while also helping candidates find the right position for them. It may seem like qualified candidates are just falling into our laps, but that has not been my experience! Most of the positions I've recruited for required sourcing passive candidates, leveraging connections made at conferences/schools, or finding ways to cast a broader net for applicants. Recruiters shepherd candidates through the recruiting process, keep them informed about their progress, and then make offers and assist with onboarding.
As part of my preparation for this interview, I reached out to my audience on social media to see if there were questions they'd like to ask you. I've compiled a few here, and I hope you can tackle some of them. (Thank you to all who submitted questions, though I couldn't include them all.)
Thanks for all the questions! Before I answer them, I just want to acknowledge that I am answering based on my experience in feature animation and the places I've worked at. Recruiters are not a monolithic society, so everyone has their different ways of working, motivations, and company goals to adhere to. I'll do my best not to say "depends on the role!" for every question I answer.
Duly noted! Ok…let’s get them started. What is the most important skill you look for when evaluating a candidate?
Before I start recruiting, I will have an intake meeting with the hiring manager, and they will let me know what is most important to them. Usually, there is a baseline of skills required for consideration. For roles with a visual output, I go straight to the portfolio or reel.
Who conducts the interviews and what kind of questions are typically asked?
I typically conduct an initial interview (recruiter screen) to ensure the candidate is qualified for the position and can be considered. I check for factors like timing, remote work availability, or willingness to relocate. If it is an administrative role, I'll ask questions to assess necessary soft skills. For artist or technical roles, I'll ask questions to evaluate communication and collaboration skills. I also inform candidates about the interview process and what to expect. After the recruiter interview, candidates usually meet with a panel of interviewers, including the hiring manager. To prepare for that interview, they should review the job description and have scenarios ready that demonstrate how they meet each skill in the description.
Are there any assessments or technical tests that applicants must complete?
When I was recruiting for software engineers, hiring managers had different approaches to this. Some would send a test ahead of time and discuss it with the candidate during the interview. Others would conduct live coding tests in interviews to solve problems together. The teams I worked with wanted to evaluate candidates' thought processes and problem-solving abilities.
What does an ideal portfolio or demo reel look like, and is there a preference for format or hosting (e.g., YouTube, ArtStation, personal website, etc.)?
The ideal portfolio and demo reel are easy to navigate and clearly showcase the candidate's skills. If someone has many skills, it's helpful to organize them into different tabs or sections on their website. For demo reels, I advise making multiple reels for applying to different jobs. Less is more; only include the VERY best work on the website or reel. While candidates can have a different place for all their work to be showcased, they should present their strongest work when applying for jobs.
What is the studio's approach to evaluating a candidate's cultural fit within their organization?
I don't advise any company to evaluate "culture fit." This term, while well-meaning, can perpetuate bias in the interview process. Instead, companies should focus on the skills necessary for the position and how someone can be a positive addition to the team.
How difficult is it to recruit someone from overseas who requires a visa? If they are talented enough and have a good demo reel/portfolio.
The companies I have worked for require candidates to be authorized to work in the US. There are ways to qualify for a visa, and I'd encourage anyone seeking a visa to research the qualifications and start working toward that now!
What is the one thing that will boost the chance of a candidate getting through to the first-round interview more than any other? (e.g., portfolio design, knowing someone on the inside, social media presence, etc.)
If I HAD to say one thing, it would be a strong portfolio/reel. Present your very best work first!
What are some red flag behaviors that otherwise successful candidates do that ruin their chances?
Some red flag behaviors I've seen include taking credit for other artists' work, speaking negatively about other studios/colleagues, and not appearing passionate about the job they're interviewing for.
How important is going to in-person conventions like CTN, Lightbox, etc., for networking versus messaging people on LinkedIn?
What these conventions offer that is harder to get on LinkedIn is exposure to talks about what other studios and companies are doing. This is a great way to get inspired and knowledgeable about the industry. Additionally, conventions offer a more organic way to meet people and engage in curiosity. While attending these conferences may not be possible for everyone, there are lots of virtual talks and online groups that can yield similar outcomes.
What do they wish more candidates would do before or after interviews?
Write personalized thank-you notes to the interviewers! It's your last chance to address anything that came up in the interview and to clarify or reiterate your interest. Surprisingly, this is rare. If you don't have the interviewers' contact information, I'm always happy to pass along the thank-you notes.
How realistic is it for a 50-year-old to get a job as a Junior Lighting Artist in the industry these days?
Considering age when making hiring decisions is illegal in the US, so it shouldn't be a factor at all. If you meet the general requirements for the position, then this is realistic.
If a candidate could only have one skill and the studio has to train the other, which is more important to have first: technical/artistic skill or collaboration/communication skill?
If a studio had all the resources in the world to train you, then collaboration and communication would be the primary skill. You can be highly skilled at your craft, but if you can't collaborate, take direction on your work, or communicate effectively, it will be challenging for a studio to work with you.
There were many questions about salary negotiations in the recruiting process.
Can you pull back the curtain and discuss how a company determines salary ranges for job openings?
In an ideal setting, a studio would have a compensation partner who researches industry salary ranges and sets the ranges for the whole studio and all the disciplines. This helps maintain a sense of equity.
As a recruiter, are you incentivized by a company to try and hire people at the lowest starting salary?
I've never worked anywhere that encourages or incentivizes me to bring people in at the lowest salary possible. I've always approached offers from a very human level, aiming to get artists paid fairly for their work and provide compensation that is equitable to their teammates.
If you were coaching someone, what advice would you give them about getting the highest offer during the salary negotiation process?
If I were coaching someone, I would encourage them to always ask for more money if they feel they deserve it. The worst a studio can say is no!
I am searching for a Junior Level job now. If I see an opening for a position, is it okay for me to reach out to a recruiter? If so, how do you prefer people to reach out to you? Is it through LinkedIn?
I think it's great to reach out after you have applied to make a connection with the recruiter! LinkedIn is a great place to do that, unless you have their email address. You might not always get a response back since recruiters receive numerous requests, but they might see your message and take a moment to look up your application. It can't hurt to try!
If you don't get hired or a response, how would you recommend candidates figure out what's missing in their application? Should they ask the recruiter? Is that appropriate?
You can always ask the recruiter for feedback if you didn't get hired or receive a response. Often, the feedback is that the other candidate had a little more experience or knowledge. Don't get discouraged! You can also ask your peers (the honest ones) for feedback on your application materials.
How frequently should I apply for a position at a company? If I get turned down for a job as a Modeler, could I reapply if another job opens up within the year?
How frequently you should apply to a job depends more on the work you are sharing. If you have new work on your reel, apply as often as the job comes up, showcasing your new work. I have seen applicants who I haven't reached out to improve with each application, and that is something I am mindful of, as are the hiring managers. On the other hand, if you apply after a year with all the same work, we might wonder what you have been doing in that time. However, I think it never hurts to apply, so just go for it!
Mindy Berardini, thank you so much for taking the time to answer all of these questions. You are amazing and we greatly appreciate it. Anything else you would like to share with us?
The industry is facing challenges right now, but the tides will turn, and studios will need more artists in the near future. Don't get discouraged; stay engaged and curious about your craft!
3D News of the Week
A roundup of interesting 3D related news you may have missed this week.
CT2Hair: 3D Hair Modeling Using Computed Tomography - 80.lv
USD Survival Guide - lucascheller.github.io
ASWF, Adobe, Autodesk announce OpenPBR - cgchannel.com
Check out Plasticity’s new Blender bridge - cgchannel.com
Framestore’s ‘Guardians Vol. 3’ VFX breakdown showcases evolution of Rocket - beforesandafters.com
Artist of the Week
3D Tutorials
3D Job Spreadsheet
Link to Google Doc With A TON of Jobs in Animation (not operated by me)
Michael Tanzillo is the Head of Technical Artists with the Substance 3D Growth team at Adobe. Previously, I was a Senior Artist on animated films at Blue Sky Studios/Disney with credits including three Ice Age movies, two Rios, Peanuts, Ferdinand, Spies in Disguise, and Epic.
In addition to his work as an artist, Michael is the Co-Author of the book Lighting for Animation: The Visual Art of Storytelling and the Co-Founder of The Academy of Animated Art, an online school that has helped hundreds of artists around the world begin careers in Animation, Visual Effects, and Digital Imaging.
www.michaeltanzillo.com
Free 3D Tutorials on the Michael Tanzillo YouTube Channel
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