personal statement for ma animation

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Animation MA

Our 36-credit Master of Arts degree in Animation offers three concentrations ( 3D Character Animation, Visual Effects, Video Games ) that center around gaining hands-on skills in the chosen concentration. This major is designed for students who possess an undergraduate degree from an accredited university, college, or art school who are looking to further sharpen their skills and increase their understanding of the discipline. It accepts recent undergraduates, master’s level transfer students, and working professionals who want to grow their animation skills.

All of the courses in this program are offered in a hybrid format, which allows students to decide if they would like to  attend classes in-residence, remotely online, or a combination of the two . If you live locally, some weeks you may want to be in our state-of-the-art Animation Lab with the Professor while other weeks you may opt to join remotely to work around personal or family obligations. Whether you live near or across the globe, you can be in our Animation Master’s program and attend your classes in whichever way works best for you.

New enrollees can apply to begin in the Fall or Spring semester. Full-time students can complete this program in 1.5-2 years. Part-time students may take courses over multiple years until the required 36 credits are completed.

F-1 visa holders must attend all courses in-residence on a full-time basis.

Upon entry, students select one of these concentrations to be their area of focus.

3D Character Animation Concentration

Required courses (18 credits).

• ANIM 5300  Storytelling
• ANIM 5400  Character Design
• ANIM 6100  Digital Sculpting
• ANIM 6150  3D Character Texturing
• ANIM 6300  3D Character Animation
• ANIM 7000  Advanced 3D Character Animation

Major Electives (18 Credits)

Visual effects concentration.

• ANIM 5500  Digital 2D Animation
• ANIM 5600  3D Layers in After Effects
• ANIM 5700  Dynamic Effects and Particle Systems in After Effects
• ANIM 5800  Compositing in After Effects
• ANIM 6350  3D Particle Systems and Effects

Video Games Concentration

• ANIM 5500 Digital 2D Animation
• ANIM 6400  3D Animation for Games
• ANIM 6600  Game Creation
• ANIM 7500  Advanced Game Creation
• ANIM 5100  History of Animation & Special Effects
• ANIM 5200  History of Video Games
• ANIM 5650 3D Modeling
• ANIM 5750  3D Character Modeling
• ANIM 5850  Advanced Digital 2D Animation
• ANIM 5900  Expressions and Scripting in After Effects
• ANIM 6200 Animation with Houdini
• ANIM 6700  Animating Fluids
• ANIM 6805  Motion Tracking
• ANIM 6900  Digital 2D Game Creation
• ANIM 7100  3D Character Animation – Weight, Overlap and Follow through
• ANIM 7200  Character Animation – Emotion and Personality
• ANIM 7250  Lip-Syncing
• ANIM 7300  Animation with Hair/Fur
• ANIM 7400  Animation with Cloth
• ANIM 7425  Motion Capture
• ANIM 7525  Virtual Reality
• ANIM 7550  Internship I
• ANIM 7600  Video Game Team Project
• ANIM 7700  Faculty/Student Research I
• ANIM 7775  Internship II
• ANIM 7805  Faculty/Student Research II
• ANIM 7900  Animation Career Preparation

MA in Animation degree applicants must digitally submit a portfolio of 10-15 creative pieces as part of the application process. Acceptance is based on the quality of the work as well as meeting all of the other academic admission requirements of the university. The review committee is looking for work that is original in concept and content and will evaluate the portfolios to determine if the applicant qualifies to enter the program based on their artistic skills. If the submitted work infringes on copyright laws or is copied from other sources the applicant will be denied admission.

Requirements for Graduate Admissions

No standardized testing is required.

Completed FDU graduate admissions application

Official undergraduate and graduate transcripts from all colleges and universities attended

Two letters of recommendation (from a professor, employer, or professional in the field familiar with the student’s strengths and abilities)

Bachelor’s degree from an accredited college or university with a minimum cumulative grade point ratio (CGPR) of 2.70 (applicants with a CGPR of less than 2.70 may be admitted on probation)

Digital portfolio

Personal statement

Course Descriptions

ANIM5100 Students investigate and analyze the history of special effects and techniques while applying the understanding to modern day visual effects and animation. Starting within-camera methods, this course covers topics that include traditional stop motion, camera motion control, matte paintings, models and miniatures. Students also explore modern computer generated visual effects, animation composting and production techniques.

ANIM5200 With the earliest video game surfacing in the 1950's, when they were primarily created as experimental projects at colleges and in tangent with big company research , this course teaches how games have developed over the years. Students learn how video gaming gained conventional popularity in the 1970s and 1980s, when arcade games, gaming consoles and home computer games became available to the general public . In this course students discover how video gaming evolved to become a widespread form of entertainment and a slice of contemporary culture throughout the world.

ANIM5300 This course teaches how to write animated stories that vividly create and intense experience for the reader through plot, structure, conflict, crisis points and climax. Students then convey those stories, by showing rather than telling, through producing sketched storyboards and pre-visualization animatics. They brainstorm together by arranging and rearranging the sketches in order to evoke a stronger narrative based on their classmates input and feedback. Through this process, students consider modifications in their storylines as well as additional scenarios that may contribute to the enhancement of their ideas. Writing biography profiles that bring the story's characters to life is also covered in this course.

ANIM5400 Character Design begins during the initial stages of the development of animated films and video games and plays a critical role in the creation and success of those pieces. In order to bring their characters to life, students in this class learn the process of designing imaginative original characters by sketching and assembling model sheets. These documents are routinely used in the industry to aid in standardizing the look, postures, and personality of an animated character.

ANIM5500 2D animation generates movement in a two-dimensional imaginative space. Students in this course learn both the creative and technological skills necessary for animating characters and backgrounds in digital two-dimensional worlds. Creating bitmap and vector graphics using software programs are also covered in this course.

ANIM5600 When a 3D layer is created in After Effects, it gains additional properties such as z-depth, material options, light, shadow and cameras. Students in this class expand their 3D skills to create the types of compelling animations that people are accustomed to seeing. They learn to transform 3D layers relative to the composition and customize the space to push the visuals to a higher level. Adding effects and masks to 3D layers, compositing 3D layers with 2D layers, and creating and animating cameras and lights are also covered in this course.

ANIM5700 Dynamic Effects & Particle Systems in After Effects: A particle system is a technique in game physics, motion graphics, and computer animation that uses a large amount of tiny graphics to mimic certain kind of visually random events. These types of animations are very difficult to replicate with the usual rendering methods. Students in this class focus on pushing the envelope in creating realistic looking particle systems including fire, explosions, smoke, sparks, falling objects, clouds, fog, snow, rain, dust, stars and galaxies, as well as imaginary graphic effects such as glowing trails and magic spells.

ANIM5750 Characters are an integral part of many film and video game projects. In this course students learn to create segmented and seamless 3D characters based on concept art of their own unique characters using a variety of polygonal modeling techniques. Emphasis on creating clean optimized meshes is taught in this course.

ANIM5800 Compositing is the joining of visual elements from separate sources into a single image, usually to give an illusion that all those elements are parts of the same environment. This course teaches how to replace parts of an image with other graphics in a convincing, seamless way so as to appear as if they are part of the original. Students learn to combine digital backgrounds with live-action sets and objects, as well as adding elements shot in small spaces to large virtual environments in order to enhance the reality of the visuals.

ANIM5850 This course expands on the techniques learned in the Digital 2D Animation course. The emphasis is on a more in-depth use of the vector animation toolset and the motion editor to produce engaging animations. Students learn attention to detail and study the subtleties necessary in creating polished, high-quality animated pieces.

ANIM5900 Scripts automate monotonous tasks and perform complex calculations while expressions determine that a property equals something. This course teaches how to use expressions to build connections between layer properties and to dynamically animate layers. Students also learn to write scripts to assist in completing a series of commands and tell the software to perform a sequence of actions.

ANIM6100 This class teaches digital sculpting by learning how to create realistic 3D characters using industry standard applications. The focus is on anatomy, form and proportion while learning how to add a high level of detail to polygonal meshes utilizing the software tools. Texture painting is also taught through a variety of comprehensive demonstrations, exercises and assignments.

ANIM6150 Textures give the appearance of compound surfaces that reflect lighting as well as displaying the attributes and detail found in the materials, coloring and shading. In this class, students learn about the various types of textures and finishes that can be applied to their 3D characters. They create custom texture maps and also learn how to control how they are applied to the surface of their character models using various methods such as the unwrapping and composite mapping techniques.

ANIM6300 Study 3D character animation techniques applied to seamless 3D characters as well as skinning and facial morphing. The focus is on the details of secondary motion, follow through and asymmetrical poses to emulate realistic body motion and facial expression.

ANIM6350 Students learn to create and control various types of 3D particle systems to be able to implement special effects such as fire, explosions, fluids, dust, bubbles, disintegration, physics, collisions, etc. into their 3D scenes and animations.

ANIM6400 A video game animator's job is to portray the movements and behaviors that happen in the game. This course teaches how to animate game behaviors, sequences and cut scenes in an effective way to maximize the use of game engine's technology within the limitations of that particular platform. Students learn how it may be necessary to limit the amount of motion frames and the number of graphics displayed on the screen simultaneously. Because game animation is often a combination of a number of different kinds of motions, the students in this class learn to build and assemble libraries of reusable animations.

ANIM6600 Students integrate their ideas using a cutting edge powerful rendering engine. This course emphasizes bringing character and objects to life inside of a gaming environment. Students use the tools provided to create interactive graphic content while focusing reducing the time needed to create visually stunning games. Assembling scenes containing original custom visuals, audio and realistic action that performs well on any platform are also covered in this course.

ANIM6700 Fluid simulation is a computer animation technique used to produce lifelike animations of liquids such as water and sludge. These kinds of simulations span in difficulty from enormously time-consuming high-end animations for film to real-time particle systems used in modern games. This course covers creating various types of fluid effects in both 3D space as well as in the 2D post.

ANIM6805 Motion tracking is a cinematic practice of adding graphic elements to film footage with accurate size, location, and movement in relation to the photographed elements in the scene. This course teaches how to track the movement of a camera through live-action shots so that identical computer-generated camera moves can be duplicated using animation software. Students also learn how to composite animated elements into live-action shots so they appear perfectly matched in perspective in order to look natural and seamless.

ANIM6900 This course teaches the game creation process of combining 2D digital art and audio with gameplay, and instills how good planning plays an important role in video game production. Students learn to understand the video game production pipeline from the planning stage and level design, to creating sprites and graphic and audio assets, to assembling a prototype of a game.

ANIM7000 This course continues to develop the artistic and technical skills necessary to become a successful character animator by focusing the critical principles of animation like weight, overlapping motion, and subtleties through the use of animation layering, and muscle simulation. Students also learn how to better show feelings of happiness, desolation and distress by articulating the personality and emotion of their animated characters to the audience. This class builds on the character rigging and animation skills learned in the previous character animation course.

ANIM7100 3D Character Animation- Weight, Overlap and Follow through: Follow through and overlapping are techniques that help to produce more realistic movement that looks as if the character imitates the law of physics. The achievement of believable motion and how the action follows through is frequently more necessary than the move itself to making an animation appear more convincing. In this course students analyze the subtleties of motion and learn to understand how if one body part stops other parts may overlap and follow through the leading motion, gradually coming to rest. They also learn to add weight, mass and moving holds to add life to breathing characters.

ANIM7200 Emotion and personality are the most challenging parts of character animation, because it is essential that it portray subtlety and scope in what is being visually communicated to the audience. In this class, students learn the skills, procedures and thought processes for animating expressive faces coordinated with body language. Through the use of a variety of techniques, the focus is on evoking thought, enthusiasm and emotion in their characters actions.

ANIM7250 Lip-syncing is the art of making an animated character's mouth move in unison with a prerecorded track of dialogue. To make a character appear to speak involves determining the timings of the speech as well as the actual animating of the mouth to match the dialogue track. This course teaches how to make a character give the impression of speaking by use of manual timing as well as learning to use lip-syncing software.

ANIM7300 From feature films to broadcast TV, fur is now commonly seen in animation the world over. In this course students learn how to apply fur and hair to their 3D characters and experiment with the software features to give it the qualities (such as styling, flyaway, clumping, and kinking) that they envision. Applying dynamics, gravity, collision detection and external forces (such as wind) to the hair are also covered in this course.

ANIM7400 In computer animation, cloth simulation refers to the production of soft body that animate via flexible dynamics. As opposed to rigid body animation, the shape of soft body objects change and flex as they move. By learning specialized rendering properties that replicate real-world physics, students apply visually realistic clothing properties to their 3D characters. The focus is to enhance the realism of animated characters wearing flowing apparel.

ANIM7425 This course teaches the process of recording human movement, captured by an array of sensors, which are placed on the body in a variety of combinations. Students learn to use software that records the actions of live actors and then map that motion data to 3D character models so that it performs the same movements as the actor. Whether animating for film or games, the techniques learned in this class allow for increased motion testing because of the ability to quickly animate digital 3D characters.

ANIM7500 This course expands upon the techniques learned in the Game Creation courses. Students learn to add their own tools and to enhance performance while increasing graphic quality. This course also covers how to use the high-end customizable game engine tools to quickly export visually exciting, fully produced games.

ANIM7525 Virtual Reality is the use of computer technology to create simulated environments where users are immersed in and able to interact with 3D worlds. In this course students learn to simulate a user's physical presence with imaginary environments in a way that allows them to interact with it through the use of state -of-the-art VR headsets. The goal is to simulate breathtaking sensory experiences by creating 3D environments and animations, as well as incorporating audio and precise motion tracking that transports users into worlds that are beyond the imagination.

ANIM7550 Students work at a company or organization for between 5 and 20 hours per week, filling an animation, interactive media or video game role. Internships may be paid or unpaid.

ANIM7600 In the industry, video games are primarily produced by a team of people. The students in this class work in groups to design and create their own video games. The type of games and the role that each person fills is determined by the group with the oversight of the professor.

ANIM7700 Members of the faculty engage in research projects with selected student with the goal of professional publication or presentation.

ANIM7775 Students work at a company or organization for between 5 and 20 hours per week, filling an animation, interactive media or video game role. Internships may be paid or unpaid.

ANIM7805 Members of the faculty engage in research projects with selected students with the goal of professional publication or presentation.

ANIM7900 This is the capstone course to be taken in the final semester prior to graduating the program. Students present the animation work that they produced in all of their animation courses in the program to the class and discuss their professional interests and goals. Undergoing a series of follow-up critiques from their classmates, students learn to assemble and revise polished professional demo reels highlighting the strongest segments of each of their projects, focused on meeting their career goals. Based on additional critical feedback sessions, students design personalized logos that will be used to market themselves as professional animators. Personalized business cards, resumes, letters of introduction and follow up letters are then written and designed, emulating the persona of their final logo. In order to present their demo reel and promote their animation skills to prospective employers, students learn how to plan (content, navigation, graphic design) and develop visually and technically impressive portfolio websites, exhibiting their own individual artistic style by following through with the branding established in the final logo design. How to implement and design social media presences and utilize other online avenue to market their skills and find work is also covered in this course.

School of the Arts

Animation Studies

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• The Writing Process
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• Originality
• Timed Writing (Expectations)
• Integrated Writing (Writing Process)
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• Body Paragraphs
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• Reference Page
• Example Writing
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• Alternative Project: Creative Writing
• Example Descriptive Writing
• Skill: Word Choice
• Sources: Quoting
• Revise Descriptive Writing
• Timed Writing (Word Choice)
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• Personal Statements
• Alternative Project: Formal Emails

Example Personal Statement

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• Skill: Development
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• Timed Writing (Audience & Register)
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• Skill: Unity
• Sources: Summarizing
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• Alternative Project: Reflections
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• Skill: Cohesion
• Sources: Paraphrasing
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• Timed Writing (Scope & Scale)
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• Appendix A: Sentence Variety
• Simple Sentences
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• Complex Sentences Part 1
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I have found in animation the perfect way to tell a story. I have always been passionate about art. Since I was a child I found myself drawing and creating stories about magical places and extraordinary characters. It was a way to challenge reality and to expand my artistic creativity. As most children, I loved animated movies. They allowed me to dream, and to learn about simple but powerful things. The characters, the story, the music, the colors. Everything was wonderful. I wanted to be part of that. I wanted to do something that could give me the freedom to use all my creative skills in order to one day be part of the animated world. To be part of the memories of thousands of children and, since animation is not only for kids, luckily I can make all kinds of people feel the magic of an animated film. I am confident that I can grow significantly using my creative skills in [Name of Program].

I have two big passions that have developed with me as I have grown up. The first one is drawing. I have tons of notebooks full of doodles and sketches that I have filled out all my life. It is hard for me not to draw or doodle when I have paper and pencil in my hands, it is just natural to me. The second one is writing stories. I remember making short clips with my friends as a teenager with the stories I wrote or just being in my room, thinking of these funny characters and fantasy universes. I am also an enthusiastic learner, when I am passionate about something I put all of my effort into it. I acquired all my skills and knowledge of the field through self-study. I am very sure that I can make amazing progress once I am accepted. In addition to this I enjoy teamwork, which I know is essential during all the animation process. Even though I know my skills I can also recognize others’ good ideas and strengths. It is necessary to have vision for this career and to be able to put all your ideas in a single artistic film.

My skills and personal experiences make me useful for this [Name of Program] as it would considerably conduct me to achieve my goals. There are a lot of things I know I can do with the learning environment and creative process during [Program Coursework]. This [Name of Program] is the ideal for me, I want to be part of its community. I know from very talented artists and animators who passed here. I know I can be successful like them. I am aware of my strengths and abilities, which will lead me to be part of animated projects that will represent a role in the childhood and memories of a lot of people.

Exercise 1: Analyze a personal statement

• How is the writer introduced?
• What information do you think the prompt asked for?
• Are the ideas sequenced in a logical order?
• Is there a clearly stated purpose (conclusion) in this personal statement?
• What suggestions would you give this writer to improve the personal statement?

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MA 3D Computer Animation

This Master’s is the perfect launch-pad for a career in a wide range of disciplines, including concept design, character and creature animation, modelling, lighting, rigging, texturing, compositing and simulation.

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• Delivery: Full time according to Funding Council definitions

Why study MA 3D Computer Animation at BU? 

• Develop the skills to work in a number of areas where computer animation is applied, including films, animated features, computer games, television production, commercials, illustration, scientific visualisation, flight simulation, virtual environments, architectural visualisations and interactive media
• Collaborate with students from across the NCCA Master’s courses providing a realistic setting to discover what it’s like working with other creative and technical people 
• Attend regular masterclasses and our visiting practitioners lecture series where you’ll learn about the 2D and 3D industry from practising artists and companies, including BU alumni 
• Undertake a Masters project with dedicated production time to create a substantial and original project in preparation for the degree show attended by top industry recruiters  
• Study in a professional studio environment, facilities include a full suite of industry-standard 2D and 3D software, a motion capture studio, green screen studio and animation labs. 

Find out more about the content of this course .

Study at the National Centre for Computer Animation (NCCA)

The NCCA is one of the most established and highly regarded centres for computer graphics and animation education and research. As one of very few research-intensive animation centres in the UK, our expertise not only ensures our courses remain at the forefront of education, but also helps to define new industry practices. 

The NCCA is ranked as the UK’s top animation school, second in Europe and third internationally (Animation Career Review 2023 International Animation School Rankings).

This course is industry-recognised by ScreenSkills, the industry-led skills body for the UK’s screen-based industries, and carries the ScreenSkills Select quality-mark which indicates courses best suited to prepare students for a career in the screen industries.

Watch our playlist of students’ work to see what you could be creating on this course.

Take a glimpse at life on Talbot Campus

Key information

Next start date:.

September 2024, September 2025

Bournemouth University, Talbot Campus

1 year full-time including an optional 3-month placement during the Master's Portfolio unit

Accreditations:

ScreenSkills

Entry requirements:

A Bachelors Honours degree with 2:2 in any subject.  A portfolio is also required in support of your application . For more information see our  full entry requirements .

International entry requirements:

If English is not your first language IELTS (Academic) 6.5 with a minimum of 6.0 in each component of writing, speaking, listening and reading. For more information see our full entry requirements .

Guest speakers

Over the past five years we have attracted some of the best Visual Effects, Animation and Games studios from around the world to present to our students.

Studios who have visited BU

• Disney Animation Studios - Moana, Big Hero Six, Frozen
• Pixar - Monsters University, Toy Story
• Framestore - Gravity, Guardians of the Galaxy 2
• MPC - Alien: Covenant, Maleficent, The Jungle Book
• Iloura - Mad Max: Fury Road
• Animal Logic - The Lego Movie, Ninjango
• Double Negative - Ex-Machina, Interstellar, Inception, Godzilla
• The Mill - Chemical Brothers/Beck Music video, Cif advert
• Illumination Mac Guff - Despicable Me, Minions
• Frontier Development - Elite: Dangerous
• Foundry 42/Cloud Imperium Games
• Creative Assembly
• Playground Games - Forza Horizons
• Next Limit,
• Epic Games - Creators of the Unreal Game Engine
• Chaos Group - V-Ray
• Realise Studios
• Sony Computer Entertainment Europe
• Blue Sky Studios
• Karrot Entertainment
• Dave McKean - illustrator for Batman: Arkham Asylum: A Serious House on Serious Earth
• The Foundry
• Media Molecule
• Super Super Films
• Axis Animation
• Industrial Light & Magic - Star Wars: The Force Awakens.

Course details

On this course you will be taught by a range of staff with relevant expertise and knowledge appropriate to the content of the unit. This will include senior academic staff, qualified professional practitioners, demonstrators, technicians and research students. You will also benefit from regular guest lectures from industry.

The course is split into four terms, each lasting ten weeks. The first three terms are the Postgraduate Diploma (PGDip), and the final term is the Master’s term.​

Contact hours and assessment

Details of the assessment methods and contact hours for each unit of the course can be found in the programme specification. 

Download the programme specification (pdf 449kb)

• Core Production Principles:  This unit is the first practical unit on the course and establishes the core skills in computer animation tools that you’ll rely upon through the rest of the course. 
• Core Production Techniques:  In this unit you’ll build upon the skills developed in Core Production Principles to expand your knowledge of animation techniques and add further depth to your computer animation practice. 
• Visual & Critical Studies:  This unit provides the wider theoretical and critical context for your studies. It will introduce you to a range of conceptual tools and theoretical themes in moving image, to encourage debate and critical thinking in the field of computer animation. You will consider how to theoretically underpin your own creative practice within a contemporary context.
• Group Project : Working with students from the other NCCA Masters courses, you’ll conceptualise, design and execute a short, animated project, in a manner which is aligned with industry practice.
• Research & Development in Computer Animation:  You’ll undertake research in an area of computer animation that interests you, which can be industry focussed or more academic. This unit is supported by workshops, seminars and industry masterclasses.
• Production Development : During this unit you’ll develop your skills and knowledge in originating computer animation assets and content. With guidance from tutors, you’ll undertake conceptualisation, design and development of your own production project.
• Master's Portfolio : The focus of the third semester is completing the Master's component of your education. This project can be a standalone project or a continuation of the group project unit. In either case you can work alone or with other students. 

You have the option to undertake a three-month placement during the Master’s Portfolio unit, providing an opportunity to apply your acquired knowledge and skills in the workplace. You are required to find your own placement; however, our Careers & Employability Service and your faculty placements officer are on hand to support you.

Resources, equipment and technology

• 24/7 access to your studio 
• 2 x 24” Cintiqs in the studio
• Access to Green Screen facility
• Access to Mocap facility
• Programme-specific Software: Maya, Mari, Z-Brush, Nuke, Adobe Creative Suite, Substance Painter, Marvellous Designer, Unreal Game Engine, Unity Game Engine, Advanced Skeleton, Ziva, Mudbox, Motionbuilder, V-Ray, Maxwell Renderer, Shotgun, RealFlow, Houdini Engine plus a host of plugins to aid production.
• Cameras, lenses, tripods, sound recording devices and other resources associated with production.
• Departmental Software: RC++, OpenGL, Qt, Maya, Houdini, Renderman plus many more.

Bournemouth University is one of a small number of institutions from around the world who have been granted Houdini Certified School status by Side Effects Software.

Programme specification

Programme specifications provide definitive records of the University's taught degrees in line with Quality Assurance Agency requirements. Every taught course leading to a BU Award has a programme specification which describes its aims, structure, content and learning outcomes, plus the teaching, learning and assessment methods used.

Whilst every effort is made to ensure the accuracy of the programme specification, the information is liable to change to take advantage of exciting new approaches to teaching and learning as well as developments in industry. If you have been unable to locate the programme specification for the course you are interested in, it will be available as soon as the latest version is ready. Alternatively please  contact us  for assistance.

Your application

This Masters in 3D Computer Animation programme has been specifically designed for students who wish to pursue a career in the field of computer animation, and is the perfect launch-pad for a career in a wide range of disciplines, including concept design, character and creature animation, shader development, groom, modelling, lighting, rigging, texturing, creature FX, real-time visualisation, rendering, look development, compositing and simulation.

Our graduates work in a wide range of 3D fields, we place particular emphasis on future employability for film, games, television and visualisation. Applicants should be passionate about art, design and technology, whilst remain grounded, personable and determined to learn as much as they can whilst with us.

Selection methods

The admissions team will look at your online application including your qualifications, personal statement and any work experience, as well as your portfolio. Please make sure your application stands out from the crowd and leaves us in no doubt that you want to study at Bournemouth University.

MA 3D Computer Animation is one of four Master's degree pathways created by the  National Centre for Computer Animation (NCCA) . All pathways share a great deal of core teaching, but also have specific pathway teaching. If your primary area of interest is mostly digital effects and moving image theory, then our  Digital Effects programme may be a better choice for you. If your skills are mostly technical or programming-based without much in the way of original artwork, then our  Computer Animation & Visual Effects programme may be the better choice. Newly created by the NCCA is  MSc Artificial Intelligence for Media , a pathway enabling you to develop transferable technical and programming skills, this is a technology centred degree where you'll be encouraged to develop AI tools supporting the production of animation and games.

Our assessment panels will automatically pass applications deemed better suited to another pathway onto them, so it is a good idea to familiarise yourself with all our Master’s pathways to help ensure 3D Computer Animtion is the right programme for you

Background and experience

Our students come from a broad background and age group. Applicants in the past have studied or worked in the field of fine art, illustration, painting, sculpture, graphic design, architecture, traditional animation, 3D visualisation, scriptwriting, performance arts and photography. This is by no means an exhaustive list but should provide an idea of the creative disciplines successful applicants have originated from.

Computer knowledge is not a prerequisite, neither is having worked in 3D before. We are more concerned with your aesthetic and/or technical abilities, as well as a passion for study this area.

You will be asked to submit a portfolio in support of your application. Your portfolio should contain a full range of visual material which illustrates your talents and working methods. It is not essential to include 3D work; we are more interested in your aptitude as an artist or designer.

The portfolio only needs to contain your strongest work; pieces which you are comfortable discussing with your peers. Sketch books and notebooks are also advantageous as we are interested in how you generate ideas, your observational skills and their aesthetic appeal. Works in progress are also fine.

Your portfolio will be reviewed by one of the tutors on the course and you may be invited to attend an online interview to discuss your application further.

How and when to apply

Please see our website for the application deadlines. You should apply as early as possible to be considered for your course of choice. If you require a student visa, apply for the visa as soon as you have an unconditional offer and receive your CAS. There may be delays in visa processing in your country and you need to be in Bournemouth ready to study for the start of term.

Click the green ‘Apply now’ button to submit your application free of charge online through myHub, our application portal. You will create your own myHub account so that you can track the progress of your application. Don’t forget to save your application as you go; you can return to it at as many times as you want before you submit it. For more information visit our How to apply section

Entry requirements

General entry requirements.

The normal requirements for embarking upon a postgraduate taught degree are:

• A Bachelors Honours degree with 2:2 in any subject
• A professional qualification or diploma recognised to be equivalent to an honours degree
• Industrial experience deemed to be equivalent to an honours degree

Applicants are also required to submit a portfolio in support of their application for this course.

If you lack the formal academic qualifications needed to enter a postgraduate or post-experience degree, there are several alternative routes to follow - some based on experience. Contact the  Future Students Enquiry Team  for more information.

International entry requirements

You can find details of the international qualifications we accept, and what level of study they apply to, on our  entry requirements for non-UK students' page .

Please see below some examples of the qualifications for entry:

• India: Bachelor’s degree (4 years) from a recognised HE institution with a minimum overall result of 55% 
• Nigeria:  Bachelor's degree from a recognised institution with a minimum classification of 2:2 
• China:  Chinese Bachelor's (Honours) degree from a recognised higher education institution with 65% or above 
• Turkey: Bachelor’s degree (Lisans Diplomasi - four years) with a minimum overall GPA of 2.3/4.0 
• Vietnam:  Bachelor's degree/Bang tot nghiep dai hoc with an average score of 6.5/10, or 2.25/4, or a Master’s degree/Thac si. 

All applications will be subject to a minimum grade and your degree may need to be in a relevant subject area.

English language requirements

If English is not your first language, you will need to provide evidence that you understand English to a satisfactory level. English language requirements for this course are normally:

IELTS (Academic) 6.5 with minimum 6.0 in writing, speaking, listening and reading  or equivalent .

View  further information about our English language requirements .

Bournemouth University International College offers a number of pre-sessional English and preparatory programmes to prepare international students for postgraduate study at BU. Admission to the degree is guaranteed on successful completion of your course to the required level.

Graduates from our computer animation courses are highly sought after within the industry. Our alumni have worked on many high-profile projects, including movies such as Venom, Paddington 2, Avatar, Star Wars, the Lord of the Rings trilogy, King Kong, Shrek, Guardians of Ga'hoole, the Harry Potter series, Sucker Punch, Happy Feet, Monsters vs Aliens, James Bond and Judge Dredd, among many others.

They have also been involved with the animation for a range of computer games, such as Grand Theft Auto, Crysis 2 and Fable II. Our graduates have worked for a number of the world's top VFX and computer games studios, including Pixar, DreamWorks, EA Games and Sony Picture Image Works.

All information shown has been taken from Destination of Leavers from Higher Education (DLHE) or BU institutional data unless otherwise stated.

Our graduate award winners

In 2016, we had two graduates collect awards for their work:

• Mark Ardington won an Oscar for his work on ‘ Ex Machina ’ 
• A BAFTA went to Paul Kavanagh and the ILM Team who created the effects for ‘ Star Wars: The Force Awakens ’. 

In February 2011 and 2015, NCCA graduate  Andy Lockley  was awarded an Oscar for his role as Visual Effects Supervisor on the Christopher Nolan film 'Inception' and ‘Interstellar’ respectfully; whilst a number of our graduates who also worked on the film shared in the celebrations. 

*All information shown has been taken from Destination of Leavers from Higher Education (DLHE) or BU institutional data unless otherwise stated.

Typical starting job roles

The roles our 3D Computer Animation graduates are in include:

• Software Developer
• Character Animator
• Technical Animator.

Industries worked in

Studios graduates have worked at.

• Double Negative
• Outpost VFX
• Blue-Zoo Animation
• Creative Assembly 
• Jellyfish Pictures
• Playground Games
• Weta Digital 
• Rock Paper Film 
• Fortune Fish 
• TT Games/Travellers Tales
• Animal Logic
• Frontier Developments 
• Darkside Studio 
• Axis Animation 
• Illumination MacGuff
• Free Radical Design 
• Aardman Animations 
• Lionhead Studios 
• Glassworks  
• Industrial Industrial and Magic
• Pixar and DreamWorks
• Illoura VFX
• Ninja Theory
• Sony Cambridge
• Sony Liverpool
• Rock Star North
• Codemasters
• Criterion Games.

Survey on Bournemouth University Alumni Facebook Page (2016). 

Further study

If you want to continue your studies after achieving your Master's, you can look into our range of  doctoral programmes .

Costs and fees

You can find full information about the deposits required and how to pay your fees in our postgraduate  fees and funding  section, including details of the Postgraduate Loan (subject to fee status).

All fees are quoted in pounds sterling and are per annum. Fees quoted are for tuition only unless stated otherwise. Your tuition fees will be the same for each year of your course.

Find out more about living expenses for postgraduate students

No hidden extras

What’s included in your tuition fee.

Your tuition fee covers expenses associated with your course including tuition materials, access to facilities, mandatory field trips and the following:

• Materials for laboratory and field-based teaching activity
• Support for finding placements (UK or abroad) and fieldwork, and non-financial support whilst on placement if this is part of your course of study.
• A range of student services – advisors, help desks, counsellors, placement support and careers service.
• The Library – access to a wide range of electronic resources (databases, e-journals and e-books), print and multimedia collections, subject librarians and study spaces.
• Access to Brightspace, our virtual learning environment, which offers a responsive and personalised learning experience with powerful learning analytics capabilities, integrated social media and advanced video features.
• IT labs (some open 24/7), wireless network, AV equipment to borrow
• Disability and additional learning support , according to individual circumstances.
• The BU Language Centre to help you develop/improve foreign or English language skills
• 24 hours a day, 365 days a year security team.

Costs of living and other expenses you need to consider

Additional costs.

We are committed to offering you value for money and ensuring there are no hidden costs while you are studying with us, therefore we have listed below any additional costs you may incur that are not covered by your tuition fee:

• Laptops, tablets and mobile devices and any software used on personal devices. Access to a personal computer is strongly recommended for your study. If you are experiencing financial difficulty, visit our website for information regarding hardship funds
• Textbooks, general stationery and other supplies. Our award-winning library is stocked with a large range of textbooks and online resources, free of charge. The Students’ Union shops stock a wide range of stationery supplies on both campuses..
• Accommodation and living costs . Please visit our website for more information.
• ​Travel costs for optional field trips, outdoor wear and footwear for mandatory and optional field trips (if applicable).
• Travel costs to and from the University campus. An annual bus pass can be purchased alongside your rent if you are living in halls of residence/Unilet accommodation or may be purchased separately.
• ​Travel costs to and from your placement (both in the UK and overseas) if this is part of your course of study. Placement year funding information can be found on our website.
• Clothing or equipment costs required for your placement if this is part of your course of study. 
• SportBU membership .

While all aspects of the programme, including required field trips, are included in the fee, additional, optional or extra curricula activities may be available for which a student contribution is required.

Repeat units

If you need to repeat one or more units during the course of your studies (with or without attendance) the pricing will be pro-rata of the full time fee.

Financial help available from BU

We offer a range of scholarships to eligible students who are beginning their studies at BU. Please visit our funding pages for details on living costs, budgeting and paying your tuition fees.

International (not Rep. of Ireland) students need to pay a non-refundable deposit to secure their place on a postgraduate course. For September 2024 and January 2025 entry, a £5,000 deposit is required. You will need to pay your deposit by the date stated in your offer letter. The remainder of your fee will be payable on registration/enrolment. There are two exceptions to the non-refundable rule on the deposit:

• You fail to meet the academic or English requirements of your offer
• You are refused a visa to enter the UK, provided the reason for the refusal is not a fraudulent application.

On this course you will be taught by staff with relevant expertise and knowledge appropriate to the content of the unit. This could include senior academic staff, qualified professional practitioners and research students, many of whom are actively engaged in research and/or professional practice which is integrated into the teaching of this course. You may  also benefit from guest lectures from industry, including our alumni. Please note that teaching staff can change.

Paula Callus – Programme Leader

Paula Callus is the Programme Leader for MA 3D Computer Animation and a senior lecturer at the National Centre of Computer Animation at Bournemouth University. She holds a PHD in "Sub-Saharan African Animation" from The School of Oriental and African Studies, University of London, and has published on animation from this region. Previous experience includes educational consultancy and training for UNESCO's “Africa Animated” projects and compiling animation programs for various festivals such as Africa in Motion (Edinburgh), Cambridge African Film Festival, Meknes Animation Festival (Morroco), Africa at the Pictures (London).  ​

Veno Prendergast - Programme Leader

Adam twycross – lecturer in computer animation.

Adam runs the National Centre for Computer Animation’s (NCCA) MA programme in 3D computer animation where he teaches fundamentals of design, modelling techniques for production, human anatomy, Maya and ZBrush. Specialising as a 3D modeller, Adam’s production credits include the Xbox 360 game Disneyland Adventures and the Games Workshop graphic novel Macragge’s Honour.

He is part of the team behind the BFX Festival and is currently researching the development of British comics. Adam has been interviewed for various news outlets discussing animated films, UK film and television production, education in animation, tax breaks for the games industry, and the BFX Festival.

Sofronis Efstathiou – Principal Academic

Sofronis has worked in the Film and Games industry for Animal Logic (based in Sydney, Australia) and Microsoft’s Lionhead Studios (UK) on projects such as "Happy Feet", "300" and "Fable 2", training artists and production staff on projects that would go on to win an Oscar, a BAFTA and a Games BAFTA. 

Sofronis (aka Saf) teaches fundamental of design, rigging, advanced animation processes and toolsets, shaders, lighting; a variety of 2D and 3D tools such as Autodesk’s Maya and a host of professional third-party tools.

Sofronis has worked with Sony Computer Entertainment Europe whilst also designing a 2D Animation curriculum with twofour 54 tadreeb and Turner Broadcast Systems, for the rollout of a course in Abu Dhabi that closely mirrors the Cartoon Networks production pipeline. Having proposed and developed a new Bournemouth festival and VFX/Animation competition with colleagues at Bournemouth University, Sofronis is now the BFX Festival Director, an event that attracts some of the world’s very best film, VFX, computer games and animation studios -  http://www.bfxfestival.com/

Adam Redford – Senior Practice Fellow in Computer Animation

Adam graduated from the National Centre for Computer Animation in 2006 with a Master of Arts degree in Digital Effects.  He then went on to work in the feature film visual effects industry in London for six years, during which time he worked on a number of successful and award winning films including Gravity, Harry Potter, Narnia, Prince of Persia, John Carter, Clash of the Titans, Wrath of the Titans, and Sweeny Todd amongst others.  He is now leading the BA (Hons) Visual Effects undergraduate degree at the National Centre for Computer Animation.

Paul Champion – NCCA and BFX Competition Demonstrator

Paul brings over a decade of experience as a professional CG trainer and digital artist to the role of NCCA and BFX competition demonstrator.

Tasked with helping budding digital artists improve their skills and efficiency he recognises and values the importance of inspiring and motivating students to challenge themselves when learning. Versed in a wide range of software and techniques used in production pipelines he harnesses that knowledge to guide, mentor, help and inspire students to overcome technical barriers, develop their ideas and strive to create their best work within deadline.

In a rapidly developing industry Paul keeps his knowledge base current by trialing new software features as they become available and is also part of the Autodesk Maya Beta testing Program.

Course changes

Changes in 2024, changes for 2023 entry, changes for 2022 entry, changes for 2021 entry, changes in 2019, changes in 2018, what our students say, emanuel bonnici.

The course is well connected with industry and prepares us for our future careers with visits from industry professionals who share their experiences with us.

Hear from our staff

Steve harper.

We take people from broad backgrounds and introduce them to the wonderful world of computer animation.

Hear from our alumni

Ahmad habash.

The World Health Organisation contacted me after seeing my graduation project and they told me yup, we just want you to do this film for us. That was how it happened.

Information on this page relates to next entry point (see box containing fees figures), unless indicated otherwise. Statistics shown throughout this page are taken from The Discover Uni dataset (formerly Unistats) and BU institutional data, unless otherwise stated.

• • Led a team of 8 animators in developing immersive character animations for an acclaimed strategy game series, enhancing player engagement.
• • Implemented a new animation pipeline, reducing overall project time by 20% without sacrificing quality.
• • Mentored 4 junior animators, resulting in a 30% improvement in their output quality within six months.
• • Collaborated closely with the AI department to ensure seamless character interactions, noticeably boosting the game's realism and reviews.
• • Initiated a successful workflow revamp using iterative processes, increasing animation content production by 25%.
• • Conceptualised and executed dynamic vehicle and character animations for a top-grossing racing game series, contributing to a 15% player base increase.
• • Optimised motion capture processes, elevating animation quality and reducing post-processing time by 25%.
• • Managed a small team, achieving a 35% better project delivery time compared to previous timelines.
• • Drove the integration of Unreal Engine into the animation workflow, enhancing visual fidelity and gameplay fluidity.
• • Implemented quarterly training, raising the team's technical competencies significantly.
• • Directed the creation of character animation sets for open-world action games, hitting all project milestones and deadlines.
• • Introduced innovative keyframe techniques that were adopted company-wide, increasing animation production by 20%.
• • Pioneered the use of a new rigging system that improved character realism and interactivity.
• • Spearheaded a project that integrated user feedback into the animation development cycle, significantly improving user satisfaction scores.

Animator CV Examples & Guide for 2024

Your animator CV should immediately highlight your proficiency in key animation software. It's crucial to list industry-standard tools like Adobe After Effects, Maya, or Blender to showcase your technical skill set. Beyond software, be sure to emphasize your understanding of animation principles and your creative storytelling abilities. Demonstrating a strong grasp of timing, spacing, and character development is essential to capturing the attention of potential employers.

• CV Format Tips
• Summary or Objective?
• Experience on Your CV
• No Experience?
• Top CV Skills
• Education & Certifications
• Key Takeaways

Crafting a compelling CV can be particularly challenging for an animator, as it must encapsulate both your technical prowess and creative flair. Our guide provides targeted advice on how to weave your artistic achievements into a narrative that stands out to potential employers, ensuring your CV strikes the perfect balance between skill demonstration and storytelling.

• Applying the simplest CV design, so that recruiters can easily understand your expertise, skills, and professional background;
• Ensuring you stand out with your header, summary or objective statement, and a designated skills section;
• Creating your CV experience section - no matter how much expertise you have;
• Using real life professional CV examples to enhance the structure and outline of your profile.

If you still have no muse to write your professional CV, find some more industry-leading examples.

• Designer CV Example
• User Researcher CV Example
• Graphic Design CV Example
• Interior Designer CV Example
• Industrial Design CV Example
• UX Designer CV Example
• Kitchen Designer CV Example
• Motion Graphics CV Example
• UX Researcher CV Example
• 3D Artist CV Example

How complex should the format of your animator CV be?

• Presenting the information in a reverse chronological order with the most recent of your jobs first. This is done so that your career history stays organised and is aligned to the role;
• Making it easy for recruiters to get in touch with you by including your contact details in the CV header. Regarding the design of your CV header, include plenty of white space and icons to draw attention to your information. If you're applying for roles in the UK, don't include a photo, as this is considered a bad practice ;
• Organising your most important CV sections with consistent colours, plenty of white space, and appropriate margins (2.54 cm). Remember that your CV design should always aim at legibility and to spotlight your key information;
• Writing no more than two pages of your relevant experience. For candidates who are just starting out in the field, we recommend to have an one-page CV.

One more thing about your CV format - you may be worried if your double column CV is Applicant Tracker System (ATS) complaint. In our recent study, we discovered that both single and double-column CVs are ATS-friendly . Most ATSes out there can also read all serif and sans serif fonts . We suggest you go with modern, yet simple, fonts (e.g. Rubik, Lato, Raleway) instead of the classic Times New Roman. You'll want your application to stand out, and many candidates still go for the classics. Finally, you'll have to export your CV. If you're wondering if you should select Doc or PDF, we always advise going with PDF. Your CV in PDF will stay intact and opens easily on every OS, including Mac OS.

Upload & Check Your CV

Drop your CV here or choose a file . PDF & DOCX only. Max 2MB file size.

Use bold or italics sparingly to draw attention to key points, such as job titles, company names, or significant achievements. Overusing these formatting options can dilute their impact.

The top sections on a animator CV

• Showcase of animation portfolio to demonstrate creative ability and style.
• Detailed work experience section highlighting animation projects and roles.
• Education and training in animation to establish technical qualifications.
• Skills section that specifies software proficiency and artistic competencies.
• List of industry awards and recognition for peer validation of work quality.

What recruiters value on your CV:

• Include a concise personal statement that highlights your animation style and experience, ensuring it aligns with the studio or project you are applying to.
• Demonstrate your proficiency in industry-standard software such as Maya, After Effects, or Cinema 4D, alongside any specialized tools or plugins you are adept in using.
• Embed links to your online portfolio or reel that showcase a variety of work, such as character animation, motion graphics, or visual effects, tailored to the role's requirements.
• List relevant projects and describe your specific role in each, focusing on successful outcomes like awards won or how your work improved the final product.
• Include any collaboration or team leadership experience, highlighting your ability to work effectively within a multi-disciplinary team and your understanding of the production pipeline.

Recommended reads:

• CV Length: How Long Should Your CV Be in 2024?
• Choose the Best Layout for Your CV in 2024 with Ready-to-Use Templates

Our checklist for the must-have information in your animator CV header

Right at the very top of your animator CV is where you'd find the header section or the space for your contact details, headline, and professional photo. Wondering how to present your the name of the city you live in and the country abbreviation as your address ;

• Integrate a link to your professional portfolio or LinkedIn profile to further showcase your work;
• Upload your professional photo only if you're applying for jobs outside the UK or US.
• are tailored to the role you're applying for by integrating key job skills and requirements;
• showcase what your unique value is, most often in the form of your most noteworthy accomplishment;
• select your relevant qualifications, skills, or current role to pass the Applicant Tracker System (ATS) assessment.

Examples of good CV headlines for animator:

• Senior Animator | Feature Film & VFX Specialist | B.A. in Animation | 10+ Years' Experience
• Lead Character Animator | 3D Modelling & Rigging Expert | Certified Advanced Animator | 8 Years' Experience
• Junior Animator | Explainer Videos & Motion Graphics Enthusiast | Adobe Creative Suite Pro | 2 Years' Experience
• Animation Supervisor | Storyboarding & Concept Artistry | MA Animation | 7 Years Industry Leadership
• Mid-Level 3D Animator | Real-Time Rendering & AR/VR | Autodesk Certified | 5-Year Professional Portfolio
• Creative Animator | 2D Traditional & Digital Media | BSc in Computer Animation | 3+ Years' Craft Expertise

Your animator CV introduction: selecting between a summary and an objective

animator candidates often wonder how to start writing their resumes. More specifically, how exactly can they use their opening statements to build a connection with recruiters, showcase their relevant skills, and spotlight job alignment. A tricky situation, we know. When crafting you animator CV select between:

• A summary - to show an overview of your career so far, including your most significant achievements .
• An objective - to show a conscise overview of your career dreams and aspirations .

Find out more examples and ultimately, decide which type of opening statement will fit your profile in the next section of our guide:

CV summaries for a animator job:

• Seasoned Animator with over a decade of experience in creating captivating 3D characters for major animated features. Proficient in Maya, ZBrush, and Adobe Creative Suite, with a portfolio highlighted by work on Oscar-nominated films. Seeking to leverage skills and creative flair in a challenging environment to bring beloved characters to life.
• Dynamic 3D Animator with 8 years' experience, specialising in character modelling and rigging. Skilled in Motion Builder and After Effects, with a strong track record of contributing to high-grossing video games. Notable achievement includes winning the 'Best Visual Effects' award at a renowned international game developers' conference.
• Experienced Graphic Designer with 5 years in the advertising sector now transitioning to animation. Bringing comprehensive knowledge of Photoshop and Illustrator, along with a fresh perspective to traditional animation techniques. Eager to apply transferable design skills to create impactful and memorable animated narratives.
• Former Architect with an eye for precision and aesthetics, making the transition to the animation industry. Offers a unique approach to 3D animation, leveraging advanced knowledge of AutoCAD and a keen understanding of spatial dimensions, with a passion for storytelling and visual innovation.
• Eager to embark on an Animation career, bringing forth a vibrant imagination and a Certificate in Animation from XYZ University. Commited to learning rapidly, utilising a foundation in Adobe Creative Cloud tools, and contributing to creative projects that resonate with audiences.
• A recent graduate with a Bachelor’s in Multimedia Arts, I am passionate about starting an animation journey. Dedicated to mastering industry-standard software and techniques, aiming to contribute fresh ideas and energy to a team that values growth and creativity.

How to meet job requirements with your animator CV experience

We've now reached the essence of your actual CV - your experience section. This is the space where you can list your career roles and on-the-job successes. Many candidates tend to underestimate just how much time and effort they should put into writing this CV section. Your experience shouldn't be a random list of your responsibilities, but instead:

• Match the job description with your skills, values, and accomplishments;
• Start each bullet with a strong action verb, followed up with one key skill and your outcome of applying this skill;
• Spotlight parts of your career history that are relevant to the job you're applying for .

Before we move on, make sure to check out some professional CV experience sections.

Best practices for your CV's work experience section

• Developed and executed original character animations for a variety of platforms including television, video games, and virtual reality applications, enhancing the storytelling and user experience across multiple projects.
• Collaborated closely with art directors and game designers to create compelling animation according to narrative requirements, ensuring consistency in style and quality throughout the production pipeline.
• Utilised a wide range of animation software and techniques, including Maya, Blender, and Adobe After Effects, to produce high-quality 3D and 2D animations, adapting seamlessly to the demands of each project.
• Managed time effectively to meet tight production deadlines, consistently delivering animation sequences on schedule while maintaining a high standard of quality and attention to detail.
• Incorporated feedback from team leads and stakeholders into animation iterations, demonstrating a high level of receptiveness and the ability to refine work based on constructive criticism.
• Produced dynamic character rigs that allowed for a broad array of movements and expressions, facilitating the creation of versatile and emotionally resonant animations.
• Participated in reviews and critiques, providing insightful feedback on peers' work which contributed to the overall improvement of the animation team's output.
• Stayed abreast of the latest industry trends and technological advancements in animation, implementing innovative techniques that enhanced efficiency and visual impact.
• Mentored junior animators, sharing expertise and guidance on best practices, workflow optimisation, and artistic techniques to foster a collaborative and skilled animation team.
• Spearheaded the character animation pipeline for the company’s flagship mobile game, leading to a 50% reduction in turnaround time.
• Collaborated with a team of 10 artists to deliver over 300 unique character animations, improving player retention by 25%.
• Implemented rigorous testing protocols for animation consistency, which decreased bug reports by 40% and enhanced overall game performance.
• Authored a comprehensive 100-page guide on rigging best practices which became an internal studio resource, elevating the team's efficiency by 15%.
• Designed and animated unique creatures for a BAFTA-nominated fantasy series, resulting in an increase in critical acclaim and viewership.
• Pioneered the adoption of motion capture technology in the studio, contributing to a 20% cost reduction in the animation department.
• Orchestrated the delivery of 500+ animation assets for a top-rated console game, achieving a Metacritic score of 90+.
• Managed cross-department collaborations that enhanced narrative cohesion and interactive gameplay, spiking game sales by 30% in the first quarter.
• Fostered a creative environment leading to the team winning an industry award for best character animation at the TIGA Games Industry Awards.
• Directed a team of animators in creating a viral marketing campaign for an AAA title, amassing over 2 million views within the first week of release.
• Implemented a new skeletal animation system that increased realism in humanoid characters and boosted the title's review scores by 10 points.
• Mentored junior animators through a bespoke training program that increased department productivity by 20% within six months.
• Created over 200 assets for an educational game which saw a 75% engagement increase in participating schools.
• Pioneered a rapid prototyping method for animation artefacts that accelerated early stage development by 30%.
• Cultivated a partnership with the design team to enhance user experience metrics, influencing a 60% uplift in positive user reviews.
• Developing emotional and engaging storyboards for a new animated series, projected to hit 1 million viewers in its pilot season.
• Restructured the workflow using Adobe Animate CC, which reduced the overall production timeline by three weeks.
• Actively contributing to the studio’s diversity initiative, which has led to a 40% increase in culturally inclusive content.
• Pioneered a hybrid animation technique combining 2D and 3D elements, distinguishing our studio's aesthetic and winning two industry innovation awards.
• Led a 20-person team in the globally successful release of an animated feature film, securing a $200 million box office revenue.
• Optimized the production pipeline using Autodesk Maya scripts, saving over 800 man-hours per project cycle.
• Championed the creature animation in a critically acclaimed science fiction series, contributing to a triple increase in streaming service subscriptions.
• Facilitated weekly training workshops to constantly elevate the team’s skill set in advanced rigging and animation principles.
• Engaged in audience feedback analysis, enabling the team to refine animation sequences for better viewer reception and satisfaction.

Writing your CV without professional experience for your first job or when switching industries

There comes a day, when applying for a job, you happen to have no relevant experience, whatsoever. Yet, you're keen on putting your name in the hat. What should you do? Candidates who part-time experience , internships, and volunteer work.

• How to List Qualifications on Your CV (Tips & Examples for 2023)
• How to Address Employment Gaps on Your CV (With Templates for 2023)

If you have experience in diverse fields, highlight how this has broadened your perspective and skill set, making you a more versatile candidate.

Hard skills and soft skills to showcase your unique skill set on your animator CV

Did you know that your CV will mostly likely be assessed by recruiters based on skill alignment? And that means that the way you feature your key skills across different CV sections will play a crucial role in landing you that first interview. We recommend you add your:

• technical capabilities or hard skills in your CV experience, certificates, projects, etc. Use your past accomplishments to prove your technical capabilities. List up to a dozen different software or hardware in your dedicated skills section to match the job keywords;
• personal and communication skills or soft skills in your CV strengths, achievements, summary/ objective, etc. Soft skills are a bit more difficult to prove. How do you define your aptitude in active listening? So, instead of just listing the skill name, include a tangible metric to show your success.

On a final note, when you're in a hurry to create your profile, you may misspell a particular technology or soft skill. That's why we suggest you copy and paste the particular skill name (or keyword), directly from the job advert. This would also help you to pass any initial Applicant Tracker System (ATS) tests.

Top skills for your animator CV:

2D Animation

3D Modelling

Character Animation

Storyboarding

Motion Graphics

Visual Effects (VFX)

Graphic Design

Digital Painting

Attention to Detail

Time Management

Adaptability

Communication

Problem-Solving

Critical Thinking

Continuous Learning

If you have received professional endorsements or recommendations for certain skills, especially on platforms like LinkedIn, mention these to add credibility.

Listing your university education and certificates on your animator CV

The best proof of your technical capabilities would be your education and certifications sections. Your education should list all of your relevant university degrees , followed up by their start and completion dates. Make sure to also include the name of the university/-ies you graduated from. If you happen to have less professional experience (or you deem it would be impressive and relevant to your application), spotlight in the education section:

• that you were awarded a "First" degree;
• industry-specific coursework and projects;
• extracurricular clubs, societies, and activities.

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Karen Read trial live updates: Read may have had BAC more than three times limit

• Updated: May. 28, 2024, 6:27 p.m. |
• Published: May. 28, 2024, 8:42 a.m.

Karen Read listens to testimony by witness Brian Higgins during her trial in Norfolk Superior Court, Friday, May 24, 2024, in Dedham, Mass. Read, 44, is accused of running into her Boston police officer boyfriend with her SUV in the middle of a nor'easter and leaving him for dead after a night of heavy drinking. (AP Photo/Charles Krupa, Pool) AP

• Tréa Lavery | [email protected]
• Luis Fieldman | [email protected]

Court adjourns until next week — 4:02 p.m.

Testimony in the trial of Karen Read , a Mansfield woman charged in the death of her Boston police officer boyfriend, John O’Keefe, continued Tuesday — the only day of testimony this week.

Read, 44, is charged with second-degree murder in the death of O’Keefe, who was found cold to the touch and unresponsive on Jan. 29, 2022, outside of a home in Canton.

• Read more: 4 takeaways from Karen Read trial: texts, taillight damage and first witnesses
• Read more: Karen Read trial: Jennifer McCabe testifies about when John O’Keefe was found dead

The final witness of the day Tuesday was Louis Jutras, information systems manager for the town of Canton. Jutras explained that the town has a security camera system across its properties that is motion-activated and takes video, but not audio, when activated. Depending on the amount of activity of the location, footage is typically kept for a minimum of 30 days, he said.

Jutras said that in early February, he was contacted by Massachusetts State Police who asked for footage from the Canton Public Library of the intersection of Washington and Sherman Streets between 12 and 1 a.m. and between 5 and 6 a.m. on Jan. 29, 2022. He said only two cameras have a view of the specified area, so he was able to export and hand over the footage.

Jutras said before he provided the footage, he did not make any edits but watched the beginning and end of the video to ensure the time frame was correct.

On cross-examination, defense attorney David Yanetti asked if Jutras knew what police had done with the video after he gave it to them, which he did not. Jutras said in April 2023, police reached out again to ask him to provide the same footage to the defense team, but because of the time that elapsed in between, he no longer had access to the video.

Court adjourned for the day just after 4 p.m. The trial will not resume until 9 a.m. Monday, June 3.

Canton DPW director explains plowing procedure — 3:39 p.m.

Canton Superintendent of Public Works Michael Trotta, the next witness to be questioned, said he received a call from Massachusetts State Police Trooper Michael Proctor in early February 2022 and Proctor asked about the town’s procedure for plowing roads during a snowstorm and what plow drivers were on duty during the blizzard on Jan. 28 and 29.

Trotta said the route in the Cedarcrest neighborhood, which included Fairview Road, was being plowed by one medium-sized, town-owned truck and a smaller, one-ton dump truck operated by a private contractor. He said Brian Loughlin was the driver of the truck that plowed Fairview Road.

During cross-examination, defense attorney David Yannetti asked if Proctor had specifically asked who had plowed Fairview Road and if Trotta had given him Loughlin’s name or recommended he check with the Public Works department’s operations manager. Trotta said he believed he had given Proctor Loughlin’s name and directed him to the operations manager, but couldn’t be sure.

Read could have had BAC more than three times legal limit — 3:13 p.m.

The next witness to take the stand was Nicholas Roberts, a former employee at the state toxicology lab.

Roberts explained that serum testing performed in hospitals separates the serum, or the liquid part of the blood, to test for alcohol, and usually results in a slightly higher result than a “whole blood” test because alcohol “likes to stay in the liquid portion more than throughout the whole blood.”

Roberts said at the toxicology lab, they are able to perform a mathematical conversion on serum test results to estimate what the level of alcohol would be in a whole blood test and provide a range of levels, to account for differences between individuals that could affect the result.

When staff at Good Samaritan Hospital in Brockton drew Read’s blood for testing at 9:08 a.m. on Jan. 29, 2022, hospital staff measured 93 milliliters for deciliter of alcohol through a serum test.

Roberts said this level works out to a low of 0.078, a high of 0.083 and an average of 0.081 blood alcohol concentration.

Roberts also explained that it is possible to perform a “retrograde extrapolation,” or a calculation to estimate what a person’s BAC would have been at a time before their blood was drawn and tested. He said at 12:45 a.m. Jan. 29, when they estimated Read had her last drink, her BAC would have been between 0.135 and 0.292.

In Massachusetts, the legal BAC limit to be able to drive is 0.08.

Defense attorney Elizabeth Little questioned the wide range of possible BAC levels, pointing out that the unknowns in the case, most importantly when Read had her last drink of the night, meant the answer was uncertain. In addition, she said, usually the Massachusetts State Police Crime Lab performs multiple tests to confirm the accuracy of their test results.

“In this case obviously you didn’t conduct any of the testing. You’re just assuming the accuracy of a single test,” she said.

Roberts agreed, but said throughout his testimony that small variations in the time of the last drink, even of up to 30 minutes, would not significantly impact the result.

“That’s why we give a range,” he said. “You could be on the outskirts of either side.”

Before concluding Roberts’ testimony, Little asked him if the 12:45 a.m. estimate came from Read herself, and he said the time came from a police report.

Pathologist explains blood alcohol testing performed on Read — 2:33 p.m.

When court resumed after breaking for lunch, Good Samaritan Medical Center Chief Pathologist Gary Faller took the witness stand. Faller oversees testing at the hospital, where O’Keefe and Read were both brought after O’Keefe’s body was discovered on Jan. 29, 2022.

Faller said it is not standard but not abnormal for a patient’s blood to be drawn and tested for drugs or alcohol when they are brought in due to mental health concerns under the state’s Section 12 law, like Read was that day.

He explained the process for testing alcohol at the hospital is called a “serum test” and tests only the liquid part of the blood to determine alcohol levels, as medical professionals are focused on what they need to know to treat a patient and not legal alcohol levels.

Read’s blood was drawn at 9:08 a.m. on Jan. 29 and was found to contain 93 milligrams per deciliter of alcohol. Faller did not say what level this amount would work out to in a “whole blood” test, which could provide the typical blood alcohol concentration measurement used in legal settings.

Defense attorney Elizabeth Little asked Faller about ways this test may return an inaccurate result, which he said was possible in some cases, such as if the patient had elevated lipid levels. However, he said, the machine used by the hospital will flag samples that may return an inaccurate result or even not report a result at all, and this did not happen with Read’s blood sample.

“Last I looked ... of the I think 5,000 hospitals testing for alcohol, over 80% of them are using our methodology,” Faller said. “I can’t imagine why if there were any major issues with alcohol testing in that methodology it would be that high.”

O’Keefe’s body temperature was 80.1 degrees when he arrived at the hospital — 12:53 p.m.

Dr. Justin Rice, an emergency medicine physician who was practicing at Good Samaritan Hospital in Brockton at the time of John O’Keefe’s death, took the witness stand when court resumed after testimony from O’Keefe’s minor niece and nephew.

Rice was on duty when O’Keefe was brought to the hospital after being discovered on the lawn outside of 34 Fairview Road on Jan. 29, 2022. He said when O’Keefe arrived in the ambulance at 6:47 a.m. medical personnel were performing CPR and he had been fitted with a breathing tube.

According to Rice, O’Keefe’s body temperature was 80.1 degrees, indicating hypothermia. Medical staff attempted to warm him using a “bear hugger,” a blanket that pumps warm air underneath it, as well as warmed intravenous fluids, but “there was not a significant warming of his core temperature.”

O’Keefe was also in cardiac arrest and asystole when he arrived at the hospital, meaning his heart was not pumping blood and had no detectable electrical activity. He had a cut about 7 millimeters long and swelling on his right eyebrow and scratches on his right forearm.

Rice said O’Keefe was presenting at a three on the Glasgow Coma Scale, which measures responsiveness of a patient, the lowest possible score. He was pronounced dead at 7:50 a.m.

Rice was also the attending physician that morning when Read was brought to the hospital at 7:51 a.m. for mental health concerns after her mother requested she be involuntarily detained under the state’s Section 12 rule. He said blood was drawn when she arrived and alcohol was detected in her system at 93 milligrams per deciliter.

Defense attorney Elizabeth Little began cross-examination by asking Rice if he recalled treating Read, which he disagreed with, saying that he oversaw her care but did not personally treat her. Little asked if he personally drew and packaged her blood or sent it for lab work, which he said he did not.

Little then asked if any first responders had told Rice they believed O’Keefe had been struck by a car, which he said they did not. She also pointed out that Rice had not reported any other injuries that O’Keefe had sustained, such as broken bones, which he confirmed.

Before Rice was allowed to step down from the witness stand, prosecutor Adam Lally asked if there was a reason those injuries would not be included in the medical report. Rice explained that the focus of emergency medicine is on resuscitation, not things like broken bones which in O’Keefe’s case, would not have been pertinent to the treatment of his hypothermia.

“The mind can only focus on so much,” Rice said. “In cases like this, because the attention is on resuscitation of someone’s heartbeat, their life, there’s less focus on injuries or observations that don’t coincide with the resuscitation effort or are not pertinent to the resuscitation effort.”

Rice left the stand at 12:50 p.m. and court went into recess for lunch. Testimony is expected to resume at 1:30 p.m.

Testimony closed for juvenile witnesses — 10:32 a.m.

There was no transmission of video and audio from the courtroom starting at 10 a.m. Tuesday as O’Keefe’s niece and nephew, both minors, were called as witnesses. O’Keefe was caring for his niece and nephew after their parents died.

A court order released May 7 instructed members of media not to film, photograph, transmit or audio record testimony by the minor witnesses or any exhibits containing prior interviews with them, and members of the media were not allowed to use any electronic devices in the courtroom during their testimony Tuesday. The media has also been instructed not to disclose the names of the children, their town of residence or the schools they attend.

Lally told jurors during opening statements about the Aruba trip when a 20-minute screaming match took place between Read and O’Keefe in front of his nephew and niece.

In addition, Read told Brian Higgins in texts that she and O’Keefe had had arguments over the children’s care.

“It’s just a very very complicated dynamic with the four of us. He isn’t cut out for what he’s doing and the kids present constant issues ... his heart isn’t in it,” Read wrote Higgins, according to text logs he read in court on Friday. “I try very hard but they are very spoiled and they’re not my family. My parents keep telling me I’d feel different if they were mine or my own sister’s.”

Brian Higgins confirms destruction of cell phone — 10:09 a.m.

Defense attorney David Yannetti began Tuesday’s cross-examination of Brian Higgins where his colleague Alan Jackson left off on Friday, by asking Higgins about the destruction of his cell phone in October 2022 (Jackson was not present in court Tuesday).

Through his answers to a series of yes-or-no questions from Yannetti, Higgins confirmed that he received a protection order in September of that year instructing him not to delete anything from his cell phone or destroy his phone and never received anything in writing cancelling that order. However, he said he made a decision to dispose of his phone, and threw it away in a dumpster on a military base on Cape Cod.

Higgins denied doing a factory reset of the phone before throwing it away, but confirmed that he did not transfer any data, including photos, videos and text messages, off of the phone before doing so. When Yannetti asked if he had taken out the SIM card and cut or broken it before throwing away the phone, saying it was what the witness had said in previous testimony, Higgins disagreed that that was what he said.

“What I said was, that might have been the extent of it if I was to have done that,” Higgins said, later elaborating that he didn’t remember destroying the SIM card but believed it may have been what he had done to prevent someone using the card in another phone.

He also added that he had learned the protection order was denied before throwing away the phone.

Higgins confirmed that he did not save any text messages other than those he provided to police, including those with Brian, Kevin and Nicole Albert.

“It was important to you that no one see those text exchanges that you had with those three members of the Albert family,” Yannetti said.

“No sir, thats not true,” Higgins said.

After Yannetti finished his questioning, prosecutor Adam Lally asked more questions of Higgins, starting with the morning of Jan. 29, 2022, before O’Keefe’s body was found. He asked Higgins about testimony he gave Friday that when he left 34 Fairview Road earlier that morning in his Jeep outfitted with a plow, he drove a short distance before realizing the plow was down and grinding on the ground.

Higgins said he drove about a foot before lifting up the plow to drive away.

Lally also asked if Higgins had told anyone about the flirty text messages he had exchanged with Read that month, which he said he had not, in part because he tends to keep personal issues to himself.

“I was a little embarrassed. I wasn’t really proud of [the text messages]. They maybe didn’t show me in a good light with respect to that I was John’s friend,” he said.

Lally also asked Higgins about two short phone calls that showed in his call logs at 2:22 a.m. on Jan. 29 between him and Brian Albert, which Higgins has said he does not recall. Lally pointed out that on an iPhone, when a call begins, the phone begins counting seconds for the duration of the call whether or not the other person picks up, implying that Albert and Higgins may not have actually spoken during the one- and 22-second calls.

He also provided Higgins with a log of all door access records at the Canton police station on Jan. 29, when he visited after learning O’Keefe had been found on the lawn of 34 Fairview Road. The 116-page log included 18 instances where Higgins had swiped his access card, according to Lally.

The prosecutor then turned to the cell phone that Yannetti had asked about earlier. Higgins said he was motivated to get a new phone number when he received a call from the target of an investigation he was working on July 25, 2022, and the target told him his girlfriend had found Higgins’ number on the internet.

Higgins also said he had more of a personal attachment to his work phone than his personal phone, which was why he had not transferred any data off of the phone before throwing it away.

“I’m divorced. I don’t have kids. I didn’t have the type of memories that somebody would’ve had on their phone that they wanted to preserve,” he said. “They were more like the text messages with the defendant, where it would be a drink glass at a bar, food, something along those lines.”

He also said it was common for him to throw away trash or recycling on the military base while driving through to get gas or stop at the duty-free store, and that he had not gone there specifically to throw away the phone, but had thrown it away along with other trash. He explained that his other home in Barnstable did not have trash pickup, so he had to throw all garbage away on the base or at his home in West Roxbury.

Finally, Lally asked Higgins what he would have done if he had seen O’Keefe on the lawn on the morning of Jan. 29, 2022.

“I’ve spent my whole life between being a firefighter, working in the profession that I work now, being a tactical medic,” Higgins said. “If I had saw John O’Keefe on the side of the road, I would’ve done something to make a difference.”

Before Higgins was allowed to step down from the witness stand, Yannetti asked a few final questions, with Higgins confirming that even though he got the call from the target of an investigation in July 2022, he did not change his phone number until September.

Yannetti also asked if Higgins had told his boss about the text messages with Read, as Higgins had testified on Friday that he told his boss about the kiss. He said Tuesday that he knew he had told her about the kiss and did not remember telling her about the texts, but said it was possible he did tell her and would not deny it.

After a short recess, the court was expected to continue with questioning of a juvenile witness, which will not be livestreamed to protect their privacy.

Karen Read trial recap — 7:30 a.m.

Norfolk County prosecutors say Read struck O’Keefe with her SUV while driving intoxicated. Read’s attorney, David Yannetti, said during the trial’s opening statements that her car never struck O’Keefe and that others are to blame for his death.

The trial is taking place in Dedham’s Norfolk County Superior Court.

On Friday, U.S. Bureau of Alcohol, Tobacco, Firearms and Explosives agent Brian Higgins, a friend of O’Keefe’s, testified about flirtatious text conversations he had with Read in the weeks before O’Keefe’s death, as well as a moment they shared when he said Read kissed him after a party. Defense attorneys are expected to finish cross-examining Higgins Tuesday morning.

The trial resumes Tuesday after the long weekend. Tuesday will be the only day the trial is in session this week.

More about the case

• Karen Read trial: Read kissed Brian Higgins 2 weeks before O’Keefe’s death
• New evidence could be used in ‘Turtleboy’ blogger’s trial, report says
• Karen Read trial: Witness says Read kicked car door to get out when O’Keefe was found
• Karen Read trial: Witness says defense attorney is 'spinning all of this'
• Karen Read trial: Jennifer McCabe testifies about when John O’Keefe was found dead

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