Training the next generation of animators: Inside UTS Animal Logic Academy

“Strange name for an animation and visual effects school”, is often the response when we introduce ourselves as the UTS Animal Logic Academy. The first assumption is that we offer a master’s in veterinary psychology. But the truth is we are an exciting collaboration between the University of Technology Sydney, Australia’s top young university, and world-leading Netflix Animation Studios (formerly Animal Logic), best known for their production on Happy Feet, The Lego Movies, Peter Rabbit and more.

A further truth is that we are the round peg in the square hole, as we do not fit into the usual processes, standards and applications of a university.

Ian Thomson, Head of UTS Animal Logic and Industry Associate Professor at University of Technology Sydney

Here at the Academy, we focus on industry-led education and apply this through large-scale, project-based learning. We often jest that we do not ‘teach’ our master students anything, but our Industry Leads mentor them through the production of a studio-quality 3D animated film like you would see from a large studio like Pixar in the cinema or on a high-end streaming service like Netflix.

Learning by doing: Simulating real-world studio production

To achieve the highest possible industry production standards, our cohort of 35-45 postgraduate students specialise in one of eleven departments to produce one 3D animated short film. This is an unusual experience for most university students, as they are used to producing creative projects alone or in small teams. At the Academy, however, they have to collaborate closely within their department and then communicate with the other teams in the 3D Animation production pipeline, just as they would in a production studio. These start with the art department, and then move through modelling, rigging, animation, pre-visualisation, surfacing, effects, lighting, compositing, technical direction and production coordination.

Developing agility and collaboration skills for the industry

This was in fact the key aspect of the briefing from our industry partner Animal Logic, when the Academy was being set up: “Teach students how to work as part of large collaborative teams on high-end productions”. Of course, there is a baseline development of creative and technical knowledge and skills, but what makes our graduates so useful and successful in industry is that they learn how to let go of ego, give and receive feedback, and develop collaborative and communication skills in order to contribute strongly to team projects.

This is not always a given, and the first few months focus on developing agility skills and giving and receiving notes (critical critique) about their work. We run a fun Lego project during orientation, where small teams have to build an object out of Lego (e.g. spaceship, creature, machine, robot etc), then with no notice, halfway through the process we get them to swap teams. Although they complain and would like to complete their own ideas, the students learn how to be able to jump onto a new project at any point in production, and the outcomes produce some very innovative and unexpected solutions.

The interesting thing that develops over the first half of the year, is that when the students realise they can produce something much better together as part of a large team than they could alone or in a small group, they become strongly incentivised. The motivation to have high-quality shots on their showreels when applying for work becomes the carrot that helps them overcome some of the teething issues around working with different personalities and figuring out how to best navigate team dynamics.

Encouraging innovation through emerging technologies

To get students to future-think their careers, in addition to the high-end 3D animated short film, in the middle of the year we get them to research emerging visualisation technologies, and then develop creative project ideas using these. In the past, this has led to innovative projects in Artificial Reality (AR), Virtual Reality (VR), Extended Reality (XR), Realtime, visual effects and virtual production. Here, the teaching Leads take a step back and encourage the students to work out how to solve problems together. When they do approach the Leads, we tend to not present them with an answer but point them in the direction for them to find a solution for themselves. Again, there can be complaints during the process, but at the end of it, the students grow in self-confidence and are often very proud of the innovative and creative projects they have created together.

Producing graduates who are industry-ready from day one

It is this kind of self-directed problem-solver that the industry wants, over a junior that is only prepared to follow directions. Industry reports back that they save up to a year in training the new graduates because they have effectively already had a year in an industry-like environment. 

Our graduates not only hit the ground running but also move quickly up to mid-level and even senior roles.

Ian Thomson, Head of UTS Animal Logic and Industry Associate Professor at University of Technology Sydney

But the most rewarding part for us as educators is to meet our graduates again in industry; to hear how their year at the Academy has accelerated their entry and progression in their careers, and that so many of them can thrive in jobs they love, and are helping to forge the future of the industry.

Ready for more?

This article is part of The Hidden Engine of Innovation: University-Industry Partnerships in Action, UIIN’s new casebook showcasing 15 stories of successful university–industry collaboration from around the world. Packed with insights, strategies and real-world examples, the full book is exclusively available to UIIN members, but you can download the teaser version here and explore how partnerships are driving talent, innovation and impact.

Ian Thomson (author) is the Head of UTS Animal Logic and Industry Associate Professor at University of Technology Sydney. Ian has over 30 years of international experience as an award-winning media and visual effects designer, filmmaker, author and educator. He has held leading creative positions at The Video Paintbrush Company in Sydney, Framestore in London and Barcelona, as well as Premiere TV and Design for Media and Communications in Hamburg.