After graduation, these artists have been working on projects for Marvel, Disney, Fox and HBO.
By Randi Altman
With an estimated 1 in 68 children in the US being born with some sort of autism spectrum disorder, according to the Centers for Disease Control’s Autism and Developmental Disabilities Monitoring, I think it’s fair to say that most people have been touched in some way by a child on the spectrum.
As a parent of a teenager with autism, I can attest to the fact that one of our biggest worries, the thing that keeps us up at night, is the question of independence. Will he be able to make a living? Will there be an employer who can see beyond his deficits to his gifts and exploit those gifts in the best possible way?
Enter Exceptional Minds, a school in Los Angeles that teaches young adults with autism how to create visual effects and animation while working as part of a team. This program recognizes how bright these young people are and how focused they can be, surrounds them with the right teachers and behavioral therapists, puts the right tools in their hands and lets them fly.
The school, which also has a VFX and animation studio that employs its graduates, was started in 2011 by a group of parents who have children on the spectrum. “They were looking for work opportunities for their kids, and quickly discovered they couldn’t find any. So they decided to start Exceptional Minds and prepare them for careers in animation and visual effects,” explains Susan Zwerman, the studio executive producer at Exceptional Minds and a long-time VFX producer whose credits include Broken Arrow, Alien Resurrection, Men of Honor, Around the World in 80 Days and The Guardian.
Since the program began, these young people have had the opportunity to work on some very high-profile films and TV programs. Recent credits include Game of Thrones, The Fate of the Furious and Doctor Strange, which was nominated for an Oscar for visual effects this year.
We reached out to Zwerman to find out more about this school, its studio and how they help young people with autism find a path to independence.
The school came first and then the studio?
Yes. We started training them for visual effects and animation and then the conversation turned to, “What do they do when they graduate?” That led to the idea to start a visual effects studio. I came on board two years ago to organize and set it up. It’s located downstairs from the school.
How do you pick who is suitable for the program?
We can only take 10 students each year, and unfortunately, there is a waiting list because we are the only program of its kind anywhere. We have a review process that our educators and teachers have in terms of assessing the student’s ability to be able to work in this area. You know, not everybody can function working on a computer for six or eight hours. There are different levels of the spectrum. So the higher functioning and the medium functioning are more suited for this work, which takes a lot of focus.
Students are vetted by our teachers and behavioral specialists, who take into account the student’s ability, as well as their enthusiasm for visual effects and animation — it’s very intense, and they have to be motivated.
Susie Zwerman (in back row, red hair) with artists in the Exceptional Minds studio.
I know that kids on the spectrum aren’t necessarily social butterflies, how do you teach them to work as a team?
Oh, that’s a really good question. We have what’s called our Work Readiness program. They practice interviewing, they practice working as a team, they learn about appearance, attitude, organization and how to problem solve in a work place.
A lot of it is all about working in a team, and developing their social skills. That’s something we really stress in terms of behavioral curriculum.
Can you describe how the school works?
It’s a three-year program. In the first year, they learn about the principles of design and using programs like Adobe’s Flash and Photoshop. In Flash, they study 2D animation and in Photoshop they learn how to do backgrounds for their animation work.
During year two, they learn how to work in a production pipeline. They are given a project that the class works on together, and then they learn how to edit using Adobe Premiere Pro and compositing on Adobe After Effects.
In the third year, they are developing their skills in 3D via Autodesk Maya and compositing with The Foundry’s Nuke. So they learn the way we work in the studio and our pipeline, as well as preparing their portfolios for the workplace. At the end of three years, each student completes their training with a demo reel and resume of their work.
Who helps with the reels and resumes?
Their teachers supervise that process and help them with editing and picking the best pieces for their reel. Having a reel is important for many reasons. While many students will work in our studio for a year after graduation, I was able to place some directly into the work environment because their talent was so good… and their reel was so good.
What is the transition like from school to studio?
They graduate in June and we transition many of them to the studio, where they learn about deadlines and get paid for their work. Here, many experience independence for the first time. We do a lot of 2D-type visual effects clean-up work. We give them shots to work on and test them for the first month to see how they are doing. That’s when we decide if they need more training.
The visual effects side of the studio deals with paint work, wire and rod removal and tracker or marker removals — simple composites — plus a lot of rotoscoping and some greenscreen keying. We also do end title credits for the major movies.
We just opened the animation side of the studio in 2016, so it’s still in the beginning stages, but we’re doing 2D animation. We are not a 3D studio… yet! The 2D work we’ve done includes music videos, Websites, Power Points and some stuff for the LA Zoo. We are gearing up for major projects.
How many work in the studio?
Right now, we have about 15 artists at workstations in our current studio. Some of these will be placed on the outside, but that’s part of using strategic planning in the future to figure out how much expansion we want to do over the next five years.
Thanks to your VFX background, you have many existing relationships with the major studios. Can you talk about how that has benefitted Exceptional Minds?
We have had so much support from the studios; they really want to help us get work for the artists. We started out with Fox, then Disney and then HBO for television. Marvel Studios is one of our biggest fans. Marvel’s Victoria Alonso is a big supporter, so much so that we gave her our Ed Asner Award last June.
Once we started to do tracker marker and end title credits for Marvel, it opened doors. People say, “Well, if you work for Marvel, you could work for us.” So she has been so instrumental in our success.
What were the Fox and Marvel projects?
Our very first client was Fox and we did tracker removals for Dawn of the Planet of the Apes — that was about three years ago. Marvel happened about two years ago and our first job for them was on Avengers: Age of Ultron.
What are some of the other projects Exceptional Minds has worked on?
We worked on Doctor Strange, providing tracker marker removals and end credits. We worked on Ant-Man, Captain America: Civil War, Pete’s Dragon, Alvin & the Chipmunks: The Road Chip and X-Men: Apocalypse.
Thanks to HBO’s Holly Schiffer we did a lot of Game of Thrones work. She has also been a huge supporter of ours.
It’s remarkable how far you guys have come in a short amount of time. Can you talk about how you ended up at Exceptional Minds?
I used to be DGA production manager/location manager and then segued into visual effects as a freelance VFX producer for all the major studios. About three years ago, my best friend Yudi Bennett, who is one of the founders of Exceptional Minds, convinced me to leave my career and come here to help set up the studio. I was also tasked with producing, scheduling and budgeting work to come into the studio. For me, personally, this has been a spiritual journey. I have had such a good career in the industry, and this is my way of giving back.
So some of these kids move on to other places?
After they have worked in the studio for about a year, or sometimes longer, I look to have them placed at an outside studio. Some of them will stay here at our studio because they may not have the social skills to work on the outside.
Five graduates have been placed so far and they are working full time at various productions studios and visual effects facilities in Los Angeles. We have also had graduates in internships at Cartoon Network and Nickelodeon.
One student is at Marvel, and others are at Stargate Studios, Mr. Wolf and New Edit. To be able to place our artists on the outside is our ultimate goal. We love to place them because it’s sort of life changing. For example, one of the first students we placed, Kevin, is at Stargate. He moved out of his parents’ apartment, he is traveling by himself to and from the studio, he is getting raises and he is moving up as a rotoscope artist.
What is the tuition like?
Students pay about 50 percent and we fundraise the other 50 percent. We also have scholarships for those that can’t afford it. We have to raise a lot of money to support the efforts of the school and studio.
Do companies donate gear?
When we first started, Adobe donated software. That’s how we were able to fund the school before the studio was up and running. Now we’re on an educational plan with them where we pay the minimum. Autodesk and The Foundry also give us discounts or try to donate licenses to us. In terms of hardware, we have been working with Melrose Mac, who is giving us discounts on computers for the school and studio.
Check out Exceptional Minds Website for more info.