Jérémy Julien

Jérémy, how did you decide to go into 3D?

I followed a technological path because at school I couldn’t sit still and listen to lectures. And as I was saying off the record, I knew very early on what I wanted to do. In the ninth year, my work placement at Mathematic Studio was a real eye-opener.

was a real wake-up call. From then on, I fought to get into the industry.

I chose ESMA by looking at short films by other schools on YouTube. Each school has a strong artistic direction, and ESMA’s was particularly appealing to me. It’s also a modern school, with people who work in the industry, which made all the difference for me.

That said, you must have been very motivated to join ESMA?

That’s right. I was very bad at drawing at the time, so I had to prove myself in other ways, through motivation and perseverance. The preparatory year was very complicated because of my shortcomings, but I never gave up. I then joined the 3D Animation course at ESMA Lyon, where I gradually specialised in rigging.

The Lyon team has been a real support in building my future. I would particularly like to thank Tiphaine Maselli, Aurora Gutierrez, Ana Rodriguez Rivas, Aymeric Gesse, Baptiste Lebouc, Frédéric Multier, Francesco Gioia, Séverin Valran and the entire teaching team.

I was also lucky enough to return to Mathematic Studio for a three-month work placement, which was an extremely formative experience. Then came my final film, Equinox, which I co-directed and co-produced. This project was a very intense human and professional adventure, which helped me grow a lot and which I’m still very proud of today, for everything it taught me.

What do you remember about your training?

My training at ESMA gave me a solid technical grounding in rigging, but above all a real semi-professional experience thanks to the end-of-studies film. Managing a team, dealing with tricky situations, making decisions under pressure and reacting to the unexpected are all essential skills for an artist.

What really stood out for me was the teamwork and the opportunity to work with very different profiles. That’s when you realise that everyone brings something unique to the table, and that the success of a project depends as much on people as on technology.

From the ESMA benches to Netflix Animation, how did you manage to land this job?

After school, I worked for a year in a restaurant. During this time, Mathematic Studio recommended me to MIDGAR Studio, where I worked as a Technical Artist and Rigger on Edge of Memories. My job was to refocus and unify different versions of character rigs so that they worked equally well in game and in cinematics.

It was a real piece of investigative work, requiring rigour, precision and method. MIDGAR put their trust in a junior, and the result was just what they needed. They were very satisfied with my work and called me back a few months later for a longer assignment.

I realised that the French market was very closed, so I decided to try the Working Holiday Permit in Canada. Six months later, I was off to Vancouver with very little money, but a lot of desire.

I met a lot of good people there, and at a party I met Alicia and Sarah, who gave me invaluable advice on my reel demo and helped me get into Netflix Animation Studio. Today I’m a Technical Assistant Rig at Netflix Animation Studio. I could never have imagined joining a team made up of so many talented people. I’m really proud of that.

What does your job involve today?

My main role isQuality Check. This involves checking the work of the riggers, identifying problems, omissions or bugs, and making sure that the rigs work and meet the studio’s standards. I also carry out asset rigs and other tasks to facilitate the work of the regular riggers and make production run more smoothly.

I’m currently working on the studio’s next feature film, Steps. The film revisits the story of Cinderella, but this time from the point of view of the stepsisters, who turn out not to be so bad after all. This project will mark my very first involvement in the creation of a feature-length animated film with worldwide appeal, and I can’t wait to share it with you.

How do you feel about the state of the 3D animation industry today?

The sector is currently saturated, with far too many schools and students on the market. That said, I can see that the market is gradually picking up, and that many studios outside France are recruiting again.

Personally, as a young professional, I think I was sufficiently prepared by ESMA, which maintains good relations with the studios thanks to its network of alumni and speakers. It’s a real goldmine for former students.

But one thing is certain: schools teach us to learn, to be rigorous and to do things well. Studios, on the other hand, teach us to think for ourselves, to be efficient and functional. And to be a good professional today, you have to be curious, sociable, multidisciplinary and interested in something other than what you were strictly trained for. Cinema is a living art, nourished by the personal vision of each artist.

What about AI?

It is frightening, in the same way that the camera once frightened painters. But it is above all a tool. It’s up to us to learn to master it, to evolve with it and to use it intelligently, without ever losing our artistic standards.

What role will French talent play in this sector in 2026?

French artists are renowned for their talent and creativity. Working in Canada today, I can see that there are a lot of French people in the studios. I think the French industry needs real financial support to bring its major projects to fruition, and to revive what is the pride of French animation around the world.

Where do you see yourself in 5 years’ time?

It’s hard to say. Today, at Netflix Animation studio, I finally feel like I belong. I’m working on things that make me tick, surrounded by talented people who understand me, in a healthy and stimulating environment. Working in these conditions motivates me to get up every morning.

My aim now is to move up within the studio and become a Rigger. After that, we’ll see. In five years’ time, I don’t think I know where I’ll be, I’ll let opportunities guide me.

Your advice for students and future students?

Enjoy yourself. If you’re not passionate about it, don’t continue. 3D animation is a job for the heart. There will be ups and downs, but if you’re motivated and passionate, you’ll always win in the end.

Continue to be curious, do group projects during and after school, and take an interest in what’s happening in the industry.

And to the schools, I’d like to say this: keep in touch with studio practices, surround yourself with professionals who are active in the industry. Art students are human beings with a thousand things to say. Give them the space they need and

support them. They are the dream-makers of tomorrow.

I would like to sincerely thank the entire ESMA Lyon teaching team for their support and for the professional training that has enabled me to make a living from my passion in the studios that have always been my dream.

I’d also like to thank the teams at Netflix Animation Studio for their trust and kindness.

I’ll end with a phrase that has stayed with me throughout this sometimes difficult journey, and which has helped me to never lose sight of why I do this job:

“Dream your life in colour, it’s the secret of happiness.