News on Youtube Oct 4 2017

My name is Gueve Ataie.

My job title is a financial analyst

at a private equity firm.

The salary range for someone in my job is typically between

90 and 150 thousand base and bonus, all-in.

My firm specifically, it's a private equity firm

so they do traditional buyout private equity,

which is the business of buying

public or private corporations

by issuing large amounts of debt.

What I specifically do is I work in the real estate group,

which is what my private equity firm is best known for.

We invest in distressed debt, non-performing loans,

hard-asset real estate, and we also have

a lending platform where we give out performing loans

to performing hard-asset real estate owners

who are trying to do things like develop, renovate,

whatever it may be, to their existing properties.

I build and manage all of our portfolio models

so when we make an acquisition,

depending on how busy we are, I may or may not help

with our acquisition and underwriting team,

but my main focus is the dispositions of assets

and the management of our entire portfolios

once we've acquired them.

Our models are pretty in-depth.

It's within Excel.

It can be anywhere between 10 and 50 tabs,

hopefully lower than 50 because it makes them

pretty convoluted if they get that big.

But, once we've underwritten some portfolio properties,

they've already built-in a certain set of assumptions

for the acquisition.

We have to build in assumptions on my side for disposition,

so we'll build in things like expenses for selling,

broker fees, legal costs, things of that nature.

We'll also build in interest rate expenses,

financing expenses, asset management fees, performance fees.

We have our own internal line of credit

that we have to pay interest on.

We model our distributions to our limited partners,

and we are the general partners,

so to the people within our company

that are getting paid by our distributions as well.

That's sort of where my area of expertise lies.

There are very many times where I have to learn new things

within Excel, within real estate, within finance,

whatever it may be, and the harder it is

the more I enjoy it.

I don't like the more administrative, repetitive things

that come with any job.

But, the stuff that really makes me happy to go to work

is knowing that I'm gonna get pissed off a lot

because I'm gonna be challenged a lot about something.

You get frustrated, and you get mad,

and I'll yell profanities every now and again

at my computer screen,

but that is what I actually enjoy doing

because at the end of the day when you complete

whatever it is that you're trying to do

after struggling through it

and having to learn a lot through it,

that's when I think you learn the most, number one.

And when you really kind of put yourself at your peak

in terms of your performance.

When I first was applying to jobs and I had an internship

in New York between my junior and senior in college,

I worked at a trading firm and it was by far

the most terrifying experience of my life.

I was completely horrified by my boss,

but he was a great guy.

I don't have nothing against him, he helped me quite a bit.

But, it was just an overwhelming experience

and I was thinking, oh, this is finance in New York,

it's super intense.

I was like, I'm not prepared for this.

What I learned after moving to New York

and working full-time in finance

was that really what I think are the best traits to have

is number one, you have to be likable.

I mean, I know people always think,

oh, you have to be a genius to be in finance, math.

I mean, people outside of finance.

I could tell you from first-hand experience

you do not need to be a genius to work in finance.

What I've noticed is that people like to hire people

that they like being with.

I mean, it doesn't matter if you're

the smartest person on the planet.

If you're not an enjoyable person to be around,

people don't wanna hire you.

Past that, you need to be

very detail-oriented and organized.

That's something that I've had to work with

because generally I've been good at

just keeping things in my head

and always being able to remember it,

but when you have a lot of things on your plate,

you need to actually properly organize yourself

and schedule yourself so that you don't forget anything

or that you don't miss something that

even if it's not super important,

it can make an effect on someone.

It can give an impression that you are lazy,

or not lazy, or you're super on top of the ball.

That's something that you need to be wary of.

Then, like I said, detail-oriented is hugely important,

that's something that I've also had to work on

because my boss, she's so incredibly detail-oriented

it's not even funny.

It's very impressive.

If you have an email that you're sending to someone

that's of high importance, that needs to be properly worded,

grammar needs to be great, but whatever you're sending them

needs to be very well done as well.

Whether it's a simple Excel sheet, or a Word document,

a very extensive Excel sheet, you may think that

you've gone over it once and then that's good,

but if they go through it and they find a mistake,

they may not trust any of the work that you send them

for quite a bit of time onwards.

I learned that the hard way when I was a little bit younger.

That's something that I've tried to be

very, very focused on, and my boss is extremely encouraging

and helpful, and she gives me a break

when I make these mistakes, but those are things

that people really, really care about.

If they find even the smallest mistake,

it deters their trust of you,

and that's something that is hugely important.

That's not something that I thought about

when I was an intern, or even when I was early on in my job.

Being hardworking, no one wants

to have someone who's lazy, obviously.

And that goes without saying.

That shouldn't even really be something that I bring up.

You need to be hardworking if you want to do well

in any job, regardless of the industry or specific area.

I've gone home at two in the morning just to come back

the next day at six to make sure

that something is out at nine.

That's sort of just the nature of this industry,

especially within New York.

There's no sympathy for the late hours.

If they set a deadline, they need it to be met.

I think that's just, again, it comes with the territory.

Depending on where you work, some companies pay

extraordinarily well.

Some, if they're maybe a smaller boutique firm,

may not pay as much, but, in the same breath,

some small boutique firms that are very high-caliber

will even pay more than some of the largest firms.

It really is just dependent on the culture,

the management, or whatever it may be.

I guess a typical range, all-in bonus, salary,

everything all-in for a financial job for someone my age

is typically between 90 and 150 thousand

depending on what group, within a bank,

or a private equity firm, or whatever it may be.

I'm not giving you my exact salary

because I guess within the world of finance,

it's negotiable to some extent.

It's just something that's been frowned upon

within finance, as far as I know,

to publicly display your salary in a way

that someone could potentially

hold another company accountable to say,

hey, why am I not getting paid this,

or why am I getting paid this and someone else

is getting paid that much more than me, whatever it may be.

Bonuses depend on discretion of your manager,

or your boss, I should say.

Your annual salary increase, if you wanna call it that,

I mean, it's probably 5% maybe, something in that range.

But, if you get promoted, obviously, it's more.

A lot of times you can ask, you may get shut down,

you may be welcomed with open arms for more money.

It really just depends on how you are perceived

within your company, if your company is even open

to doing things like that.

Some companies will just say no no matter what.

Even if you're an absolute all-star.

It is really dependent from company to company.

For more infomation >> Gueve, Financial Analyst Part 1 - What I do and how much I make - Duration: 7:43.

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Lisa, Animation Director Part 1 - What I do and how much I make - Duration: 11:12.

So my name is Lisa LaBracio, I'm 32 years old,

I am an animation director at TED-Ed

and I make approximately 80,000 a year.

TED-Ed is the educational initiative of TED conferences

so TED-Ed works with, to pair animators and educators

so an educator might be a teacher or a TED speaker

or an expert or a researcher in their field

and they pair those people with animators

who will work to bring their lesson idea to life

and to make those into a short, animated video,

so they're about five minutes long.

I work as an animation director and as an animator there

so I actually work with that educator to ideate,

so to make that lesson into, that script into a video.

As an animation director, what will happen is I will

get a script earlier on in the process and from there,

it's my job to research all of the information

in that script as I'm trying to,

of course it's been fact-checked when it's come to me

already so I'm not doing research in the typical sense

but more in a visual sense, so I'll look at other artists'

work for inspiration, I'll spend some time on Pinterest,

I'll be reading up a lot of extra information

about the topic, looking at all the different theories

and communicating with the educator quite a bit

to ask questions and get more information.

And then from there, I start to put together a style board

or a look and feel for the project,

so I'll start to decide what method of animation I'll use

because I work in traditional animation,

so I do stop motion, hand drawn, a lot of tactile elements

as well and then I'll start to create characters

and storyboards and at that point,

decide if I need other people onboard with me

to help me execute the project.

As animation directors at TED-Ed,

we get creative freedom, so we do get to decide

what style and what way to execute the project

we get to do each time, which is a major perk.

That said, if anything that we're doing is not in service

of the information, so it's very important

that we're creating an overall educational film.

So the educator can step in and say, this is inaccurate,

you've portrayed this person incorrectly,

that color implies this and that's incorrect, whatever,

but they can't say, oh I don't like your character design.

So that's the line, so we do get a lot of feedback

throughout from both the educator and our internal team

so that's the other animation directors who work

through our producer, our script supervisor,

our director up top, so it is, there's plenty of feedback

being given but we also work on super tight timelines

so you don't really have the option of it not being done,

it's kind of just done when it's time to go online, so.

TED-Ed produces 150 animated shorts a year,

which is a lot, and in house, we do about 20 of those,

I do five of those per year, each one is about eight

to 10 weeks production timeline,

which is actually really short for animation,

so short animation, I've also spent on a personal project

on a five-minute film two years before

so it is, this is a scaled-down version of that production

so we start, we basically pick up a script

before we finish our next project,

so that way, or our current project, so that way,

when we finish the project, we dive right into the next one.

My most recent project is about this manuscript

called the Voynich manuscript and actually

it came up in a script meeting and as I had mentioned,

it's not a topic that I'm normally interested in

but I just quickly googled the book to see the images

of it and it's a lot of these weirdly stylistic drawings

of plants and creatures that may or may not exist

and just was really fascinating stylistically to me

and also I really like plants and that sort of thing

so it seemed something in my range anyway.

And I got kind of obsessed with the idea

of seeing the pages of the book actually move

and seeing that, this object, which is from,

dated to the 1400s, come to life.

So I flagged it and eventually took that project on

and it was a big challenge because,

so this book lives at Yale University's Rare Book

and Manuscript Library, which means that you can't touch it

or turn its pages or really interact with it at all

so it was our job to do all of that either digitally

or some other method, so I knew that I wanted to have

some digital animation of the actual book pages

from the high-res photographs that exist of it,

but I also knew that I wanted to see the book in space

and I couldn't have that unless I physically created

a small version of that, so we actually made a miniature

Voynich manuscript, it's only a few pages long,

but that gave us the option of making stop-motion animation

and having the actual book's pages unfold in the book.

And then that also helped me figure out,

because one of the challenges in this project

was what method of animation do I use

when I'm not in the book pages, and I knew that I didn't

want to draw animation for it because I thought

that that would conflict with the already existing

style of drawing that's in the book itself,

but I had to tell a story through history

while also showing the pages of the book,

so it ended up being really helpful to use stop motion

to depict this because it was a very obvious change

from the digital landscape of the book's pages

to the stop-motion characters, so that part was super fun

for me because I got to make small puppets

that were all done in pen and ink and then water-colored

and very precariously cut out and then those were all moved

under the camera with map tacks as their joints,

so we used a piece of foam core that was covered with paper

under the camera and placed down those puppets

and all of their joints were operated from these tacks

right here and then I did all of that stop motion animation

under the camera, so that was my area,

but also this was, so this decision at the very beginning

was really an important one because it also dictated

that I needed someone else to work on the project with me

so I work in after effects and Photoshop in animation

all the time but it's not my, after effects is not

my strength so I have worked with this one artist before

who's really, not just good at making after effects

animation but she also really enjoys it,

which is where I fall off, I don't enjoy it at all.

Really like moving objects under a camera

but I knew Catelyn, who came onto the project and helped me,

would really just do a great job,

so she took over that entire section

and that was really fun for me because I was able to let her

also have ownership of a piece of the project as well.

So I also, in addition to my work at TED,

which is my full-time job, I also work as a freelance

animation director and I do similar explainer videos, PSAs,

short videos or experiments, whatever, on the side

and so between the two of those jobs,

I basically make around 80,000 a year,

that can change depending on the year.

But of course, I have the full-time job

that serves as something very sure and regular.

And it really depends, animation's a very,

it's lot bigger of an industry than it seems,

it seems quite niche but there's actually so many niches

inside of it, so I have friends who work in advertising

for animation and that's of course a higher end of income,

friends who work for big studios like a Pixar

or a Dreamworks or a Cartoon Network and feature film

is gonna be different than television.

I started in animation in the independent animation world

which is the low end of that, working on documentary stuff

and short films, festival films,

projects, ads when they come in, but that's the lower

end of it, so a freelance animator can make,

and I know this 'cause I hire them often for projects,

can make anywhere from 400 to 1200 a day

depending on the kind of animation that they do

and also what level they're at,

so you have a junior animator versus a senior animator,

someone who's been out of school for a minute

or someone who's been doing it for a decade.

So those would all be different rates within that range

but that's typically the range

and of course that's a freelance rate,

so that doesn't include things like healthcare or benefits

packages and it's, you get work when you get work.

So there are a lot of jobs within the umbrella of animation.

For what I do as an animation director

and especially working on educational material,

it's important to be really strong with visual storytelling

and some of that is something that just comes

from having watched a lot of content

and some of it's from having made the content,

worked under directors who made great decisions

that you watched and sometimes terrible decisions

that you watched so that way, you can learn from that.

But I would say that's the number one important skill

is that visual storytelling, which comes with a sense

of what's best to have onscreen to tell this story.

But in addition to that, there's so much,

so animators have to be, have to know a lot about drawing,

about cinematography, about how you light a scene,

about mood and composition, to be able to storyboard

and they have to know at least a little bit about sound

design and how to direct other people,

how to take direction from other people.

I would say one of the things that I've been able to learn

thanks to my role at TED-Ed, because we turn over pieces

so quickly and we are working just for two months

on a project and then it's a totally different style

and topic for the next two months,

you really learn to get rid of things that don't work

and to also not be afraid to share ideas you have

when they're in really really really rough places

and that's a thing that I was totally afraid to do

before I started this job.

I would wanna perfect a thing before sharing it

and you just don't learn that way

and you also don't get the best product that way.

So it's a lot about that but I also think it takes a lot

to know what your strengths are, so for me,

I learned pretty quickly in school that I really wanted

to have my hands on the whole process,

and I also, in learning that, learned that I'm not

the best character animator, for example,

but that does mean that I can identify someone

who is much better than me and hire them to come on

to the project and everyone benefits from that,

including the project that you're making.