Thanks to Brecht Debaene for reminding me of this today. I swear I could watch pencil roughs all day. Seriously. This is pure magic. It’ll be nice when the day arrives when people are doing stuff like this again….
Don Hahn narrates the wonder of hand-drawn animation in The Beauty & the Beast.
There are rigs for Maya, Max, Lightwave, Xsi, Houdini, Motion Builder, etc. So go get your free rigs for the program of your choosing and enjoy a life of happy animating on the computer. 
PS: Thanks goes out to the StrutYourReel forum for having this and making my life easier.
I still have stuff I want/need to do. I need to make each of the movie files pop up in a sized window with a player. I have a Wordpress plug in to do this, but it’s just going to take some time to get it working and I’m out of time for this round of improvements. Doing the same with the tutorials should be pretty easy as well. Then I want to get something set up for an asides (side bar mini-blog) where I can toss up some of my little stories about living here in Brazil without cluttering up the space for the animation stuff. Anyhow, I hope you kids like the new digs. The site was a mess and it was bugging me for months. I’m finally able to sleep a little better now that it’s been cleaned up some.
I was down near the city of Corumba’ Brazil the last couple of weeks. This is the base of our work with the extremely poor folks who live along the Paraguay River basin and Pantanal wetlands. As I noted in other posts my wife and I are involved in a medical boat work there that brings healthcare services to these remote and forgotten folks. One of the primary causes for their many health issues is that they have no access to clean drinking water at all. So all manner of preventable diseases cause no end of suffering for these unfortunate folks. A primary cause of childhood death is simple diarrhea. One of the first goals we had in coming down here to live and work in Brazil was to find a way to solve this problem. Amazingly, we found an answer to our prayers by being introduced to the great folks at Living Water International, based in Houston TX. So last week we took the time to learn from two of their experts on how to make simple water filters for these folks. You can click the video clip above to see how it turned out. If you want to know more, follow me after the jump. I have some more pictures, too.
It’s all very simple and amazingly inexpensive- around $40-50 per filter and a single filter can serve an entire family. First you make a concrete box with a PVC pipe that runs back up the side of it. You fill this box with clean gravel, clean medium sized pebbles and clean fractured sand. Then you pour water in. That’s it. The sand/pebble/gravel mix percolates out the solid contaminants like metals, suspended solids, etc. Because the sand in the box stays submerged (this is due to the PVC pipe running back up above the interior sand level and the water in the box stays at that level) a layer of bio-mass grows out of the ambient bacteria. This bio layer survives by eating the bacteria, viri, amoebas and parasites that exist in the dirty water. So in goes yucky water, good bio stuff in the sand eats the unwanted bio stuff in the water, the sand and gravel filter out the rest and -ding!- clean water. 99.9% clean as confirmed by tests. It’s an amazingly simple, easy, low maintenance, very low cost clean water solution. It can filter about 1 litre of water every 1-2 minutes. Our goal is to get one of these in every home along the 200 mile stretch of river we serve. And, Lord willing, we’d like to see the program expand to meet the need in other areas in Brazil. Often there’s plenty of water, but it’s not fit to drink without treatment.
Anyhow, we’re excited to see this implemented here. We’re starting by installing around 10 of these in homes pn he river in mid September. After we see how that goes and make any adjustments we’re off to try and get more done. Here’s some pix, just for fun!
The water that comes out is clean enough for me to let my little boy play with it. He came along to keep us all entertained.
Oh yeah, the K-kids are representin’ HUGE today! Not to be outdone by the fine work of our french friends, (which would be different than the fine taste of french fries, but I digress)- Lee Jong Pil has taken the time to translate the Principles for Lipync Animation article into Korean. That’s right. When it comes to translating animation tutorials those Koreans are hard core. Heh.
Anyhow, read, enjoy and sync well!
I’m back after a week down on the Paraguay River. I’m terribly behind on all my work, but it was a great trip. I’ll post more on it in a little bit.
But first, I need to say a big Thank You to VTS Subscriber and nice fellow Guy Wallart for taking the time to translate my Principles for Lipsync Animation article into the lovely sounding language of French! So all you suave’ sounding Parisians can now read all about animating lips in your mother tongue. So check it out! Principes de la synchronisation labiale
All that talk of tongues and lips, I think I’ll leave the french kissing jokes to the kids in the back seat. Heh.
UPDATE**: There’s just one spot left open for this session. Just in case you were on the fence or anything.
UPDATE #2** Uhm.. never mind. that lasted all of 15 minutes. Heh. All the spots for this session are taken! If you were interested keep an eye out for the next session which will be taking enrollment in January.
I’m happy to announce a new training program for animators, the Animation: Personal Trainer program. Ever since successfully launching the Video Tutorial Service I have been thinking of ways to provide even better animation teaching and training. The best way by far is personal, hands on, in-the-same-room working on real production scenes kind of training. This was the usual way you learned to be an animator for over 70 years. Sadly this doesn’t much exist in the animation business of the 21st century. So I decided to do the next best thing: offer a program where I can take my years of experience training and teaching animators as an animation supervisor and apply that experience to be your personal trainer for animation. The idea was simple: provide a completely customized, personalized, unique animation curriculum for each student based on their current skills to address their areas of greatest weakness. What if I could be like an exercise personal trainer where I can help you target specific goals for improvement? Thus the idea for the Animation: Personal Trainer program was born.
Using proven methods for online training in animation I want to provide folks the opportunity to have completely customized training for their goals and needs. Rather than a one size fits all approach, the Animation: Personal Trainer seeks to create specific assignments, milestones, teaching moments and feedback sessions for every student. Are you already a professional animator and you just want to improve your lipsync animation in an effort to break into film? Or what if you really want to master walk & run cycles for games? What if you just want to take your acting to a higher level? What if you struggle with process? What if you want to better understand how to polish your animation? What if you don’t have the time to be involved with an animation training program for a long time? Or what if you’ve completed other schooling in animation but you still feel you have areas of weakness that need some personalized training to improve upon? Basically, sometimes we just need to work out those problem areas that give us trouble, or we want to focus and improve in specific ways to get over the hump in our work. Often nothing short of a highly personalized approach can help us do that. That’s what the APT was designed to do.
The APT program is an 8 week online course. Students meet with their trainer (me- there are no other trainers) at least once a week via webcam, are given uniquely designed assignments to help their area of focus, are given video and face to face feedback, enjoy personalized video lectures and email support. And it’s all designed around each student. By necessity this means that classes will be VERY small. In order to provide the best training for each student enrollment will be capped for every session. The first APT session will begin the first first week of September and run through the end of October and I’m taking enrollment now.
Want to know more about the APT? Want to sign up? There’s no reel review or admissions screening- I believe that anyone can benefit from personal attention and help. Anyhow, if you’re interested then follow the store link or the promo banner link on the left side of this page for more info on how to order. There’s also a handy dandy FAQ ready for you to check out. And as always, VTS subscribers will get a tasty 10% discount when they enroll.
I’ve been cooking this idea up for a good long while and I’m really excited to be able to offer this to folks. I hope that it meets a need in the animation training universe. I desire to fill in the gaps where folks often get lost. I hope that for some the APT is exactly what they have been waiting for and I hope that their wait will be rewarded with a rich and fantastic exprience. I’m pretty jazzed about this, so let’s get learning!
And it seems that Warner Brothers’ marketing wasn’t at it’s usual incompetent worst. They weren’t great, but there were a lot of ads and promotions. It wasn’t an all out media blitz, but it wasn’t a repeat of The Iron Giant fiasco, either. Yes they still failed the single most important task in film marketing: delineating a clear and concise message about the opening date. Good grief, if some clod with a blog (ie: “me”) knows that you can project a film’s financial success or failure based off of a single weekend’s numbers, then what in the world are all those MBA’s in Sherman Oaks doing? But you can’t pin the whole thing on WB’s marketing or a crowded market. These weren’t optimal conditions for success, but I’m not sure they are absolute arbiters of failure, either. In other words, given these two things remaining the same I think you can still have a successful launch to an animated film. So why did TAB not succeed?
There are two kinds of animated movies. Both can end up like a pile of poo, but in my opinion only one can end up being something audiences get excited about. The first is the director driven story. A person (or two, no more) has a burning story idea in his mind and heart. He has the passion to bring it to life. Often these poor sods are chewed up by the Hollywood system and their movies are turned into derivative piles of crap, but somewhere way, way back in the beginning there was something fun going on. If they’re lucky some remainder of this sense of fun and passion ends up on screen. Great examples of this kind of movie that survived the creation process fairly well intact would be The Iron Giant, The Incredibles and Toy Story. And as much as some people might be offended at this, I get the sense that Hoodwinked was this kind of a film. You got the sense that audiences enjoyed the thing, and from reading about it I got the idea that it was a few guys who wanted to make a film and made it for what money they could. You can’t fault them for agreeing to let Weinstein distribute it in all of it’s low production glory. You’d have done the same exact thing. By contrast an example of one of these kinds of director driven movies that got ridden roughshod by execs would be Chicken Little. Yet even through all of Mikey Eisner’s meddling I still felt some of the original fun of that story on screen.
The second kind of family feature films are the cynical corporate creations. They’re merely products and they are assembled at the behest of a variety of business minds. The core driving principle is their market value and potential profit returns. There is no one person who has the passion or personal investment to fight back against the snarky efforts of those who would rather productize the film because no one person thought this thing up in the first place. And I believe that no matter how slick or well done that lack of a soul shows up on screen. The director is a hired gun, the story is usually borrowed from some book or other successful property. Examples of these kinds of films would be Garfield, Scooby Doo, Quest for Camelot, The Cat in the Hat and… The Ant Bully.
I think John Davis and the DNA team did a very fine job with the film. However in the end it was a fine job of dressing up the bride of Frankenstein. The original screenplay for TAB had some heart, but the rewrites traded heart for slap-dash fart jokes. Crude humor is always the ready friend of execs looking to ‘punch up’ a film for test viewing scores, and the rewrites for TAB were pretty heavy toward the end of production. In its primary form it wasn’t the funniest movie and the market demands that animated films be funny. So out goes the character motivations and some more serious ideas, in come the cynical sarcastic asides. And since everybody in charge was a hired hand nobody had a really strong personal investment to fight that. This all started because Tom Hanks noticed this little kid’s book and thought it would make a good movie. But Tom Hanks didn’t write the story, he didn’t direct it, he didn’t voice it. In short, it would appear that he had no real passion for it. He just thought it would do well as a movie in the market. A product made by hired help. And hired help - even the best and most competent of hired help (and by all rights they hired some of the most competent and qualified help)- isn’t the same as somebody who gave birth to the story. Somehow this too ends up coming through on screen. I don’t know how, but I think it’s true.
My friends who worked with me on The Ant Bully probably aren’t gonna like what I have to say here- but I’ve always felt that we were making a big stinking pile of average corporate mush. Honest. We did. We worked hard, we did our best to bring passion and life to it, we put a lot into it, there’s a TON of talent on screen and folks have a right to be proud of their work- but in the end, in the cruel indifferent world of the marketplace it’s just kinda bleh.
It had all the ingredients. By the spreadsheet and by the focus group feedback scores in test screenings The Ant Bully should have been a success. It should have been the perfect product. Yet in the end this is the ultimate corporate movie. It’s a product devised according to formulas and ingredients, preened and pruned from the very beginning to be a pop-culture product in the mass market to force feed the kiddo’s another round of pixels in exchange for their parent’s disposable income. And despite the valiant efforts of the artists and technicians hired to make this thing look good people aren’t usually going to get excited about such things. We can’t forget that this is still entertainment. Within the audience there’s still some shred of a desire remaining for something to come from someone’s heart, not a spreadsheet. For some reason I think audiences can sniff out a film that’s just too corporate. I don’t have much of an empirical reason to believe this, but anecdotally I think it holds water. The declining interest in sequels and derivative films has been a steady parade downward. I am convinced that other similarly corporate concoctions, regardless of the level of excellence in their execution- are doomed to the same fate of audience apathy. If there’s no initial soul behind the idea then you can forget about it. Sure executives can screw up a good movie idea from a director- Disney did it for years! But if all you start with is a pile of successful ingredients stitched together then I think you’re going to be in trouble more often than not regardless of how good it looks or how well it scores on rottentomatoes.com.
But if you do go see The Ant Bully in a theater, see it in Imax3d. It really is amazingly freakin’ cool there.
I’ve spoken my bit. If you disagree then by all means, fire away!
Most folks know that I worked on this film, but unlike many others I don’t tie my own personal success to that of the projects I work on. I guess that makes me a rotten artist or something, but I just don’t. I had a great time working on the film, made some good friends and I had a chance to do some really nice work, and to me that’s where the success is. I measure my success by the experience, not the box office. That’s for other people to take credit (or in this case blame) for. The film can flop for all I care, it doesn’t affect me much at all. Yet I do allow that for other artists who worked on it it’s very important for TAB to do well. That’s cool and I hope my friends don’t hate me for anything I say here. But TAB does present us with a bit of a curious case. It had so many earmarks of what should have made it a successful film. It had all the right ingedients. And in the end, that’s why I think it is a failure. It’s just a wee bit too calculated to succeed.
In animation circles lots of folks have been panning the film. Many in the biz have been describing it as a kinda of Pixarn’t effort. I guess you could say it’s the Anastasia of 2006. For some reason folks just knew this one wasn’t ’special’. We don’t know how, we don’t know exactly why- but the feeling out there was a collective yawn. Why? Well, let’s take a closer look at all the reasons why The Ant Bully (at least in the minds of its masters) should have been a success.
First, TAB was not a “cheap” movie by any stretch. The end budget was well north of $60mil, probably closer to $70mil if you add in the Imax conversion. That’s more than Ice Age cost to make. It’s not far from Shrek 2’s numbers. It’s also not far from Pixar’s lower numbers. So the problem wasn’t somebody’s tight wallet in production. And it didn’t wallow much in development churning through tens of millions of dollars with no footage to show for it. It’s not a repeat of the Kingdom of the Sun/Emperor’s New Groove scenario. Most of that money ended up on screen.
You also really can’t point too much at the actual execution of the thing for its failure. There was no shortage of experience and talent working on the project. There are some scenes that are just gobstoppingly fabulous to look at- some real fantastic demo reel pieces in there. And all the top studios agreed. When DNA had other studios in for recruiting (since DNA had to let everybody go after TAB production) there was a noticeable scooping up of talent. Pixar, Sony, ILM, Dreamworks, PDI, Blue Sky, Digital Domain, Laika- they all nabbed people as fast as they could.
Additionally we’re not dealing with an inexperienced director, either. John Davis had great success with Jimmy Neutron. He knows animation, he’s not an outsider to animation. So it’s difficult to dismiss TAB on the grounds of inexperienced hubris. Plus with Tom Hanks behind it you’d think he knew a thing or two about what works in Hollywood and what doesn’t.
Another plus- outside of animation circles TAB is not viewed universally as a stinker of a film. Aside from the reviews that dismiss it as a sort of Marxist manifesto for kiddies, most of the reviews for it on Rotten Tomatoes are positive. In fact it’s got a rather healthy “Fresh” rating of 65% from critics and 83% from users. That’s a better rating than other more successful Cg animated films like Robots, Sharktale, Madagascar, Ice Age 2. This is not “The Wild” (19% rotten) or “Doogal” (5% rotten) or “Valiant” (28% rotten). All of whom tanked rather badly and all of whom had convincingly poor “Rotten” score on the tomato site. So it didn’t flop because the critics overwhelmingly panned the film because, in general, they didn’t.
There was no shortage of wattage in the star power of the voice cast, either. Nick Cage, Julia Roberts, Paul Giamotti, Bruce Campbell, Glenne Close- those are some good names to ride behind for public awareness.
Yes, it’s crowded out there. It’s been a busy year for animated films. The busiest ever. And we’re in a 3 week stretch where 3 of them open back-to-back-to-back. That’s historic, it’s never happened before (and I wager will never happen again). So there’s a diffusion of family film dollars. To a large extent that is a zero sum game. Still, give people a reason to go to the movies and they will. Pirates of the Carribean 2 is proving that.
OK, finally! After months of trying I’ve finally got an online store that works! Those of you on a feedreader can’t see the new snazzy sidebar graphic, but you’ll like it when you see it. So now you fine folks who have wanted to subscribe to the VTS but couldn’t because of PayPal problems or what-not can now do so using a major credit card. I’ve also added a nice handy FAQ about the VTS. So if you’ve had a nagging question about the VTS, check out the FAQ. You’ll probably find your answer there.
Another new thing is that select back issue videos are now available to the non-subscribing general public. So if you’ve wondered if the VTS would be something you could use but you didn’t want to subscribe to find out, well now you can get some videos to take a look and you don’t have to be a subscriber to get them.
A big “Thanks!” to the willing beta testers for helping me get the big kinks worked out of this thing. If any of you use the store and find something kinda wonky just send me an email and we’ll see what we can do to shore things up. And thanks for your patience while I worked on getting this store up and running. I’m hoping more people can get to have the VTS as a result of this now.
** Update: We have our 5 guinea pigs! Thanks for playing along. The rest of us will need to wait a couple of days for the official public launch of the online store.
Groovy! I’m 95% finished in implementing my online store/shopping cart system. It’s got a few minor cosmetic things to get wrapped up, but I’m really liking how it works so far. I’ve tested it and it’s processing credit card orders just dandy. However before I go wide with a public release I’d like to have a few folks (like 5 people for now) try it out first. So if you’ve ever wanted to get my VTS videos a la carte or wanted to subscribe but couldn’t do it before because of PayPal problems or whatever, send me an email. The first 5 people who email me will get access to the in-progress store and will get to buy stuff. Plus I’ll give the beta testers a nice discount for helping me out. This way we can run the store through it’s paces before it goes fully public in the next day or so. So email me if you have money burning a hole in your pocket and the only cure is the heretofore ever so elusive VTS.
I’ll update this post when the beta testing roster is full. Thanks!
I have recently had a nice email exhange with a student who’s facing graduation from an animation/art school. Naturally the young fellow is looking out at the world and wondering where he fits in relative to his dreams and his current abilities. So he asked me
How long did it take you to land into the feature film business after schooling and where did you find yourself directly after college?
After I replied to him it struck me that his question is not unique. I’ve answered it many times in different ways. So it must be something on the minds of many students about to embark upon the big wide world of reality. So I figured I’d take my reply and turn it into a post here. Here’s my response…
Well, I never had any schooling in animation. No official schooling anyhow. Just learned it the hard way. I only have 1 semester of college to my name and that was 18 years ago. Heh. It’s not like I was some talented golden child my first day in animating. My early stuff sucked so bad you could actually feel the pull from the monitor like a giant vaccuum. From the time I decided that character animation would be my thing until my first feature film job offer was about 4 or 5 years (I say ‘offer’ because I turned it down for another opportunity that was not in feature film, but just as much fun). And those were 4 or 5 years of hammering hard on getting better- I was very focused. I didn’t do a lot of tinkering around. Any spare moment I had was spent animating something. The standards back then weren’t as high as they are now, either. My reel that got me my first film offer back then most likely wouldn’t get me much of an offer today. At least I don’t think it would. I haven’t seen it in a while. Heh. In the meantime I worked many different jobs in the CG field, mainly as a generalist for many years. It’s not a bad thing. Paid the bills, helped me grow as an animator, gave me motivation to keep pushing through, broadened my understanding of the entire pipeline, etc. There’s no crime in the slower road to success. Not many of us can be Cameron Miyasaki and land the Pixar gig right out of school. (and his road wasn’t as easy as some would think). The rest of us mere mortals need to work out way up through the minor leagues first. And there are far worse ways to make a living. So don’t lose heart. Just keep working, keep learning, keep growing, keep pushing to be better and know more. Natural, latent talent is an overrated myth. The consistent effort of hard work yields results. I’m living proof of that if anybody is.
I present to you Breadwig: The Blog!
One of my most favoritest human beings on the planet and one of my best friends to boot, Bryan Ballinger is just awesome! We first met when working together at Big Idea. Bryan is the fella that I teamed up with to write our children’s book, The Great Cheese Squeeze.
Buy it. We won’t get anything from it anymore I’m sure, but you’ll dig it. We’d just be happy to know that you to read it out loud to your kids, dog, cat, goldfish, old neighbor, mechanic, parole officer- Whoever. We’re easy like that. Anyhow, in meetings we’d fill pad after pad of Post-It-Notes with insane drawings of highly questionable quality and repute (the original Pictures for Patrick). And we’d have a blast doing it. Long before the whole Diet Coke/Mentos craze we managed to create a food bomb out of a half consumed bottle of Yoo-hoo chocolate drink, half a cream filled donut, 3 twizzlers and an old piece of candy apple bubblegum. Let it cook for 7 days behind a hot monitor and watch it blow. The sound was so loud that people from all over the studio thought something bad had happened and came for a look. Little did they expect to see fermented brown foam dripping from the ceiling tiles 14 feet overhead. That’s how far up the Yoo-hoo geyser went. It was AWESOME!!!! The smell, ehh… not so much. When we moved our desks some 6 months later we found half a twizzler fragment all dried like jerky behind a bookshelf. How can that NOT be the coolest thing? Heh. Even lo these many years after we were both gone from Big Idea it’s manifestly evident that Bryan’s fascination with odd food, his eclectic taste in music, his ever present fanny pack and his taste for plaid flannel shorts all combine to kick a serious groove in the artistic world. Don’t believe me? Check out his new blog Breadwig. It’s filled with some of his doodles and stuff, as well as some t-shirt designs he’s been doing for Pantelope (groovy t-shirt designs and stuff you can buy. So buy some.)
Breadwig was a name Bryan and I came up with one day while riding the METRA train to work in Chicago. It came from some odd thing we had read (whether true or not was not of major concern) about the way that colonial men had for making those swank powdered wigs they kicked with back then. Seems (allegedly) that you’d take human or horse hair, put it into the shape you wanted with curlers, stick it in a lump of bread dough and bake that sucker to get it all set and shaped. Think of it as an edible curling iron that’s great with jam. Anyhow, funny name, silly logo and groovilicious funny drawings blog. Bryan’s regular portfolio site is bryanballinger.com. Check out his 3d and 2d illos there, all with his torqued twist on life. And for some real insight into the dark mind of a master, check out his love child Suxco.com. It is humor so dry that you need a glass of water to survive it. However it’s so on the mark in its commentry about the corporate speak of the 21st century that you just have to admit that it’s pure genious. I bought this shirt and wear it proudly….
Yeah, I’m a fan. Bryan rocks.
As noted in my previous post, this week I’m in the hot seat over on the Cg-Char forum’s Ask The Pro. Here are some really good questions asked of me by forum member Virgil Mihailescu- along with my answers. I felt they’d make a really good blog post, so here they are.
Swing on by Cg-Char for more if you like.What makes a great pose? It’s vibrant, alive, it feels like it’s moving even when it’s by itself, it has great kinetic energy, even if the character isn’t moving much in the scene. It communicates immediately, clearly, precisely and with such a sense of life. A great pose just jumps out at you. It breathes just in how it feels. Everything feels right, nothing feels forced or awkward.
How much time do you spend on your poses? As much as I need. If it takes me more than an hour to get something right, then I take that time. I’ve spent hours on a single pose before. And then the next day I’ll come back and tweak and improve and plus it for another hour. And why not? If I find it then it’s done, I’ll never have to touch it again. So why not take the time? And sometimes the pose just jumps out and it’s there in 5 minutes. I take as long as I need until the things that I describe above about great poses apply to what I have just made on screen.
How much detail is in your thumbnails? Not much. Just the basics, really. Body, head angle, eyes, basic facial expression, maybe fingers now and then. But my thumbs are literally fleshed out stick figures. I save the detail work for the Cg puppet, since that’s where the detail will eventually be rendered for production. In thumbnail stage it’s about capturing the larger strokes and ideas.
What parts do you spend more time on? I spend a lot of time working facial expressions and hand positions that sell the emotion. That and head angles. Again, if I find it and communicate it I am able to move on and have great confidence with the thing. Another thing I like to work on a lot is the internal weight of a character- the sense that their body parts have meat and muscle and substance- that things are settled and lying where they like to lie down, that a character feels comfortable in their own skin when they move, stand, talk, gesture. It’s hard to describe, but it’s something I take a lot of time trying to capture.
What’s the hardest for you to nail down? All of it. Heh. I tend to spend a lot time trying to get the face to feel right. So much emotion can be expressed so powerfully there that it’s super important for me to nail that and communicate the thought immediately and clearly- but without going cliche’.
Here’s some miscellaneous stuff that I’d like to pass along…
Today is VTS delivery day! Namely today is the day that I need to deliver VTS17 for July. It should be ready for you faithful subscribers late tonight or first thing in the morning. As in my night and morning here. If you’re in India then it’s already night and morning will be night again… or something like that. Anyhow, within 24 hrs.
Secondly I am finalizing the construction of my online store/shopping cart. This will allow non-PayPal using folks to get involved with the VTS and other goodies as time goes by. That should be done by the end of this week if all goes as planned. Keep an eye here for more info later this week or this weekend on that.
Thirdly, I found this neat post on some skyscraper rating website with tons of very nice pictures of Cuiaba’, the town I’m currently living in Brazil. Check it out for lots of cool photos and such to get an idea of the place.
I’m almost done with my fourth installment of the Great White Hope of Indy Animators. While I’m mulling over and tightening down those few logical loops I wanted to take a moment and drop a note here letting folks know what’s happening with my Video Tutorial Service (VTS) this month.
July is customer appreciation month! Or something like it.
OK, that’s enough shameless plugging for now. I hope you’ll forgive me for trying to make a living.
All creative folks have this dualism going on:
The Desire to Do My Own Stuff vs. Needing to Do What Others Want
This battle is absolutely unavoidable. Nobody gets to just do their own thing all the time and nothing else. Ever. To expect that is to be childish. So why should we think that such a business model is even reasonable? I’ve known exactly one guy who was able to succeed at doing only his own thing, make a living from it and it only. Yet by the 6th year of doing that the fanbase was so large the very thing that was his was no longer his- it belonged to the fans. And whenever he tried to veer from formula the sales dropped, the letters came in asking ‘Where’s the Silly Song?” In the end even he couldn’t do what he really wanted all the time- and this was his own stuff! This is a universal condition. You cannot escape it. You will always have this battle. You try to have one side winning, but no side ever really defeats the other. To ignore this is peril. Or at the very least massive frustration and probably the consumption of huge quantities of tequila.
So we need to be able to expand the horizons of our ideas, to look for different ways to make a living while still being able to devote a goodly portion of our time doing “our own thing” and hopefully that “thing” can be another feeder stream into our revenue flow. That’s the primary force behind my discussion: let’s get the compensation systems at least to a point where making our own films is a revenue generating business activity. Sure, making a short film may not be the most profitable aspect of my business, but the very least it ought to have the ability to break even or make me a little money to justify me spending my time on it. That way if I take 4 months out of my year and spend it making a film I won’t go absolutely bankrupt from it in the end. It may not be super profitable, but I have to expect that the investment will at least not lose me a ton of money (allowing that I’m any good at this stuff. The “good” factor is an unspoken assumption in all of this.). If I can be assured that making my film is at least not a total wash then I can make up for lost ground the other 8 months of the year with the other pieces of my income mosaic. As it is right now if I make a short film I pretty much have to relegate it to an “extra hours” status- there’s no reasonable revenue stream for it. Meaning it’s not a viable business activity, except as a promotional or advertising piece. Sure, that advertising aspect is valid, but if that’s all I can hope to get from a short film then it still falls in the “left over time” bin. After all I can make a perfectly good advertising reel using my client work. In other words, from a business sense there’s a better, cheaper, faster, easier solution than the short film to meet the marketing need. To not go that path would be irresponsible. That’s why I think it’s important that we be able to at last make some money in real, measurable and direct terms from the actual short film content itself. Elsewise I have to put it on the back burner out a sense of being a responsible businessman if nothing else. Then I need to spend all my time working on “stuff other folks want” to pay the bills. And that is too similar to sitting in a big studio somewhere, one of hundreds of worker drones slogging through the latest Hollywood executive fart product to be worth the bother of trying to be indy in the first place. At least for me it is.
So yes, I’ve said it. The Great White Hope for Indy Animators is not in a single magic bullet income or distribution solution that will allow us to pour all of our energies soley into our animation and nothing else. Instead it’s in a pragmatic understanding of the realities of the business world and being willing to “nut up” and deal with them head on, without apologies and with vigor. Sooner or later we have to poke our heads up and realize this is a business and we’d better well be ready to get serious about that. There are no easy rides here. Nobody will give us a free pass out of charity. If we want to survive as independent animators then we must come to peace with the idea of being independent businessmen, first and last. It is possible to be a decent person and be a businessman. We don’t have to play like Hollywood executives to succeed. It can be done.
Does this admission make me a dirty, unartistic bourgousie sellout? Heck if I know, I was never from the french beret/black turtleneck/art school crowd. But I do know that my kids like to eat and I like not having to sit in a car for 90 minutes each day driving to and from a job that doesn’t exactly thrill me. And I like having the freedom to take myself anywhere in the world I can and live and do and be and have an opportunity to do something to help another person. So if I gotta do some boring, uncreative, unchallenging and cheesy commercial work now and then to have that freedom, why not? It’s a small price to pay for a very fun adventure.
Before I wrap up this discussion, go ahead and check out this essay on being creative over on the GapingVoid blog. It’s a couple years old, but on re-reading it I found it just as inspiring, sobering and liberating as the first time.
Thanks once again to everybody for jumping in and participating. And thanks for your patience as I ramble and think out loud on the world wide stage of the internet. Hopefully I haven’t made a total fool of myself here. But if I have I’d be very glad to hear you all telling me how full of it I am.
I’ve been blah, blah, blah… part 1, part 2, part 3. Read, sing, laugh, make a burrito- Enjoy! Now for part 4! The burning question that brought us here is: How can an indy animator make a living from their animation?
Regardless of distribution paradigms, we’ve shown in previous installments of this conversation that the numbers game is pretty well stacked against the indy from the start. The end user value, while it exists, doesn’t give a lot of room for low volume content- which typifies the independent product. When the value is pennies per minute you need a LOT of minutes, or a LOT of buyers (preferably both) in order to survive. Either one is typically very expensive to produce and has a fine way of killing an independent whose typical cash reserves wouldn’t buy a decent used car. Some distribution models have very difficult ports of entry but substantial compensation (TV, feature film, etc.). Yet others have very easy ports of entry but with laughingly crappy compensation (YouTube, GoogleVideo, AtomFilms, etc.). And we have proposed a possible distribution model that has less difficult - yet still existant- port of entry with compensation patterns that, while not terribly substantial, are not total crap, either. So whether it’s the big compensation lottery or the death of a thousand cuts freebie system or something in between, either way there are challenges and difficulties. Yet we have hope that if we can find the right paradigm, the right business model, the right combination of luck, talent, skill and content- we can carve out a living here just animating our own thing and appealing to our audience with nothing else. Is this a reasonable hope?
Personally, no, I don’t believe it is. It’s an idealistic hope, a naive’ hope, a hope of youth- but I don’t think it’s terribly realistic. Sure you hear stories of the lucky few who stumble upon fame and fortune when the gatekeepers “discover” them. But if that’s your tack just buy a lottery ticket. They’re cheaper.
Remember that word I ended the last post with? Mosaic.
What is a mosaic? Well you artsy fartsy types know that a mosaic is a picture made up of many small pieces of stone or glass that are different colors. None of the pieces in themselves constitutes a major part of the whole, but when properly arranged a larger picture emerges, best viewed from a distance. And that’s really what I think it will take to succeed as an independent animator. Not even the guys who have somehow managed to have notable success as independents have had the luxury of doing nothing but their own content and nothing else. It’s just not feasible. Indy luminaries like Don Hertzfeld, Bill Plympton and Michael Sporn have all made a go by mixing in many different business pursuits. Their income patterns are a mosaic of different pieces. A film here, a teaching gig there, a book, a speaking engagement, a commercial, another commercial, some merchandise, a film festival, some DVD sales. Each piece is not enough to live off of on it’s own. But if you arrange them all together you have a nice picture of sustainable income for a clever, hardworking and pragmatic independent animator. There is really so little chance of being able to “just do my own content” and make a go of it just from the content. Yes, the content has value, yes we should try and maximize that value, but for all but the most extaraordinary of circumstances that value isn’t going to be enough to pay all our bills. In the right distribution model it can pay some, but not all. You need more. And this isn’t such a bad thing, really.
cont'd in part 4b...
