Who Really Makes an Animated Film?
Who Really Makes an Animated Film?
Understanding the roles of various companies in film production
This week's topic revolves around a friend and one of my favorite people in the world, Brad Garoon. Brad and I have known each other for years and share a deep passion for exploring the realm of cinema, although his expertise and extensive knowledge of film genres surpass my own. If you're a fellow cinephile, I highly recommend checking out Brad's podcast, Never Did It, where he and his co-host Jake Ziegler engage in casual, conversational discussions about two movies from a specific calendar year. In one of their recent episodes, they introduced me to the documentary titled "The Act of Killing." It's arguably the best documentary I've ever seen, albeit an incredibly intense and brutal watch, but I highly recommend it.
Now, Brad has these brilliant lists of films through his Letterboxd account. He has lists based on year, style, production company or director. When "Nimona" was released, Brad texted me asking how it could be categorized. It is a film developed at Annapurna Pictures with all its models, animation, and visuals created by DNEG, and subsequently distributed by Netflix.
We pondered over various options: should it be grouped under "Annapurna Animated Films"? "DNEG Features"? Or perhaps "Netflix Animation"? How shall we make sense of all the production companies listed before the film?
Too be clear, I’m not an expert in film finance or really anything of a sort but this is my artist-brained, crude understanding for the 3 basic parts of creating a film.
Step 1. Film Development
This is first step in the film creation process. This is when the foundation of the project is being constructed. It entails the creation of the narrative, the development of characters, and the construction of the world in which the story will unfold. This phase involves activities such as scriptwriting, character and environment design, storyboarding, and creating a rough cut. The ultimate goal is to produce an approved and comprehensive blueprint that will guide the subsequent production phase.
Step 2. Film Production
The subsequent phase involves the tangible creation of the film itself. This is where all the previously conceived ideas and designs are brought to life and transformed into the final shots for the film. In the case of a 3D animated film, this stage encompasses the creation of models, building rigs, executing animation, conducting look development, and other related tasks. The culmination of this phase results in a completed film, fully prepared for distribution worldwide.
Step 3. Film Distribution
This step involves the crucial process of bringing the final film before the audience's eyes. Whether it is destined for theatrical release, streaming platforms, or exclusive display on those inescapable, unmuteable small screens found at gas station pumps, this phase significantly determines how your story is experienced and consumed.
How Companies Do It?
These were easy for companies like Pixar, Dreamworks, or formerly Blue Sky. All the film development and production happened at one company and the parent company handled the distribution. For Pixar, it’s Disney. For Walt Disney Animation Studios, it’s…well Disney. For Blue Sky, it was 20th Century Fox and then later…also Disney too. Each of the three steps listed above were essentially done under one company’s umbrella.
For other animation productions, it gets a little trickier. We will take a look at Nimona for a second.
Nimona’s Step One was Annapurna Pictures. After they obtained the rights to the film from Disney, they set out to lay the foundation of the film. Much of the staff in that group were from Blue Sky and there was some continuity of parts from early design to DNEG.
Once the film's groundwork was laid, they moved on to the second step. Given that the newly formed animation wing of Annapurna Pictures did not have the resources to fund an entire production company, they opted to enlist the services of DNEG.
DNEG, as a 3D production company, took care of all the expected tasks. They built the models, crafted the world, and handled animation, lighting, and various other aspects.
Throughout this process, the Annapurna team directed and coordinated all activities at DNEG. The Annapurna team set the mission, while the DNEG team worked diligently to execute the plan, ultimately resulting in a finished film.
Once the film was completed, it was time to proceed to the third step, which in this case involved Netflix. Netflix entered into a distribution agreement, allowing them to release the film on their platform upon its completion.
This is common in VFX Films
Until now, the focus of this article has primarily revolved around animated films. However, this practice has long been the standard in the VFX industry. Productions led by figures like James Cameron typically establish the script and storyline within one or a few companies. Subsequently, they outsource the VFX work to specialized production companies.
So, why is this approach problematic despite its prevalence in the VFX industry? The answer lies in the significant issues that exist within the VFX community, with job security being the most prominent concern.
Animation studios that handle the entire film production process typically provide a more stable working environment. They often employ full-time, salaried staff and offer employees the opportunity to build long-term careers within a single company.
However, VFX houses operate differently. They often experience a continuous cycle of hiring and letting go of artists, frequently ramping up their workforce for specific productions and promptly releasing individuals once a project concludes.
Another critical problem arises from the intense competition between these VFX companies. They often find themselves competing against one another through bidding for projects. This intense bidding climate leads studios to accept increasingly lower financial offers to secure production contracts. With lower profit margins, there is little room for error, increasing the likelihood of layoffs or even the potential closure of the company as a whole.Look what happened to Rhythm & Hues after winning the Oscar for Best Visual Effects on Life of Pi.
The other problem is quality. If you have a tight budget the only way to make it work is time. Less money means less time and more frequent occurrences that one chunk of a film won’t look particularly good because the VFX artists just ran out of time.
A good example of this is the final battle in the original Black Panther. Ever noticed the fight between T'Challa and Killmonger on the vibranium train tracks? Ever think it didn’t quite look as good as the rest of the movie? It’s because, rumor and reports have it, there was a crunch to make the exterior battle amazing and those train shots needed to be shipped to another studio with a different pipeline that greatly reduced the time needed to make them look correct.
Tax Breaks
Wait…aren’t most American film companies based in LA. Is that the whole point of Hollywood to be the hub of all things film? So why then are all these VFX and Animation companies other random locations around the world, especially Canadian cities like Vancouver?
Simple. Tax breaks.
Tax breaks the Canadian government offers to VFX and animation companies can substantially reduce overall operating costs. These tax incentives typically include provincial tax credits, grants, and rebates that are specifically designed to attract foreign investment in the entertainment industry. The availability of tax breaks gives Canadian VFX companies a competitive edge over their counterparts in other countries. With reduced tax obligations, Canadian VFX studios can offer more attractive pricing to potential clients. This advantage can increase business opportunities and market share, attracting domestic and international projects.
Lack of Unionization
3D Artists working on VFX films or animation do not have a collective union in a way other film jobs do like actors, directors or writers. The absence of a collective union can have negative implications for VFX artists in several ways.
Without a collective union representing their interests, artists may lack the collective bargaining power needed to negotiate fair wages, benefits, working conditions, and other essential provisions. This can result in lower compensation, longer working hours, inadequate benefits, and limited career advancement opportunities.
A collective union can play a crucial role in advocating for job security and protecting the rights of artists. Without such representation, artists may face a higher risk of job instability, layoffs, or contract terminations without adequate notice or severance packages. The lack of job security can create financial uncertainty and hinder long-term career planning for VFX professionals.
Limited access to benefits and support: Collective unions can negotiate and secure benefits such as health insurance, retirement plans, and professional development opportunities for their members. The absence of a union means that VFX artists may have limited access to such benefits and support systems, leaving them without crucial safeguards and resources to navigate their careers effectively.
Animation Trending This Way
To be clear, the animation industry appears to be trending this way. Not only with Nimona, but other major films created this past year like Ron’s Gone Wrong starting to fit the VFX mold. And this is a red flag for me.
And wouldn’t you know it, right after Nimona gets released to a ton of fanfare and praise, DNEG lays off 70 of their 900 employees.
Conclusion
During the process of researching and writing this article, I must admit that I have become disheartened by this prevailing trend. 3D artists aspiring to build enduring careers within a single company are likely to encounter increasingly formidable challenges unless a significant change occurs.
However, at the core, I remain an eternal optimist. The ongoing writers' strike within the Writers Guild of America (WGA) sheds light on the absence of our own union in the VFX and animation industries. Sure, there is the Animation Guild but very few artists fall under that. Artists are questioning why writers have the advantage of collective bargaining to address issues like streaming services withholding crucial data, while they are left to fend for themselves. This situation might inspire collective action and yield positive outcomes for everyone involved.
Furthermore, I have witnessed how 3D is thriving in areas beyond entertainment in recent years. Technology companies, fashion brands, product designers, and numerous other industries are increasingly embracing 3D visualization and actively seeking talented artists. These roles often offer better compensation and greater job stability compared to positions in the entertainment sector.
Hence, even though 3D artists may face a challenging path in the entertainment industry, I firmly believe that the future holds immense promise for those pursuing a career in this field.
3D News of the Week
A roundup of interesting 3D related news you may have missed this week.
Making miniatures and props for ‘Asteroid City’ - beforesandafters.com
5 key features in Blender 3.6 - cgchannel.com
An interior lighting study at London Museums - mariayue.com
The 8 rules of movie animation, according to Guillermo del Toro - creativebloq.com
The VFX Factor: The Endless Possibilities on How to Achieve Tasks with Kate Gabriell - bbonline.com
Epic Games Shared July's Featured Free Unreal Marketplace Content - 80.lv
Artist of the Week
3D Tutorials
3D Job Spreadsheet
Link to Google Doc With A TON of Jobs in Animation (not operated by me)
Michael Tanzillo is the Head of Technical Artists with the Substance 3D Growth team at Adobe. Previously, I was a Senior Artist on animated films at Blue Sky Studios/Disney with credits including three Ice Age movies, two Rios, Peanuts, Ferdinand, Spies in Disguise, and Epic.
In addition to his work as an artist, Michael is the Co-Author of the book Lighting for Animation: The Visual Art of Storytelling and the Co-Founder of The Academy of Animated Art, an online school that has helped hundreds of artists around the world begin careers in Animation, Visual Effects, and Digital Imaging.
www.michaeltanzillo.com
Free 3D Tutorials on the Michael Tanzillo YouTube Channel
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