Posted by Jon on December 02, 1999 at 16:59:47:
In Reply to: Re: Creative Financing? posted by sam on December 02, 1999 at 10:17:52:
: hey jon.
: well it's nice to read something with substance on this website that pertains to the day to day realities of life in this industry. the cudos 'ala toy story' are nice. but the insightful observations of your seminar are refreshing. it gives some of us that need to know a better idea
: of the challenges that we are up against. i wonder if there were any vehement animators on the streets of seattle. what do you think?
I'm not sure whatcha mean about the Seattle comment there, pardner, but yes, it was insightful (inciteful?) Forewarned is forearmed.
: are you in LA now? i'm planning a trip out there next week. please let me know so i know where to send a letter. our studio has been through similar experiences as yours and it's good to compare notes.
Give me a call! The number's on the front page of our website.
: does anyone know what the actual dollar rates are for producing TV animation overseas? i've heard some reliable figures and it's fairly astonishing.
: that, as well as the average 24 hour a day/double shift work week and animators sleeping under their desks.
I think that's an exaggeration, but there's no doubt that TV animation production has evolved into brain surgery here, which makes production overseas more difficult. Animators are not even allowed to think for themselves there - every creative thought must come from LA, or they get into huge reshoot disputes (billable or non-billable). Either way, it keeps the requirements for LA staff high, as well as the consequent LA costs. They may as well animate it in LA, frankly. Just had lunch with a guy who works on "Dilbert" and you would think they're doing "Fantasia"! Full animatics - from LAYOUTS - for every freakin' show!
I've heard costs for overseas production - BG's and rough animation thru "work print" (if you'll allow me to use that word for convenience's sake) - for anywhere from $125,000 to $200,000, depending on the series and the studio. Do you know we can beat those costs here in the US? And that's with good animators making good money, and less experienced or less productive animators making decent money. The key, as Dave Brewster has said, is in the director. Directors who are overly finicky can kill animators and deadlines alike.
You and I, Sam, could start to turn that tide around. Definitely, let's compare notes.
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