Review: The introduction by Lee Stranahan was well versed and made some great points. Most importantly, the top ten grossing films of all time grossed 11.5 billion dollars and are ALL VFX films. And, not just a few shots - HEAVY VFX films.
So, Lee asks the question, "Why is it that we are in a world where VFX films are doing so well while VFX facilities and artists who work in them are struggling?" And the discussion begins.
So, Lee asks the question, "Why is it that we are in a world where VFX films are doing so well while VFX facilities and artists who work in them are struggling?" And the discussion begins.
The General consensus I heard was:
- Scott Ross - We need a trade union to fight for facilities and artists both on labor issues and will the government.
- Chris deFaria - The facilites need to create a new business model and stop treating themselves like a commodity.
- Jeff Okun - The artists made their bed and now they need either lie in it or stand up and fight. Artists! Stop taking jobs that offer such bad conditions. Stop whining and do something about it.
I am really upset that the one person representing the artists, ended up blaming the artists for the current state of affairs.
Artists had nothing to do directly with the collapse of the economy, runaway production and overseas incentive programs or the very small P/L margins for VFX production. It's absolutely outrageous to say artists - "You took the jobs, so stop complaining about it."
Most VFX facilities change the rules on your employment daily. If you do not believe me? How many people out there have had their end date change from what was promised on a show? Please reply in the comments. (Just one example of rule changes..there are rate changes, job description changes, holiday changes, OT pay changes, 50 hour weeks which are against the law becoming standard, etc.).
When I got in CG/VFX in the early 1990's EVERYONE was stoked to be in the industry. Even the old guys loved what they did. The old guys I worked with were making a decent wage, staying employed, building savings, had insurance, were buying houses and starting a family. I thought I was getting into a great field.
Then, it all changed. I talk about this in our book... 1994 was the beginning of the end for the VFX industry. 2D was dwindling and animated CG films started making A LOT of money. VFX had always made money, and their budgets/profits tripled. When big money like those box office profits come into play, the rules change. Chris deFaria makes the most important point - leverage. We have absolutely no power without leverage. The bottom line is India, China and the rest can try to catch up, but the artists who have been doing VFX for over 10-20 years are the ones creating innovation. Compounding the problem is the overseas studios don't have the local talent to do the job and now import the seasoned artists at half the rate. This is a very poor business model that will eventually implode. This is also very differnt than what happened to 2D because of the nature of the work. The less skilled work for 2D could be shipped overseas, but innovation stayed in the U.S.
In traditional circles, the tools changed very little over the course of 80 years - pencil and paper. CG needs innovation to happen throughout production because of the technical aspects of what we do. Innovation will not grow in an atmosphere based solely on low wage, unskilled labor. Studios want innovation at a very low price. This cannot work. If studios want the best work possible, then they will have to value the facilities and their artists. Until we are viewed as valuable to these blockbusters, we have no leverage. The way to do this is for facilities to create a brand out of their studio and then the best work will go to that studio rather than the lowest bid. In addition, an organization of individuals qualified to handle legal, labor and government lobbying to push this agenda forward is critical. I believe the artists are willing to join such an organization, but are not qualified to form one. We need qualified leaders to do so.
In traditional circles, the tools changed very little over the course of 80 years - pencil and paper. CG needs innovation to happen throughout production because of the technical aspects of what we do. Innovation will not grow in an atmosphere based solely on low wage, unskilled labor. Studios want innovation at a very low price. This cannot work. If studios want the best work possible, then they will have to value the facilities and their artists. Until we are viewed as valuable to these blockbusters, we have no leverage. The way to do this is for facilities to create a brand out of their studio and then the best work will go to that studio rather than the lowest bid. In addition, an organization of individuals qualified to handle legal, labor and government lobbying to push this agenda forward is critical. I believe the artists are willing to join such an organization, but are not qualified to form one. We need qualified leaders to do so.
Okun mentioned several times that artists are just whining and not offering solutions. I think plenty of artists have offered solutions like guilds, trade unions, requests to the VES to help, the town hall itself came out of artists writing to Lee to ask what is next. The panelists also discussed how most VFX facilities were started and run by artists who knew very little about business or management. NOW Okun says artists need to start a union themselves and fight. What a mess. What a very hot mess.
I do hope an artist will represent artists on the next panel to offer a real perspective of what is going on for the people actually clicking on a mouse. In fact, I offer my services on the panel if they will have me. I have ideas of others who would be great additions if not me.
I think the best part about the whole situation is... Unlike most labor issues, there is unified bond and goal for both VFX facilities and artists. Help the facilities and you help the artists and vice versus. This is ultimately a win-win situation.
I think the best part about the whole situation is... Unlike most labor issues, there is unified bond and goal for both VFX facilities and artists. Help the facilities and you help the artists and vice versus. This is ultimately a win-win situation.
I welcome your comments...