4

 

THE SCORE TEAM

 

An Overview of the Core Team

When you are taking the first steps to start an animated project, a select number of staff members need to be in place prior to the start of production. This skeletal group is what we call the core team. In most cases, the producer is the central person, pulling this team together based on the fiscal and creative needs of the project. The formation of the core team typically starts during the development phase with the initial creative group, which includes:

  • Producers(s)
  • Writer
  • Creator/originator of the concept

As the project gets ready for further development into the story and the visual realm, it is necessary to add the following members to the core team:

  • Director(s)
  • Visual effects supervisor (if applicable)
  • Production designer/art director
  • Visual development artists
  • Stereoscopic supervisor (if applicable)

Pending the size and scale of your production, it is also important to loop in personnel handling recruiting, legal and business affairs, human resources, accounting, training, and technology. In larger studios, some of these individuals may already be on staff, in which case the producer brings them into the mix as necessary. Based on the scope of the project, budget limitations, and the expertise of the producer, he or she can personally take on some of these roles while delegating others. For example, a common practice in a boutique studio is for the producer to fulfill all human resources duties, such as negotiating fees with new hires and facilitating personnel issues.

Each individual on the core team plays a significant role in getting a production up and running. On a feature production with a larger budget, a typical example of this process is as follows: the project has become solidified in terms of script and the overall art direction concept. It is ‘greenlit’ to proceed further into the pre-production stage. Next a director, if he or she is not already attached, needs to be hired to guide its visual development and to collaborate on the story with the producer, buyer/executive, and writer. The recruiter helps identify potential directors. The producer interviews all candidates and, in partnership with the buyer/executive, makes a final selection. The legal and business affairs departments negotiate the director's deal. Once on board, human resources coordinates the director's orientation and fills out the start-up paperwork. The production accountant processes his or her payment. The director works with the recruiters to cast and hire the most appropriate visual development and storyboard artists. If necessary to bolster the artistic team when there's a shortage of artists, the recruiting department scouts fresh talent and the training group starts organizing classes for the new hires. The technology group is instrumental in developing the production strategy and pipeline as well as researching and developing the tools to create the look of the project. All of these steps are overseen and managed by the producer.

The Role of the Director

The director is the primary storyteller on a project. He or she is responsible for facilitating the creative vision for the project. The director also guides the style of the animation. In this position, he or she has to be able to communicate his or her thoughts effectively and make certain that both the artistic and key administrative members of the production team understand this vision. Regardless of the budget and scope of a production, the director must always consider his or her creative goals in tandem with the project's fiscal parameters. It is typically only a director that can best be described as an auteur (an artist with an established body of critically successful work) who can singularly pursue his/her own personal vision. Unless they are funding the project themselves, this level of control by a director is rare.

The director and producer collaborate with the recruiting team to select artists. Once hired, the director plays the role of the “pied piper” as he or she guides these artists into this new imaginary world. He or she casts the artists according to their specific strengths, handing out assignments, reviewing their work, and providing consistent feedback throughout the development process. One of the director's top priorities is to put together a style guide that best illustrates the look of the project. (See Chapter 8, “Pre-production,” for more information on the visual style guide.) The director generally works with a production designer or art director in developing and designing the style guide, and this team oversees the visual development artists. Typically, there is first an exploratory phase, and the artists are given as much creative latitude and freedom as possible. This process enables the director to examine a wide array of possible visual choices and select the look that best matches the story content as well as the production budget and schedule.

As the style becomes more solidified, the director gets more specific with notes in order to finalize the look of the project. During pre-production, it is the director's job to give constructive criticism and notes on all of the various visual elements designed, as well as on the storyboarding. The creative executives may also have notes that the director must find ways to implement. The feedback to the artists could be either verbal or visual. Some directors can communicate more clearly by drawing or making corrections on sketches.

Once the project is ready for production, the director is in charge of handing out assignments, either directly or through department supervisors, as well as viewing and approving all artwork generated by the in-house artists and freelancers. During the casting and recording of a project, the director is involved in all steps of the process including choosing and recording the actors. Depending on the director's experience and comfort level, he or she may direct the voice talent himself or herself or choose to work with a voice director. In terms of music, the director and the composer collaborate to explore themes and choose a style. Throughout post-production, the director continues to lead the team by articulating the overall vision for the project to such staff members as the sound designer, dialogue editor, video editors, and colorists. (For more information on the duties of the director, see a detailed list below. Also see Chapter 8, “Pre-production,” Chapter 9, “Production,” and Chapter 10, “Post-production.”)

The best directors are able to easily amalgamate the two distinctly different worlds of words and images. An ideal director is highly creative, articulate, resourceful, and able to lead his or her artistic team through the thick and thin of production. The most important asset for a director is to know what it is that he or she is looking for and to be able to communicate that vision to the crew. Artists thrive when working for a leader who is able to appropriately cast the artistic assignments and can draw out their best work through insightful criticism. Ideally, he or she should serve as a constant source of inspiration for the production team.

Given that the director is an intrinsic part of every step of the process, he or she should be hired as early as possible and have input on the script, schedule, and budget. By involving the director at an early stage, he or she can determine how to tell the story while getting the highest quality animation based on the style and financial stipulations of the production. However, hiring a director early may not always be possible. Although a feature film project generally recruits a director during development, often a television director is handed the final script and has to start production immediately. Typically, time and budget restrictions leave little room for the television director to develop the project further.

On television productions, in those cases in which an executive producer is in charge, the role of director is not as all-encompassing as described previously. In this workflow, the director's job is to ensure that the executive producer's overall creative vision is understood and that the pre-production artistic team follows through on it. The director supervises the artists and reviews all creative stages, giving input and implementing creative executives' notes throughout the pre-production process. They may or may not be involved in production and post-production, which may be handled directly by the executive producer or a supervising director if there are multiple directors.

Due to the sheer volume of work, animated feature film projects are most often helmed by two directors. This structure is usually set up to expedite the production process and can work in several ways. One system is to simply divide the sequences between the directors. Another approach is to assign different departments to each director based on his or her strengths. Yet another commonly practiced system is to divide the sequences between four or five directors who primarily focus on the acting or animation. These directors are called sequence directors. In this case, there may be one overall supervising director who oversees the work of the sequence directors to make sure that the story and animation work in their entirety. This same system can also be used on series production, for which there may be several episodic directors led by one supervising director.

A great producing and directing team is a flexible one. By respecting each other's roles and goals, there is a healthy friction between the producer and director. The producer's job is to facilitate the fulfillment of the aesthetic goals for the project. The director in essence pushes the limits of the project creatively, and the producer does all that he or she can to help achieve these goals while pulling back on the reins when necessary. It is key that when problems arise, the director and producer work as a cohesive unit to find solutions. Together, they must continually motivate their team. They should communicate to their crew on a consistent basis, ensuring that everyone understands the project's creative goals as well as its time and budgetary restrictions. Sharing pertinent information with the crew enables them to feel invested and eager to do their best work.

Director's Responsibilities

Based on the production's budget and schedule, and the skills and experience of the director(s), he or she may take on all or a combination of the duties listed here. Please note that when we refer to the executives, we are addressing the individual(s) responsible for overseeing and/or funding the production. (For more information on the specific production steps noted here, see Chapter 8, “Pre-production,” Chapter 9, “Production,” and Chapter 10, “Post-production.”)

  1. Developing and completing the script in collaboration with the writer, the storyboard artists, the producer, and the buyer/executive.
  2. Communicating with the producer and the buyer/executive in regard to all artistic developments.
  3. Incorporating creative notes given by the producer and the buyer/executive.
  4. Communicating with the production designer and/or art director regarding stylistic choices and the color scheme selected.
  5. Collaborating with the visual effects supervisor (if applicable) to ensure that the artistic goals are achievable in the final format and within the production's financial scope.
  6. Understanding and giving input on the project's final budget and schedule.
  7. Selecting, approving, and overseeing all key artistic staff and department supervisors in collaboration with the producer.
  8. Casting and/or directing voice talent in collaboration with the producer and the buyer/executive.
  9. Suggesting and giving input on choice of musical talent, including the composer, lyricist, and vocalist, in collaboration with the producer and the buyer/executive.
  10. Coordinating efforts with the associate producer and/or production manager, visual effects supervisor, and/or department supervisors to make shots less time-consuming and more cost-effective, when applicable.
  11. Selecting and approving outside production studios in collaboration with the producer.
  12. Developing and approving the style guide for viewing and signoff by the producer and the buyer/executive.
  13. Approving look development and final color/surface treatment.
  14. Understanding and agreeing to creative checkpoints with the producer and the buyer/executive.
  15. Approving storyboards for viewing and signoff by the producer and the buyer/executive.
  16. Creating and approving the story reel/animatic for viewing and signoff by the producer and the buyer/executive.
  17. Evaluating the pre-visualization work with department supervisors, artistic leads, and members of the production team.
  18. Approving all key production steps.
  19. Approving final color and signoff by the producer.
  20. Editing the picture with the editor and producer.
  21. Delivering the final cut.
  22. Giving input on the selection of the post-production facility.
  23. “Spotting” sound effects and music with the producer.
  24. Supervising ADR with the producer.
  25. Supervising the music recording sessions with the producer.
  26. Supervising the final mix session with the producer.
  27. Determining the look of the credit reel and reviewing final credit listings with the producer.
  28. Reviewing and final approval of all post-production outputs with the producer for sign-off by the buyer/executive.
  29. Availability for press and marketing requirements in support of the project, including but not limited to personal appearances at film festivals, participation in press junkets and other interview opportunities, and the creation of DVD commentary tracks and other bonus materials.

There are many areas in which the director's and the producer's duties overlap. Here again, it is necessary to note the importance of the synchronicity between the director and the producer. Establishing an understanding of the director's responsibilities from the outset is therefore critical.

Visual Effects Supervisor

The visual effects supervisor holds the key to achieving the desired look in a computer-generated film. Partnering with the producer and the director, this individual is tasked with delivering the creative vision for the project to the screen while using the latest technology and artistic talent. He or she must have a balanced perspective on the project's components in order to create effective pipelines for element creation and shot production while adhering to the production budget. A vast knowledge of hardware and software technology and compatibility, plus a keen awareness of resource planning, artistic management, and problem solving, are all required for this role. To sum up: the primary goals of the visual effects supervisor are to materialize optimal creative visuals and maximize production efficiency while maintaining the ability to sail smoothly as pressure inevitably adds up.

As early in development as feasible, the visual effects supervisor may assign computer graphics (CG). While the visual effects supervisor is responsible for achieving the look and the desired asset behavior on a CG project, the CG supervisor's job is to make certain that it is all technically achievable within the parameters of the production pipeline. Collaborating with the artists focused on modeling, rigging, and look development, he or she plays a central role in facilitating the technical requirements for the creation of the assets and their successful integration in the shots. Starting with shot setup through final delivery, the CG supervisor's technical expertise is critical to designing a fully functional and efficient production pipeline.

Production Designer/Art Director

As a general practice throughout the industry, the production designer works closely with both the director and visual effects supervisor (if applicable) to envision the entire look of the project, overseeing the design of every character and every element in every scene. This individual must have a strong understanding of visual communication in order to effectively create the best conceivable style and shape language for the project. Early in the process, the production designer should collaborate with the art director to develop a color script for the project, which consists of color palettes for characters and environments, and color key images of the primary locations in order to convey the proper mood and atmosphere for each sequence. The production designer might move off a project once all elements are in production, but the art director generally stays with the show through post-production approvals to ensure the color quality and consistency in all outputs.

It should also be noted that the titles “production designer” and “art director” have very different interpretations throughout the industry, encompassing a wide variety of responsibilities between them. A project may have room for one or the other or both of these roles, and seniority between the two titles may vary as well.

Visual Development Artists

Conceptual artists are commonly referred to as visual development artists, given that it is their job to conceive the overall look and style of the project under the guidance of the director and production designer/art director. For the core team, a group of artists are selected who have a strong aptitude for character and location design along with color styling. (See Chapter 5, “The Development Process,” for further information on this topic.)

Being both prolific and flexible are necessary attributes for these artists. After all, coming up with material that is both fresh and has strong entertainment value is not a simple task. Out of a hundred drawings, there may be only one that is close to the target. The artistic development of a project is an exploratory process that involves searching for the right style and treatment. Building on the vision of the director and the producer, and under the guidance of the production designer/art director (and visual effects supervisor as the case may be), the visual development artists create the main concept for the project, which is followed by the rest of the crew. Depending on the size of the studio, these artists may be on staff for features or they are often hired on a freelance, as-needed basis for lower-budget projects.

Stereoscopic Supervisor

Creating a film that can be presented in a stereoscopic medium requires expert advice early in its development. Having a lead who is an authority in this field on hand will allow you to take full advantage of shot setup and execution both creatively and technically while preventing complications further down the production pipeline. The stereoscopic supervisor helps guide the layout pre-visualization team in translating storyboards into a more detailed visual direction. He or she can suggest camera lens and placement to comprise an ideal spatial composition. This supervisor can watch the frame line during super-stereo “popping off the screen” shots to avoid visual confusion; additionally, he or she can adjust composition to best achieve the desired stereo effect for the audience. The stereoscopic supervisor supports budgeting and scheduling efforts by evaluating the visual density of sequences and determining shot complexity. He or she advises editorial efforts, watching out for cuts that may be too fast to be properly read when amplified in intensity and size in a stereoscopic presentation. In later phases of production, the stereoscopic supervisor is key to facilitating an even-flowing, rich-looking project by monitoring the use of effects, rotoscoping, or matte painting—which can all be problematic in this medium. Larger studios generally have a stereoscopic supervisor on staff; independent productions may seek the talents of freelance experts through organizations such as the Stereo Club of Southern California (www.la3dclub.com) or the National Stereoscopic Association (www.stereoview.org).

Recruiting

Not every studio has the luxury of having a recruiting staff. In some cases, freelance recruiters may be hired or the producers may have recruiting added to their list of duties. Based on the budget and schedule, the producer first determines the size of the crew needed. In collaboration with human resources, he or she also generates a detailed list of requirements for specific job experiences in each category. The recruiting department is responsible for finding the best candidates available for creative, production, and administrative jobs. Methods of recruiting include postings on job sites, animation related blogs, discussion forums on the Internet, advertising in the trades, and contacting local unions. Another effective means of recruiting is hosting booths at animation festivals or other related arts events such as comic book conventions and special effects/computer graphics conferences such as SIGGRAPH. At these forums, artists can view conceptual artwork created for future projects at each studio and have their portfolios evaluated at the same time. Some studios go through the expense of throwing parties during festivals and conferences so that artists can get to know the studio executives, director/producer teams, and department supervisors—and vice versa. Most importantly, recruiters maintain well-organized databases of all potential candidates in order to address promptly the staffing needs of a show at any given phase of production.

Artists and production personnel who are interested in an advertised position email their résumés and URLs for online portfolios or clip reels to the recruiting department. This office sets up artistic candidate reviews by a committee that generally consists of the director, the producer, the production designer and/or art director, the visual effects supervisor, and the appropriate department heads. Résumés for production assistants and coordinators are screened and then passed along to the producer and the production manager, who select the qualified candidates and conduct interviews with them.

Once a decision has been made to hire an artist or a production staff member, additional discussions are set up to establish availability, salary, start date, and benefits. Extra considerations should be made when discussing candidates that need to be relocated for work, especially when they are in foreign countries because the immigration process is a costly and lengthy one. It is good to note that this type of arrangement should be made only for an artist who is not needed immediately and who can be utilized on a long-term basis or on a number of different projects.

In cases where the option to “pass” on the portfolio or résumé is exercised, the recruiting department keeps a record of the selection committee's or the producer and production manager's evaluations in their database. Ideally, the recruiting team keeps digital files of the most promising artists' portfolios so that when there is an opening on a project, it is easy for the core team to do a quick review of the potential candidates to find the best match.

Sourcing and Courting: The Adventure of Recruiting

Lala Gavgavian, Director of HR/Recruiting and Talent Development, Digital Domain

The success of any project starts with building its foundation—the team that is going to get it produced. The ability to identify, attract, cast, and retain top talent for a production is always an interesting adventure for both the company and employee. A recruiter is the person typically responsible for helping the producer build his or her team. Recruiters can be in-house employees or freelancers. I have been a recruiter for most of my career. For me, it is not a nine-to-five job but an ongoing and exciting passion that runs through my brain at all hours of the day or night. There is nothing more thrilling than uncovering great talent, pairing them with the right people, and watching them create something special. In order to be successful, I see it as my job to have my finger on the pulse of where all the talent lies in our industry. Keeping up with the trades, sending a note of congratulations when the talent has won an award or achieved a milestone, and so on are great ways of developing or keeping these important connections.

After the producer identifies the positions required, we work together to determine areas of responsibilities for the roles and any necessary skills. Once solidified, the search for the perfect candidate begins! Finding that perfect fit is truly an art. There are many ways to source talent. Posting on a company's home website is a typical first step. If the role is going to be hard to identify, paying for postings on industry websites may be another option to consider. Colleague connections and word of mouth is also a great method. Sometimes an introduction can happen by chance (at an industry event or networking) or very randomly (at a restaurant, elevator, or the gym.).

For those of you that are potential candidates applying for a job, here is some advice to keep in mind. Do your research, and have patience. Research the company you are applying for. Don't go into a job interview and compliment the studio on the achievement of a product that their competitor accomplished. Such types of misinformation can leave a poor impression about how serious you are as a candidate. As you are probably competing for the position, the candidate who took the time to figure out who exactly they are interviewing with has an automatic leg up on you. As a rule, do not expect to hear back from a recruiter immediately. Keep in mind that most recruiters are rifling through an average of 100 resumes/reels/portfolios for every job that is open. Don't take it personally that you haven't gotten a response in a timely manner and be very thoughtful about your follow-up strategy. Phoning a recruiter more than one time to “check in on your candidacy” sometimes ends up getting translated into a negative perception: “the potential employee is ‘overly anxious and insecure.’” If you are a good fit for a job, rest assured that you will most certainly hear back from the company.

Once I have identified a candidate whom the producer is happy with, the courting phase begins. Like any relationship, there is a “get to know” each other phase, somewhat akin to dating, that the new relationship transitions into. If you are the person being courted, something to keep in mind during this stage is that the recruiter is assessing everything you do or say. It is their job to determine whether you are or are not going to be a good fit for a team. With that in mind, I highly recommend that you be conscious and aware with regards to what you say and how you present yourself.

Another factor to consider as the candidate when job hunting is social media and the significant role it now plays. With the onset of MySpace, LinkedIn, Facebook, and Twitter, finding a job and having visibility for a potential employer has proven to be the single most innovative technology to propel the headhunt and job search into a whole new realm. This, of course, is a double-edged sword, as social media can either make or break your chances of obtaining a job. Keep in mind that “connecting” or “friending” with a prospective employer or representative of the company you are talking to will bring lots of visibility into to your day-to-day behavior. If used in a smart way, your profile on any of these social media forums could provide you with positive insights into you as a potential employee. If, however, you use your social media as a forum to tell the world where you are every two minutes, or how much you drank over the weekend and the physical result of that, sharing may not be the wisest choice.

One last item to consider when interviewing for a job is that recruiters actively read posts when researching a candidate. We will almost always “Google” your name and do a work-related search in order see what comes back, such as project credits or any other critical information, positive or negative. I once interviewed a woman who signed an NDA for a highly confidential project that we were considering her for. Once the interview ended, she left our offices and immediately proceeded to post a comment on Facebook. She posted that she had just left the company and that she thought she had the job in the bag. She then proceeded to not only name the project but to give details about it. Hmmm& you can only imagine where that ended up—certainly not as she had expected!

When I am ready to make an offer to someone, it is not always as straightforward as checking references and making an offer. I have at times met the perfect candidates, but they weren't available. For example, they may have already been committed by contract to another company. In such cases, what's a recruiter to do? Although your perfect candidate may not be available right now, there will be a day that he or she goes back on the market, and you will have established that front-line relationship. My strategy is to make it my business to stay in touch for as long as it is required to find the right time to bring the person in. I have found on many occasions that thanks to this groundwork, I am typically the first phone call they make when they are ready to make a leap.

The key to success for both recruiter and candidate is to make sure to do your due diligence to ensure that the fit is right. There is nothing more frustrating for everyone involved if it isn't. When it is a good match, however, there is no limit to the great things that can be accomplished and the satisfaction everyone feels as a new hire settles into his or her new role and begins to make a difference.

Legal and Business Affairs Department(s)

Depending on the structure of a studio, legal and business affairs may be two separate entities or combined into one department. The producer works closely with the legal and business affairs executives and creative and/or production executives when hiring key personnel who need to be put under contract, such as producers, directors, department leads, line producers, associate producers, writers, artists, and voice actors. The legal and business affairs departments are also involved in any deals with subcontract studios and outside facilities such as a post-production house. The project's executive or the producer is responsible for giving this department the fiscal parameters under which they can put together a deal. Furthermore, the producer outlines the roles and responsibilities of all individuals under contract. By delineating duties from the start, all parties are made aware of the expectations of the job, thereby avoiding possible future misunderstandings. Once a project is in production, the producer uses this department for advice and guidance on business, personnel and, when applicable, union issues. The producer provides this department with production materials such as the script and artwork to review for legal notes and clearance at specific checkpoints throughout the process. It is the producer's responsibility to make certain that these notes are implemented to avoid any potential problems once the project is complete.

It is the job of the business affairs executive to make deals for a project by negotiating the short-form contracts. (See Chapter 3, “How to Identify and Sell Projects,” for more information on contracts.) Throughout the negotiations, business affairs executives ensure that the overall business philosophies and strategies of their company are followed. All deals created need to be consistent with the studio's corporate policies and the project's or production company's fiscal parameters. Another objective is to make sure that new deals are in line with contracts that have been previously established. Once the key deal points have been locked down by the business affairs executive, the baton is handed over to the legal executive. This executive is responsible for negotiating all of the finer deal points that spell out the final agreement or long-form contract.

The main duties fulfilled by the legal and business affairs and department are as follows:

  1. Optioning material (purchase of intellectual property) and determining all deal points.
  2. Handling title clearance (establishing chain of titles and clearing ownership of property).
  3. Handling copyright issues (identifying and clearing any copyright issues).
  4. Registering the title of properties with applicable agencies (e.g., the Motion Picture Association of America [MPAA]).
  5. Negotiating talent agreements, including directors, producers, writers, creators, artists, actors, studio facilities, creative and technical consultants, musicians and composers, subcontracting studios, and any other person/company that may require a contract.
  6. Negotiating and drafting short-form and long-form contracts.
  7. Coordinating writers’ and any freelance staff payments with the payroll department as noted in each individual's contractual agreement.
  8. Functioning as a liaison between production, human resources, and the union, if applicable.
  9. Negotiating union agreements.
  10. Collaborating in the development and implementation of all studio policies such as hiring issues, benefits, holidays, overtime payment, and termination.
  11. Obtaining visas and work permits for those artists relocating from another country.
  12. Maintaining a complete list of all contracted employees/consultants and their pertinent information, such as option notification and contractual pickup dates.
  13. Checking all references to names, products, or brands that need to be cleared.
  14. Obtaining music clearance (verifying that they are public property and negotiating fees to be paid for copyrighted material).
  15. Compiling contractual screen credits.
  16. Reviewing and signing off on final screen credits.
  17. Verifying accuracy of promotional material in connection with details of contracts, such as size and placement of credits.

Human Resources

The human resources department is typically involved in the hiring of new employees. Working closely with the producer (and, when applicable, the recruiting department) regarding the terms of employment, they may handle communications and job offer negotiations. They are responsible for welcoming new artistic and administrative staff and integrating them into the studio. Typically, on the first day of starting a job, each employee attends an orientation meeting organized by human resources. At this meeting, new staff members fill out the startup paper work needed for payroll purposes. They are also informed of the studio's rules and regulations and receive important items such as identification cards and parking passes, if applicable.

Another equally important aspect of human resources is resolving interpersonal conflicts. In many cases, a producer can help solve issues. However, if the producer is not available or the matter needs an objective third party, human resources is responsible for this task. It is human resources' duty to make sure that the studio's philosophies and the Department of Labor's laws are followed by the production. In the case of studios that have an agreement with the local union, the human resources department oversees the implementation of union codes and employment guidelines. If there is ever a discrepancy between the studio's philosophical objectives and the rights of the employees, human resources is responsible for both finding and applying the appropriate solution. When necessary, human resources works closely with the producer and the business affairs and legal department to resolve any disputes.

The following list outlines the range of the human resources department's main responsibilities:

  1. Creating job descriptions that fulfill production needs and adhere to labor laws.
  2. Setting up interviews.
  3. Setting up personnel reviews.
  4. Hiring and negotiating salary with production personnel.
  5. Processing all startup paper work, including W-4s, I-9s, and applicable job benefits materials.
  6. Coordinating efforts with payroll for payment of full-time crewmembers.
  7. Organizing accommodations and providing general information for artists relocated from other countries.
  8. Tracking and administering salary parameters and annual raises.
  9. Maintaining a database on the status of employees and studio headcount.
  10. Dealing with disciplinary actions.
  11. Ensuring that a healthy work environment is maintained, which may include the coordination of crew-bonding and morale-boosting events and amenities.
  12. Handling all internal disputes.
  13. Resolving discrepancies with payroll for payment of Motion Picture Health and Welfare Pension if the studio has an agreement with the local union.
  14. Tracking and administering benefits such as life insurance, health benefits, and pension programs.
  15. Conducting exit interviews.

Working with the Game Changers in an Ever-Changing Game

Don Hahn, Producer and Director, The Walt Disney Studios

In the game of animation, the producer's number-one priority is to assemble and maintain a world-class team that will create a movie of lasting quality. When people ask me what a producer does to successfully manage an animated film, the answer is deceptively simple: I hire the best people that I can find and then do exactly what they tell me to do. This group of experts covers the gamut of administration (human resources, legal, finance, recruiting, training), production (management on the project), and creative (director, production designer, other artists), and here are some thoughts on making the most of your team.

Clearly, the work of building a crew into a team is the most important job in managing a project, so start things off with your administrative partners by acknowledging the simple fact that the success of a production is based purely on the team of people cast to create the film. You are not casting a party: everyone doesn't have to get along all the time, but there does need to be respect between the team players. What is crucial is the expertise of the player, the management skill of the player, the candor of the player, and the ability of the player to push the team to a higher level. Recognize that the team is only as good as the weakest member, and you should be casting the film with the best you can afford: this is not a place to save money. You can certainly hire a “B”- or “C””-list editor, for example, but you will suffer that choice for years to come and the cost of recruiting a better talent will fade from memory as you spend your way out of a mediocre situation.

As you line up your production management, a great philosophy to instill in these key players is: “Animation is not a traditional assembly line activity; it is much more like sports.” You can prepare, train, and recruit the best team and set a game plan, but you have no control over the variables of the game. What you do have control over is how quickly you react to changes in the game and how prepared and conditioned you are to adjust to the new conditions and still play at your top level. Expect chaos and moments of indecision, and then train the management team how to react to the change; how to access, listen, plan, and refocus attention is the goal. If you want to set out a foolproof plan on paper and execute it perfectly, I can tell you right now: don't go into the animation business.

On the creative side, the director is the first crucial hire. He or she has three responsibilities: to articulate the vision and the story clearly to the crew, to give candid critiques, and to build morale around that vision. The storytelling and critiquing aspects of directing are obvious, but you might find it surprising that I included morale in the director's duties. The core team—and eventually the entire production crew—has to sustain the vision of the director over a period of years and has to believe where the director is taking them. There will always be frustration, debate, and disagreement on any film, but if the team can agree on supporting the director's vision of the film, the process will be easier and the result inevitably stronger. I've seen the opposite happen: the director has a creative vision that is completely out of sync with the team and the studio and no one can agree on what the film was. The crew showed up because it was a job, but it wasn't a passion. The project became more of a negotiated truce between director and studio than a good movie.

And here's a bit of advice for you to hold on to when you are in production and things seem to be going from bad to worse: manage your team's expectations and foster collaboration. Managing expectations during the making of the film can keep the crew focused during a long and often grueling production period. For example, most early screenings of a film are horrible. On Who Framed Roger Rabbit? we had an early audience preview screening where more than half of the audience walked out. For that matter, even Beauty and the Beast failed horribly in early screenings. But it's not over 'til it's over. The crew must keep in mind that early misfires are common. It's a need for concern but not a need for panic. As a producer, it's important for you to deflect panic and get people on the crew focused on the tasks ahead to make the film better.

To maximize your team's talents and investment in the project, I recommend that you solicit notes from the crew when you do a screening. It does two things: you will get a handful of genuinely useful notes from the fresh eyes that haven't seen the film before, and at the same time you will be building a sense of trust and team that is so important as the film goes in to the production crunch period. Create an atmosphere in which opinion is not only tolerated but also welcomed from every level. The director and producer have to be particularly open to this culture or it won't happen productively: they have to be willing to take the time to listen to dozens of ideas, some of them awful and some useful. This group critique culture, if done right, builds a tremendous amount of ownership between the filmmakers and the product. The director will still have to go back to his or her office and sort through the notes, because the final product is at its best when it's a single vision, but the culture of honest debate and creative critique is crucial for films to reach their highest point.

Although this is certainly an intimidating process for production management, this is the point at which their collaboration and “sports-oriented thinking” is greatly needed. They will want to hit the deadlines, and soliciting changes is completely counterintuitive to this. But going back to my earliest statement: the job is to deliver a film of the highest quality on budget and on schedule. A lot of times we as producers or managers abdicate the term “highest quality” and leave that part to the artists. Not true. If you don't carve out the times and the cultural permission to be critical, there is no incentive for the artist to do it. If you are always driving to inflexibly hit numbers, it shows that you haven't built in contingency for change and you are sending the message that schedule trumps quality. Both not good—and not the way to play the game.

Production Accounting

The production accountant functions as the producer's righthand person by keeping track of every penny spent during production. It is the production accountant's job to be aware of and communicate the financial status of a production to the producer. In most cases, the production accountant reports to both the producer and the studio executive. In larger studios, the production accountant may work under the supervision of a production controller who oversees the accounting of a number of projects at the same time.

At the inception of a project, the producer and the production accountant work closely together to establish the details of the budget based on the schedule and the artistic needs of the production. The production accountant will ideally run multiple scenarios in order to help the producer decide on various staffing and scheduling options and to foresee potential financial ramifications, as workflow may shift while the project is in development or production. Once the project is greenlit, it is the responsibility of the production accountant to monitor the weekly progress of the production from a monetary point of view. The production accountant attends project meetings and is given pertinent production information on a consistent basis by the producer, director, the associate producer, the management crew, and the department supervisors in order to assess the status of the budget. This analysis is done through the generation of a cost report or an estimate of final costs (EFC). A cost report is a line-by-line breakdown of all costs incurred to date and the amount of money remaining in each category. It compares the actual work completed on the project versus the work to be done. (See Chapter 6, “The Production Plan,” for more information on building the budget.)

By evaluating the various financial reports along with the schedule and status of production, the production accountant tracks expenditures. Under the guidance of the producer, the production accountant can determine areas in which there are savings as well as areas that may require additional funds. Together, the producer and the production accountant decide on where to move funds based on the creative and upcoming needs of the project. Even though the production accountant is not creatively involved in the project, it is imperative to keep him or her aware of all developments on the production. Unless the production accountant is informed on all revisions and issues that may delay the production, he or she will not be able to do the job effectively. It is the role of the production accountant to highlight or bring to the attention of the producer any potential problems that may affect the budget.

The production accountant is responsible for processing payroll, all purchases, and invoices. Timecards are signed by the production manager and/or the producer and are then forwarded to the production accountant to review and process for payroll. Once completed, paychecks are prepared for staff members and freelancers. Every purchase, ranging from small items paid for from petty cash to acquiring big-ticket items such as purchasing software licenses, require the approval of the producer. In the case of larger items and services rendered (such as voice recording at outside facilities) a purchase order (PO) is issued. A PO states the purchase or service, its projected cost, and the line item to which the cost should be attributed within the budget. A PO is used as a check and balance system to manage costs. When invoices are received, the production accountant uses the PO to match up the invoice, cross-checking that the amount charged doesn't exceed the amount the producer originally signed off on. If it does, the production accountant informs the producer, who makes a decision as to how to proceed. After the invoices are approved, these costs are entered into the accounting system and checks are cut.

Training

Larger studios that have a long-term commitment to producing animation often invest in a training department. This group works with the recruiting team and producers to identify the training needs of the studio. The immediate goal is to ensure that all artists are adept at using the current toolset for a particular production pipeline, and longer-term goals include the education of future artists brought in as interns. Training programs involve lessons led by in-house talent as well as outside animation and technology professionals. Offering workshops on the latest technological advancements allows the studio to remain competitive in the rapidly changing world of animation. The training department may also organize ongoing classes, such as life drawing and improvisation courses, to regularly refresh the experience of more tenured crewmembers.

Keeping the artists inspired and excited about the project is a very important priority for the producer. Together with the training department, the producer can organize workshops, lectures, and outings that allow the staff to hone their artistic skills and learn more about the subject matter of a project. Equally important is creating workshops in which the staff can cross-train and learn about what other team members do. This approach enables the crew to have a deeper understanding of the thinking and the skills that go into job categories other than their own.

The Technology Department

The technology department is responsible for providing and maintaining computer hardware and software for the artistic and administrative staff. Depending on the size of the studio and the extent of digital production to be used on the project, this department can be just a handful of people or hundreds of staff members. Whether the project will be fully digital or have only moderate use of the computer, the producer and the director should meet with the technology group as early as possible. This meeting helps to pinpoint the specific needs of the show and set realistic goals that can be met within the budget and schedule. Following the producer's guidelines, this team is responsible for identifying equipment, negotiating deals, maintaining all contracts and licenses for hardware and software purchased, and setting up and supporting the production pipeline. Because technology is so multifaceted, the group is generally divided into separate departments rather than falling under a single one. Areas covered in technology include systems administration, production services, research and development, and archiving.

Systems Administration

This division of the technology department is responsible for purchasing, installing, and maintaining the necessary hardware for the studio: everything from laptops to digital projectors, servers, and render farms falls within this jurisdiction. The expertise of this department is crucial in all decisions involving power, space, efficiency, and compatibility of all machines utilized in a production facility.

The systems administration group also licenses, manages, and supports all “off-the-shelf” software packages and ensures their capability to interface with each other. From the organization of digital storyboards to the tracking of shot progress and the delivery of final frame images, systems administrators oversee the operation and provide assistance for both artistic and management teams.

On projects that use subcontractors, it is essential that the systems administration group be involved in establishing efficient workflow between the in-house and external parties. This group should ensure that the two sides use either the same or compatible equipment and software, and they can help evaluate whether the cost of installing the machinery and training the staff at the subcontractor's studio makes fiscal sense versus doing the work in-house or possibly finding another outside source with compatible systems. A significant financial investment may be wise only when there is a long-term commitment with the subcontracting artist or studio.

Research and Development

The research and development group oversees the development of proprietary software to handle particular production needs as a stand-alone part of the pipeline or as a bridge between licensed software packages. Their efforts can make a production more efficient and streamlined and can keep a studio more competitive by staying in touch with the latest technology and evaluating the most recent hardware and software options available within the industry.

Production Services

In some studios, the production services group sets up and manages production databases, production tracking systems, and disk space. They also run backups, handle dailies setups, and facilitate the on-lining and off-lining of materials. In other studios, these responsibilities are handled within a production— typically on a department-by-department basis—and supervised at the global level by the technology group.

Digital Archiving

The digital archiving group oversees the storage of elements for short- and long-term access. Certain assets should be archived to address future needs, such as the creation of sequels and ancillary materials. This group helps determine what makes sense to archive versus what can be better recreated in the future using more current software and technology. In other words, cost considerations should be factored in when deciding whether it is more expensive to keep an old version of software “alive” than it is to take the reference art and recreate a character, effect, or environment in the latest version of said software or perhaps plan to start fresh in an entirely different software package. The digital archiving group maintains a detailed catalog of all elements in the archives and manages a digital image interface for users to access and retrieve files as needed.

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