7

 

THE PRODUCTION TEAM

 

The Role of the Producer in Structuring the Production Team

As an animation producer, building the crew is an opportunity to put together the ideal combination of people to create something spectacular. Hiring a team for an animated project does not happen all at once because not everyone is needed at the same time. As a result, start dates and end dates are staggered in concert with the production plan. Unlike live action filmmaking, there is no one moment at which cast and crew work on the same scene simultaneously. The staff's work is typically segmented, as each asset and/or shot proceeds from one department to the next. (See Chapter 6, “The Production Plan,” for more information on putting together a crew plan.) The producer paces the production in terms of the number of artists and production staff needed based on the budget, schedule, and creative requirements of the project, which is more easily said than done because projects are always in a state of flux. Initially, he or she has to handpick a core creative team to develop and launch the project. At the same time, a production crew is needed to support the artistic vision and to keep the show on track. As important as it is to provide ample resources for exploratory conceptual work, the producer must balance the budget so that the project's production quality is never compromised because of overages in the development stage.

One major difference between feature production and television series is their staffing needs. Budget, creative process, delivery date, and final format all greatly influence the number of staff and particular roles required to complete a project. For qualitative reasons, most large-scale features are produced in-house. This methodology puts the producer in the position of having to identify and hire upwards of 200 staff members although in the case of the major studios, many of the artists and production crew are already on staff. On lower-budget projects such as television or direct-to-DVD, producers typically subcontract the production portion of the process, setting up an in-house team to handle pre-production and post-production. In order to create a pre-production team for these types of shows, the producer hires approximately 15 to 35 people for the in-house crew, with the bulk of the production crew employed by the subcontractor. It is up to the producer to determine the best crew configuration to generate the pre-production content and select the ideal subcontracting studio for the production phase.

The producer hires a subcontractor for budgetary reasons and/or to help make up for shortfalls (to keep from falling behind schedule, for example). If subcontractors are to be involved in pre-production work, it is important that the producer researches their availability and talent prior to the project being greenlit. The compatibility of the technology and pipeline between the production and the subcontractor must also be considered, as this can greatly affect workflow. This preplanning prevents complications and provides assurances that “all systems are go” as soon as the producer requires their services. When a subcontractor is involved in some or all of the production phase, the producer should put a deal in place as early as possible during pre-production to ensure that materials are created to suit the subcontractor's needs. (The drafting of a subcontractor deal is discussed in greater detail later in this chapter.)

As the project gets closer to being greenlit, the producer starts the search for personnel needed. Depending on the size of the studio, there may or may not be a recruiter available to help in the hiring process. (See Chapter 4, “The Core Team,” for more information on recruiting and training.) If there is no recruiter, the producer usually contacts individuals with whom he or she has worked before to solicit recommendations. The formal announcement of a production starting is commonly advertised online and in print through industry trades and animation magazines; however, word of mouth is the most common method of “crewing up.” All studios use websites and job lines to post the details of available positions and whom to contact.

When the production funds are in place and the producer can start hiring, he or she partners with the director and/or the key executives to look at the creative team as a whole and make sure that all members are a good match for the project. Specific skills are necessary for each job category. For example, the most important aspect in evaluating storyboard artists is their ability to tell a story visually. You can make this assessment while reviewing their portfolios. As you look at their artwork, you should also be comparing their style to that of the show. Perhaps they are flexible and can handle a range of projects, or maybe their expertise can best be tapped for a particular genre, such as comedy. Another significant issue to keep in mind is the artist's capability in terms of speed and output. If the director or producer has had no previous experience with the artist, the answer to this question may require checking references.

The next consideration is how to build the story team with board artists who complement each other. Some artists are able to spell out each scene down to the last possible detail, while others tend to focus primarily on the acting. The tendency is to have both types of artists on a show so that they can address the key moments of the story as well as illustrate how the characters interact. Finally, it is almost an animation tradition to develop future talent by having interns work alongside experienced artists. This method helps the less experienced artist see firsthand what type of ideas work and how they are executed. Even if interns may not be able to contribute directly to the show, they are an important asset to future projects. (For a detailed description of the artistic staff and their duties, see Chapter 8, “Pre-production,” and Chapter 9, “Production.”)

Because it is crucial for the producer to delegate responsibility, it is vital for him or her to trust the leadership hired. When selecting supervisors, key artistic staff, and production personnel, it is highly consequential to hire individuals who are experienced in their respective roles. By choosing people who confidently know the ins and outs of their positions, you will be able to run the project efficiently. The producer can create a fantastic mix of talent when selecting a crew comprised of both experienced pros and newcomers, as the combination of experience and enthusiasm is invaluable. An ideal team should be made up of senior artists who can lend an extra hand if production problems arise, and new talent should be paired up with more experienced artists who can teach them along the way. In some instances, the producer may be faced with a dilemma. He or she may come across an extraordinary talent who can make all the difference to the success of the project but insists on joining the team only if hired as a supervisor. If that is the case, the producer may choose to set up an internal structure to support the first-time supervisor, as extremely talented artists may not embody all of the skills required to run a department as well.

When assembling the production crew and the artistic team, the producer should aim to create and maintain a positive chemistry within the group. Just like any other collaboration, animation requires the talent of many different types of people who have to work well with each other and communicate effectively. The artistic team, the technologists and management group, if not mutually respectful of each other's roles, can find themselves locked in a never-ending battle. Artists may think that the schedule is unrealistic and feel they are treated as though they are forced labor, for example. On the other hand, the production staff may believe that they have to act like they are running a boot camp or the project will never get done. This kind of negative approach toward work often results in sapping the production of its creative juices and lowering morale. The producer is the individual responsible for rectifying these kinds of problems, and damage control must be immediate.

Although possessing artistic and organizational skills are important assets for the production staff to have, the producer must make sure that the individuals hired are also good communicators. The key to running a top-notch production is communication. You can never overcommunicate. Informing and updating everyone about their shared goals and—most important—the means to get there is key to success. Unless the producer actively works on ensuring that everyone is clear on the vision and provides context and goals, thereby creating a strong team spirit, the production can quickly get derailed. Probably the most effective means of creating a good working atmosphere is making sure that the crew knows that they have an outlet through which they can communicate. If the producer's schedule or style doesn't allow him or her to be accessible, the producer should be sure to hire an associate producer or production manager who is available to the staff at all times. If the staff know that they have a voice and are treated with respect by the leaders of the project, they will do all they can to put forth their best efforts for the production.

Once it is established that an individual is to be hired, negotiations begin. Negotiations for most above-the-line or high-end talent such as directors and producers are handled by the business affairs department. (For more information on the business affairs department, see Chapter 4, “The Core Team.”) For non-contract personnel, the producer, a recruiter, or—at a larger studio—a production executive handles the negotiations. In some cases, the associate producer or production manager is involved, especially for freelance artists and production staff. If a contract is not necessary for the new hire, a deal memo should be put together by the producer. Deal memos are very useful, in that they outline important details such as:

• Salary
• Terms of agreement
• Start date
• Job title
• Reporting structure
• Confidentiality agreements
• Credit

Up-front clarity regarding a position is a form of proactive troubleshooting. By establishing this information prior to an employee starting work, any possible discrepancies can be dealt with quickly.

While a production is in progress, it is crucial that the producer monitors the hiring process very carefully. When a production gets off track, it is important to adjust the crew plan and hire accordingly so as to avoid wasting resources. In studios where the staff are already hired and slated to go onto the production by a specific date but the project is not ready, the producer must collaborate with the production executive and find solutions to delay the start of the artists on their budget. One scenario is to loan the artists to other productions, either in-house or at other studios. Another method may be to confer with the artists and see whether they are agreeable to a later start date and/or are willing to work shorter weeks so that there is less impact on the budget. When there is no other solution, the producer may have no choice but to take the risk that the talent won't be available when actually needed and let the artist go or abide by the previously agreed-upon start date and put in the best effort to get useful materials created in this “downtime.” Depending on how far behind the project may be, the producer needs to then strategize on how to make up for this lost time. Possible solutions include the hiring of additional artists on a freelance basis, allocating money for overtime, or simplifying the story and finding a means to reduce the artwork needed. This reshuffling of resources is constant throughout all stages of production.

The producer also has to be direct with crewmembers when end dates approach. It is extremely difficult to inform the crew that within a short time they will be out of a job; however, it is important to give the staff the information they need to plan for their lives. Inevitably, the last weeks of a show are when the highest quotas need to be met. In order to make up for the lost time, the artists are required to do more work so that deadlines can be met. Telling artists their end dates during this time period can diffuse their enthusiasm for the project and they may spend time and energy looking for another job instead of focusing on completing their assignment. Experienced artists however, know that end dates are part of any job and that fulfilling their part of the bargain is a necessity. After all, chances are good that you will be working together again and it is important not to have a tarnished record.

Department Supervisor/Lead

On higher-budget productions, artistic leads are selected from each department to guide the team and oversee its work. The department supervisor works with the director and, when applicable, the visual effects supervisor, and the production designer/art director in order to get input on the creative expectations of the show. These supervisors work for the director on creative issues and collaborate with the production manager on all productionrelated topics. The department supervisors are usually hired prior to the start of their department so that they can explore and establish the look and process of the project and be involved in selecting their team members. They are responsible for assigning work to the artists in their department. They attend director approval sessions, weekly production meetings, sequence turnovers, and dailies. At the production meeting, department supervisors are expected to provide the producer, the director, the associate producer, other artistic leads, the production manager, and APMs/ PDMs with an up-to-date report on their departments. At this meeting, they can also express production concerns that pertain to the show in general. Department supervisors should also hold weekly meetings with their own teams to update them on how the project is progressing and to discuss inter-departmental concerns.

When it comes to facilitating the handout and completion of artwork the supervisor and the production department manager work together to plan and schedule for the department. Taking weekly targets into account, along with the complexity of work and the individual staff available to do the work, they strategize on how to allocate assignments. Each approaches this challenge from his or her own point of view, collaborating to find the best solution to ensure that both the creative and administrative needs of the project are met. Together they work with the individual artists to find a suitable due date for assignments that stays within the budgeted number of hours available.

Something to keep in mind when choosing a supervisor is that there is often a tendency to select the most prolific and/or talented artist for the role of the department head. Because this position requires the individual to attend numerous meetings and work one-on-one with their crew in order to help them solve problems, you must realize that these individuals are the least likely to get anywhere near the drawing board or computer and produce artwork. For this reason, it is probably more beneficial to choose an artist who is highly experienced, is well-respected among his or her peers, and has strong interpersonal and administrative skills.

The Production Management Crew

A producer's management crew or production staff performs a vital part in keeping the project together and moving it forward. On lower-budget projects, this group is usually limited to a few key individuals. These include the production manager and a handful of coordinators and production assistants. Because of this limited size, the ability to wear multiple hats is a necessity for these roles. On features, there can be upwards of 15 individuals making up the production management team; as such, their responsibilities are much more specialized. The production manager has a dedicated production person—often titled production supervisor, assistant/associate production manager (APM), production department manager (PDM), production coordinator, or production assistant (PA)—in almost every department supporting that specific step of the animation process.

When hiring a production crewmember, there are a few ground rules to follow. In general, the crewmember should have:

• Previous animation experience (necessary for both production managers and coordinators/APMs/PDMs and preferred in production assistants)
• Strong interpersonal skills
• Excellent communication skills
• Enthusiasm for the job
• The ability to prioritize
• The ability to ask questions and get guidance
• Strong organizational skills
• An aptitude for problem solving and troubleshooting
• Attention to detail
• Data input and production tracking skills
• A proficiency at delegating (if in a managerial position)
• The ability to follow through on action items
• A goal-oriented attitude

Figure 7-1 is an overview of the management personnel that constitute “The Producer's Team.”

The Production Manager

The production manager is usually hired at the onset of preproduction and—may continue through post-production. This position reports directly to the producer and—based on how the project is set up—to an associate producer or hands-on production executive. (For a discussion on the role of the associate producer, see Chapter 2, “The Animation Producer.”) Depending on the size and scope of the project and how it is structured, most of the various production staff including PAs, coordinators, and APMs/PDMs are accountable to the production manager, whether they report in to that person directly or indirectly.

The production manager essentially functions as the producer's right hand and is directly responsible for managing the details of production in order to keep the project on track. The production manager assists the producer in creating the master schedule and all departmental micro-schedules. (See Chapter 6, “The Production Plan,” for sample master schedules and Chapter 11, “Tracking Production,” for sample tracking charts.) When changes such as script revisions are made to the project, the production manager modifies the schedule with input from the producer. Additionally, the production manager creates and maintains weekly production status reports. Establishing priorities and communicating information to the staff are integral parts of this role.

Figure 7-1 The Producer’s Team.

When dealing with a subcontractor, the production manager makes certain that all the material that is made available online or shipped digitally is exact, reflecting the agreed-upon specifications. Prior to posting or sending out artwork, he or she must review the contents of the package in order to make sure that all of the required pieces are included. Ideally, a shared tracking system is set up so that the progress on the work at the outside facility can be closely monitored. Typically, all artwork ready for review is made available online in order to generate consistent communication both on the quality of work and its progress. At the same time, the production manager needs to ensure that domestic studio staff is accountable and accessible to the subcontracting team for any questions. Upon obtaining the producer's approval, the production manager provides additional material when requested. If the subcontracting studio is in need of information on structuring the production from an administrative point of view, the production manager may be asked to travel to the facility to offer onsite training.

On a project that is animated in-house, the production manager has many elements and materials to track. To ensure that these items flow efficiently through the pipeline, the production manager's most important duty on a feature film is to find a way to have adequate inventory in each department so that weekly quotas can be met. Through constant communication with his or her management team of APMs/PDMs, coordinators, and/ or PAs, the production manager must be aware of the workflow in each department and how it is tracking compared to the plan. The momentum of the production or the necessary inventory in the departments is determined by the schedule. After the main character and location designs are finalized and key assets are built (on a CG project), the first item that the production manager must tackle is making sure that enough storyboard sequences are approved for production in order to start feeding the pipeline. If this is not possible (that is, if script problems are plaguing a project and causing delays), the production manager works with the production accountant to devise new schedules and tabulate the costs of the delay. Or the production manager can determine what sequences can be shifted around in production and re-prioritized so that the crew can continue to work. Once sequences are approved and there are enough shots issued to meet the required footage per department, the production manager needs to keep a vigilant watch over meeting the weekly targets. When departments encounter problems meeting their quota, the production manager works with that production team and the key supervisors to determine immediate solutions because their shortfall will impact other departments. Possible scenarios to troubleshoot for successful inventory flow include:

• Assess all shots in the department as well as the possibility of putting other shots on the fast track in order to reach the weekly targeted goal. If there is no way to meet the quotas in a given week, the next option is to see whether the department can make up the missed work in the following week, thereby catching up to the targeted number.
• Evaluate departmental workloads to make sure that the expected quotas are realistic and achievable.
• Partner with supervisors to analyze individual artists' performances to make certain all creative staff are producing as expected.
• Reevaluate how artwork is assigned so that the same artists are not always taxed with the most complex work and that all artists are cast according to their strengths.
• Get approval from the producer to ask the staff to work overtime and/or hire freelance artists if quotas are consistently missed and there is no possibility of catching up. Overtime should be used strategically because it is demanding on the artists and can be costly. Unless it is paced properly, it can have diminishing returns.
• Simplify the complexity of shots when the budget is locked and there are no additional funds available for freelance artists or overtime. The director and the producer must approve all shot simplification passes.

Over the course of production, the production manager may have to utilize all of these scenarios at one time or another. However, the best approach is to be proactive and assess each shot's level of complexity during the pre-visualization and turnover phases, making certain that resources are available for their successful completion. (For more information on this topic, see Chapter 9, “Production.”)

During post-production, the production manager focuses on tracking retakes and aiding the post-production supervisor in coordinating material transfers. The production manager may be involved in scheduling sessions and, in some cases, attending them based on the producer's requirements. The production manager may also be responsible for upkeep of the script by tracking and inserting any revisions, along with making sure that all ADR lines are recorded. (For further discussion on ADR, see Chapter 10, “Post-production.”)

Production Supervisor

The role of the production supervisor falls somewhere between that of the production manager and the coordinator. This position is most often used in television and direct-to-DVD projects and is responsible for overall project tracking. In features, this role may manage multiple departments, dividing responsibilities between the “front end” and “back end” of the production pipeline or perhaps the “asset production” and “shot production” divisions of the process.

Production Coordinator or Associate Production Manager (APM)/Production Department Manager (PDM)

In general, production coordinators and APMs/PDMs have many job responsibilities in common; however, in television and direct-to-DVD projects, the role is commonly described as coordinator, and on feature productions, it is called an APM or PDM. APMs/PDMs usually work closely with department supervisors, and their jobs tend to be more specialized. In all formats, however, the coordinator and the APM/PDM report to the production manager, and they manage the artists' work in order to meet production deadlines. Depending on the budget and studio structure, they may or may not have production assistants supporting them in their daily tasks. Coordinators are primarily employed during the pre-production phase; APMs/PDMs are hired based on the department start and completion dates.

Coordinators and APMs/PDMs are responsible for tracking artwork, shot status, artist assignments, and artists' output. These are important responsibilities, as the only way to evaluate the status of a project is by being able to assess the detailed progression of each asset or shot down the production line. Because of the necessity for accuracy, conscientious upkeep of the production tracking system by the coordinators or APM/PDM is crucial. Whenever there are any changes on the status of the script or artwork, the information should be updated immediately.

Along with their department supervisors, APMs/PDMs are responsible for the allocation of man-hours within their department and, in anticipation of such a task, they provide bids (a rating of the expected level of difficulty) for shots at the time of a sequence turnover. These bids are given to the production manager and/or entered directly into the production tracking system. Other vital data that the APMs/PDMs enter in the system should include the name of the artist currently assigned to the work, the date the work started, the expected due date, and the date when their work is approved. The APM/PDM also reports on quota evaluations and will re-project their department's progress on a weekly basis in concert with the production manager.

The coordinator or APM/PDM must focus on developing good working relationships with the artists. Being straightforward about deadlines and the overall production schedule is essential in order for artists to be given a chance to complete their assignments on time. If artists don't consider the allotted time to be sufficient, the coordinator or APM/PDM should work with them in order to find a more suitable schedule. If past experience shows that an artist is consistently late the coordinator or APM/PDM may find it necessary to follow up with the artist on a more frequent basis. In response to having to adhere to the stricter due dates, the artist may feel that he or she is being put under too much pressure to produce. Under these circumstances, it is important to involve the department supervisor so that the problem can be resolved promptly. When “due dates” are not met, production goals will inevitably be missed. When this is the case, it is vital to alert the production manager as soon as possible.

In an animation studio, the coordinator or APM/PDM must monitor and maintain certain items in order for their department to run smoothly. The most important prerequisite is making sure that artists have the material they need in order to work on their assignments. Whether it's complete shot notes, a piece of art from another artist, reference material, or access to a certain software package, it all must be prepared prior to the handout session. Equally as important is making sure that the necessary equipment is in working order. If not, a report must be made immediately so that a hardware or software failure does not result in production delays. Also, creating an artist-friendly environment is an absolute necessity for any production. It is not uncommon to have situations in which one artist is unhappy with a neighboring artist's loud music, for example. Again, it is up to the coordinator or the PDM to resolve the problem or seek help from the department supervisor and/or production manager.

As an artist completes his or her assignment, it is the APM's/PDM's responsibility to ensure that the department supervisor and/or director promptly review the work for approval or revisions. Once the artwork is completed and the director has signed off on it, the coordinators and APMs/PDMs organize, file, and distribute the material as necessary. The coordinator prepares the material for shipment (if applicable), or the APM/PDM communicates the approval of the artwork and its availability for the next department.

When the work is subcontracted, the coordinator has to make certain that the final artwork is ready on the agreed-upon shipment dates. The coordinator acts jointly with the production manager on the preparation of the material. He or she functions as the contact person for the subcontracting studio and must facilitate all their production needs as quickly as possible. On inhouse projects, it is up to the APM/PDM to check that when a shot leaves the department it contains all the necessary notes and artist reference information, ensuring that it is fully prepared for the following department and updated correctly in the tracking system.

The coordinator or APM/PDM must also keep everyone apprised of the crew's status. Maintaining a master calendar that shows information on artists who are on vacation, on leave of absence, or have taken ill is very helpful. Generating a contact list for the crew and a confidential list of home phone numbers in case of an emergency is also useful. Finally, because they see artists on a daily basis and are aware of the number of hours worked, coordinators and APMs/PDMs are responsible for reviewing their timecards before they go to the production manager for signature.

As the production begins to wrap up, coordinators and APMs/PDMs are involved in closing down the department as necessary. They are responsible for disk space management, or at the very least, overseeing the offlining and archiving of their department's work files. They are also responsible for archiving physical artwork, if applicable. In both the digital and physical archiving efforts, the coordinator or APM/PDM creates an inventory list of all archived items for future reference.

Script Coordinator

The script coordinator works with writer, the story team, the editorial team, and producers to keep the script up to date. The script coordinator assists in tracking the status of the writing and takes care of any production needs that have to do with the script. As scripts go through various drafts, this coordinator ensures that everyone involved in the writing and approval processes (executives and producers, for example) have the most recent version. If there are page changes rather than entire new drafts, they distribute the specific pages. If hardcopies are distributed, updates are often printed on colored paper, with the various colors indicating the specific revision. Each new page should include the date and draft number, with the new writing being indicated with an asterisk. Once a script has been finalized and greenlit to move into production, script coordinators distribute the script to in-house staff as well as the casting director and voice director, if applicable, who are responsible for getting all materials to the actors and the recording engineer. The script coordinator should help ensure that script distribution is carefully monitored and tracked for confidentiality purposes; a watermark is often ghosted behind printed versions of the script to discourage unauthorized copying.

When changes are made during production and/or the recording session(s), the script coordinator updates the script and distributes all revisions to the appropriate individuals. The script coordinator must also work closely with the editorial team to make sure the script reflects the most current editorial cut of a project. It is the script coordinator's responsibility to keep a record of all versions of the script for reference and archival purposes so that executives and/or producers can refer to materials at any time. They are also responsible for preparing materials for casting sessions and reformatting the script for recording sessions. They collaborate closely with the casting director and may be asked to attend recording sessions to help the producer(s) and recording engineer by keeping track of preferred or “circle” takes and other pertinent information. (For further information on this topic, see Chapter 8, “Pre-production.”) When a project is completed all the way through production and is delivered, script coordinators are then responsible for preparing the as-aired script (in the case of television) or the as-delivered script (for direct-to-DVD and feature projects). On shows that do not have a script coordinator, the production manager is usually responsible for these duties.

Production Assistant (PA)

The job of the PA is to support the coordinator or APM/PDM and the artists. When a production creates either physical or digital artwork, the PA's duties include labeling and pasting-up artwork and copying and filing either hard copies or digital copies. They are also responsible for aiding the coordinator or APM/PDM in tracking the status of the artwork and assets. Diligent and conscientious handling of artwork is a requirement for the production assistant in order to prevent costly losses to the production. Once the project is close to completion, PAs assist other members of the production team in archiving the material.

Aside from focusing on the artwork, the production assistant takes on any other tasks that may need administrative support. Should the artists require reference materials such as books, DVDs, or images from another shot for reference or reuse within their own work, it is the PA's responsibility to find them. When new artwork is created or a design is revised, the PA ensures that all of his or her department's artists are up to date and can access the material. The PA may take notes during handoff or review sessions and update the production tracking system accordingly. They also make sure that art supplies are available and reordered as necessary. They are often asked to bring in food for departmental meetings or for crewmembers working overtime.

While some of the tasks may seem small in scope, the production assistant has the opportunity of working on many facets of production, providing him or her with a unique learning experience which is excellent training for a future producer.

Production Secretary

The production secretary is integral to the smooth operation of a production. Much of his or her job is focused on seemingly mundane office work, including typing, copying, filing, distributing memos, scheduling meetings, and taking messages. However, if these tasks are not handled well, these missteps can quickly lead to communication breakdown among the production staff. The production secretary essentially works for the team as a whole. He or she may be assigned as an assistant to the producer and/or the director, responsible for coordinating daily schedules and setting up meetings for these busy roles. The producer relies heavily on his or her assistant to take care of many details, including all dealings with voice talent and ancillary groups, for example. Given their workload, in most cases, producers require a dedicated secretary.

The production secretary should be able to multitask. On productions that require crewmembers to fly to other animation facilities, production secretaries make travel arrangements and assist the staff in completing their expense reports. Depending on the studio structure, they may also be in charge of ordering production supplies and making sure that all necessary material for production is in stock and readily available. The production secretary may also coordinate shipping needs as necessary—a vital role when a subcontractor is part of the production process.

Figure 7-2 is an organizational chart applicable to television production.

Subcontractors

Using subcontractors is a very common practice within the animation industry. Subcontracting occurs in all formats of the business. On higher-end projects such as a feature, although the goal of most studios is to produce everything in-house, there are cases where specific components such as animation are outsourced. The majority of subcontracting takes place on television and direct-to-DVD projects where typically the entire production portion is shipped to an outside studio. (See Chapter 9, “Production,” for detailed information on the steps of production. Note that the subcontractor may not follow the production steps exactly as outlined in this chapter, but may instead use a variation depending on the budget and their methodology.)

Figure 7-2 Sample crew organizational chart for television production.

Producers use subcontractors for many reasons, the primary reason being that subcontractors tend to be cheaper, which is often because wages are lower at international studios. From a budgeting standpoint, it is also less expensive for the producer to hire an outside group rather than carry all of the overhead costs associated with a full production crew. A lack of available talent is another reason for subcontracting a show. It could be that there is a specific crew best suited to the project at an outside studio. Finally, subcontractors can help with meeting a schedule. If a project is behind, a subcontractor may be able to assist in getting the show back on track by temporarily providing the needed resources the production requires.

Identifying and Selecting a Subcontractor

Identifying and selecting a subcontractor can be difficult the first time around. Once you have worked with a number of studios, it becomes easier to choose one as you build a list of contacts you can depend on. A good way of finding subcontractors is by speaking with colleagues at other studios. Ask for recommendations. Find out whom they have worked with and what went well and what didn't. If you do not have contacts, one way of finding a studio is to watch the credits of shows you are impressed with or that stylistically match your project. Identify the name of the studio and review their reel on their website. Production houses that do subcontracting work are located all over the world—in Asia, Australia, Europe as well as North America. In some cases, larger subcontracting studios have offices and/or representatives set up in the United States. At the very least, they probably have a dedicated studio website that profiles their work experience.

When choosing a subcontractor, the producer must put his or her casting skills to test. As noted earlier, one way of selecting a studio is to review their online sample reels. In some cases, you may be asked to a private screening because the work they have done is proprietary and/or yet to be aired/released. Although it may not always be clear what type of pre-production materials the studio had to work with, demo reels can still be a good indication of a studio's capabilities, as they show only their best work. If you find yourself interested in a couple of studios that have offered bids in the same range, you may want to “audition” the studios to help you make a final decision. It is not uncommon to ask a studio to animate a shot or two, especially if you have never worked with them and may be hiring them for an extensive project. By doing so, you can compare quality, working styles, and communication techniques and then make an educated choice. The only problem with testing is that typically the subcontractor puts their top talent on the test in order to secure the work, and this talent may not be a true representation of the studio's capabilities. One tactic that has good results is to set up a creative partnership with the subcontracting studio, which can be achieved by involving the subcontract team's key artists in reviewing the pre-production materials for potential complexity or identifying production problems prior to finalizing them. Another method is for the studio to actually participate in the creation of the preproduction artwork. By doing so, they also have a vested interest in the product, as they have had the opportunity to put their mark on it.

When selecting a studio, be very certain that it has the capacity to handle your work from both a quantitative and a qualitative standpoint. You need to take into account your timeline and the quality level expected. It is not unusual for studio owners to get overly ambitious and overbook themselves. When this happens, your subcontractor may end up subcontracting your work to another subcontractor, who in turn hands it off to another subcontractor. Each time your project is passed on, money is scraped off the initial budget and generally is no longer put towards the quality of your show.

If your project is in CG, pipelines are often so different that subcontracting can be difficult. It is vital to make sure that the subcontractor's software systems and file formats are compatible with the rest of your production pipeline, especially if the plan is to share assets between studios. If not, there will be inevitable hiccups and challenges that can significantly affect the schedule.

In certain cases, you may be told up front that the subcontractor may not have the capacity or the capability to handle every stage of production in-house. In order to provide full services, they need to outsource the work to other studios with which they have relationships. Under these circumstances, the subcontractor should clarify from the beginning what stages of production will be sent out and which studio(s) will be completing the job. It is important for the producer, director, and CG supervisor to visit all facilities working on the show to confirm that they have the background, compatible pipeline, and experience to handle the work. Additionally, this information must be covered in the contract, ensuring that the original subcontracting company hired is solely responsible for the production and on-time delivery of the show. Depending on the project, its specific needs, and the subcontracting studio's setup, there may be a myriad of different production structures.

The Joys and Perils of Togetherness

Igor Khait, Co-Producer, Gnomeo & Juliet

Intelevision production in which the deadlines are very tight, it may be necessary to split the project among two or three studios. This scenario is possible so long as the production pipelines are compatible. Episodes are sent to a variety of different studios so that the studio running the project is covered in case one of the studio cannot meet their deadlines. There are positive and negative potential outcomes from making this decision. The positive is that schedule delays should not be an issue because the subcontractor's capacity theoretically will not be overextended. Also, if there is the opportunity for future work, a team that has been hired to animate only a segment of the project this time may work extra hard to impress the producer in hopes of getting all of their next show. The negative is that there may be inconsistencies between studios in terms of production quality. In this case, it is the responsibility of the producer to be sure that materials and as much information as possible is shared between the groups. It is ideal for the director, CG supervisor, and/or overseas supervisor to visit all studios on a regular basis to check their progress and provide input. Or even better, the key people from each team can visit each other and share information in person.

Finally, an important issue to consider is cultural sensitivities toward certain materials when choosing a studio. In most cases it is not an issue, especially when it comes to children's programming. It may be a problem if, for example, you find yourself working on a more adult-oriented project, especially if you are working with a studio that exists within a culture that is less open about nudity or foul language, for example. Cultural interpretations of comedic timing and dramatic acting may also vary widely, making it quite a challenge to ensure the subtleties of performance is clearly understood and created for your project.

Negotiating the Deal

After you select your subcontractor, the next step is to negotiate a deal. Working with the business affairs office, the studio's production executive or the producer negotiates a deal. At larger studios, the production executive is usually responsible for handling overseas deals. By handling the contractual agreements for the studio as a whole, these executives can get better deals by negotiating in bulk. In independent studios that have less infrastructure and a fewer number of projects, the producer usually handles the actual negotiations but keeps business affairs or legal in the loop, as they will be responsible for preparing contracts and dealing with any litigation issues should they arise.

When negotiating, the producer needs to establish the following areas:

1. The subcontractor's scope of responsibilities. This area includes the exact elements they will be responsible for producing as well as their delivery format.
2. The producer's scope of responsibilities. This area includes the artwork and various materials that the producer and domestic studio are expected to provide. (Such items will be discussed later in this chapter.)
3. Schedule. The schedule should outline review milestones as well as the projected shipments (date and amount of footage/shots) from the producer to the subcontractor as well as projected delivery dates from the subcontractor to the producer. Both domestic and overseas holidays should be accounted for in the schedule.
4. Fees. Producers generally negotiate deals on a perfootage/ complexity basis based on the work being outsourced.
5. Fees for changes/fees for creative retakes. For more information, see the section “Receiving Material from the Subcontractor” later in this chapter.
6. Exchange rate. Because exchange rates can fluctuate over the course of a production, it is helpful to define a rate or range the currency can increase or drop to.
7. Payment schedule. There are many ways to structure this schedule, such as 50 percent upon commencement, 25 percent on completion of animation, and 25 percent upon final delivery. Or this schedule may be based upon delivery of footage amounts instead of phases of completion.
8. Bonuses. Negotiating bonuses for on-time delivery is always a good way to help ensure that delivery dates are met.
9. Qualitative expectations. Referencing a project of similar production value is one way of establishing that production quality standards are understood up front. It is important to be clear as to what your expectations are so that when retakes are recalled, they are seen as necessary by both sides of the deal.
10. Talent. It is helpful to put in writing the level of talent agreed to, along with any key artists to be assigned to the project.
11. Technology. Systems must be compatible. If there are any hardware or software purchases required for the project, it is necessary to specify how the costs will be covered. It is also important to discuss costs involved with research and development, if applicable.
12. Technical expectations. Detail specifications for all aspects of the project that need to be delivered to the producer and establish file formats, naming conventions, and so on.
13. Communication and decision making. Set up point people at each studio for communication and be clear about who has decision-making authority.
14. Approval stages. Establish at what stage elements will be reviewed by the producer and/or director/and or executives for comments before they are considered final. Also to be included is the format on which the project will be delivered.
15. Production reports and tracking system. Establish when and to whom production reports should be sent. Better yet, create a shared web-based tracking system to keep this information readily available and current.
16. Terminology. Ensure that all parties have the same understanding of the terminology used for the various job categories. For example, certain titles may not have the same meaning for the domestic studio as it does for the subcontracting studio. (For more information, see Chapter 9, “Production.”)
17. Travel. Establish who will be responsible for the cost of the subcontractor's travel, if applicable.
18. Shipment of materials. Set up standard expectations as to how material is delivered digitally and/or physically from the domestic studio and vice versa: via FTP sites or email attachments, or through the shipment of actual hard drives and/or physical drawings on paper.
19. Title sequence. If the title sequence is being handled by the subcontractor, outline fees and any other applicable information.
20. CG elements. When there are CG assets to be produced by the subcontractor (for example, 3D models or digital effects such as rain), the number and/or detailed description of specific elements should be included.
21. Credit. Clarify how credits will be handled and placed. On television projects on which the credit time and space is limited, it is customary to credit the studio and key artists or department heads. On direct-to-DVD and feature projects, typically all members of the crew are accorded credit.
22. Performance criteria. When setting up a deal with a subcontractor, it is important for a producer to include an option to withdraw the contract, should the subcontractor not perform up to par.

Overseas Supervisors

The overseas supervisor functions as the liaison between the domestic studio (that is, the director) and the subcontracting studio. Often working through interpreters, the overseas supervisor's job is to ensure that the project is being produced at the level expected by the contracting studio. If the overseas supervisor determines that there are problems with the project or potential schedule delays, it is his or her job to inform the producer and director as soon as possible.

Not every project can afford an overseas supervisor. Some productions may hire this person just to get a project launched and its the production quality and workflow established. It is customary for the producer to pay for housing, business class transportation, a competitive salary, and per-diem fee. As such, it is important to hire a competent person to handle the wide varieties of responsibilities entailed in this role. Before you make the decision to hire a supervisor, assess whether it is a necessity for your production. In many cases, the personnel and talent at subcontracting studios are very qualified and accustomed to working directly with the domestic studios. Unless it is a first-time studio or a very special project, it may not be worth spending the money; it is also very hard to find good supervisors with all of the necessary credentials. If you do feel that it is in the best interest of the project to have a representative on site, there are certain qualifications that are necessary for the role.

First and foremost, it is crucial to hire a supervisor who has strong interpersonal skills. This supervisor must be a team player and, most important, culturally aware. It is this person's job to inspire the producing team. He or she should therefore be flexible and sensitive in handling the many individuals and issues that will be encountered. It is necessary to keep in mind that subcontracting studios typically dislike having a supervisor in-house. Therefore, the person hired must be able to effectively ingratiate himself/herself with the staff. The supervisor must have an extensive technical background in animation production. Because he or she will be working with experienced directors and department heads, it is essential for the overseas supervisor to have a working knowledge of all aspects of production. If the supervisor is weak in the fundamentals of animation, it will quickly become apparent and the subcontracting team will not have the level of respect necessary for the supervisor to be effective. The producer and director will also not be well served because the supervisor may not catch all of the mistakes and fix them.

On higher-budget projects, there may be several supervisors sent to the subcontracting studio to review artwork (for example, a technical director or an animation supervisor). In most cases, however, there is only one supervisor. The supervisor's job is to review shots on a daily basis from all departments, knowing which areas of the show require extra attention and potentially have to be prioritized for promotional purposes, for example. When the right person is cast for this role, he or she can be a tremendous asset for both the domestic and the subcontracting studios.

Overseas supervisors must also be good communicators. They must answer a variety of questions on topics ranging from creative and technical to cultural issues. For example, a supervisor can bring to life the comedy in the project by explaining why it is considered funny and performing the parts for the crew. Given that comedy is very much culturally based, the supervisor on such projects plays an intrinsic role in ensuring that it is understood by all. The supervisor is responsible for staying in constant communication with the project's director, especially when it comes to making creative judgment calls. Serving as the director's remote set of eyes and ears, the supervisor needs to discuss all creative decisions with the director, especially if the supervisor is not clear on how the director would handle a question. It is vital that the overseas supervisor remembers this about his or her role, and does not independently make creative decisions that lead the subcontracting studio away from the director's vision. In cases in which this has happened and the work is finally seen by the director, retakes have been called, completely opposing the supervisor's instructions. Such retakes send a mixed and confusing message to the show's crew and ultimately undermine the role of the supervisor. Given that the director's representative made this decision, the subcontracting studio has the right to charge for the retake.

Material Packages/Shipments

The key to working with a subcontractor is clear, concise communication and information on the part of the producer and director. With the exception of a few studios, if the material provided is not solid, you will get equally weak if not weaker material back. Likewise, if a pre-production package sent out for animation is organized, well thought out, and contains all necessary elements, chances are good that the quality of the footage produced will reflect this original package. It is therefore necessary to have a continuity checker go through all the elements to ensure that everything is consistent, hooks up, and is easily understood. Although the director approves all items being shipped, it helps to have a checker review all the material to catch any possible problems that could hinder production. More often than not, the producer and director may miss important elements because they are already so familiar with the show. Ideally, setting up a shared online tracking system and production reel allows the director and or department leads to supervise how the shots are coming together and—if adjustments are necessary—to catch fixes as early as possible.

Depending on the material to be produced by the subcontractor, a producer should provide some or all of the following elements:

• Script
• Storyboard/story reel/previsualized reel (depending on methodology)
• Visual style guide and/or model packages
• Layout keys (black and white) or pre-visualization shots
• Background keys (color paintings)
• Audio tracks
• Reference materials (photos, books, DVDs)
• Videos/digital movies of the director acting out key scenes or sequences that might be particularly challenging
• Route sheets (a summary of each shot, its length, applicable camera movements, effects shots, and color/texture treatment information along with names of staff members overseeing the work)

Although the majority of productions rely on sending preproduction elements digitally, if the show is still shipping content, it is important to factor in time for clearing customs and any time zone differences. It is always possible that the package will not be received on the same day that it is due in the country. Keep in mind that in post-production, one day or even several hours can be critical. It is therefore necessary to build in some additional time into the schedule to account for unpredictable shipping delays.

Handing Out the Project

At the beginning of a new production, the project's director, producer, visual effects supervisor and/or CG supervisor (if applicable), and any key artistic personnel should visit the subcontracting studio to hold a handout meeting and set up the overseas supervisor if one is on the project. A handout meeting is an opportunity for all of the subcontractor's key personnel, including directors and department heads, to ask questions. Depending on the scope of the production, this meeting can take as little as one day or as much as a week. If the director is not able to travel, he or she can provide this instruction via video conference.

On series production, if there is a supervisor hired, he or she would be responsible for holding handout sessions each time a new episode is received. If not, this is typically handled through handout sessions over a videoconferencing system. The most creatively conducive way of handing out a project or getting the production team prepared is to have lead artists visit the domestic studio. This visit allows them to spend time with the crew and familiarize themselves with the project prior to it shipping. These in-person visits are key to facilitating clear communications, especially when trying to ensure that everyone is on the same page regarding art direction and production quality expectations.

Monitoring the Progress of Production

Once the production gets started, it is essential that the producer or their production manager closely monitor its progress by establishing a system of weekly reports on a per-asset, perepisode, or footage/shot quota basis. (See Chapter 11, “Tracking Production,” for a sample report.) These reports help the producer determine the status of the project. Weekly or biweekly phone or videoconference calls are also important. It can be challenging sometimes if the communication is handled through translators, as some information can get confused or lost along the way. Although email communication is helpful, a studio visit during production is very beneficial, as much more information is gained from an in-person visit. Creative or technical questions that may have been difficult to articulate over the phone or in writing can get resolved much more quickly in person.

The Wheels of the Train

Ivan Shih, President/Executive Producer, CGCG Inc.

Receiving Material from the Subcontractor

Once footage is returned, it is the job of the producer and the director to review it for retakes. There are two types of retakes: technical and creative. A technical retake is, for example, a reshooting of a camera move that didn't follow the detailed instructions of the director. The subcontractor is responsible for this type of retake and must fix the shot at no charge to the producer. A creative retake is a change that the producer or the director request that is not consistent with the materials previously sent and completed by the subcontractor. The contracting studio may have asked for the character to walk, but upon viewing the animation decide that they would prefer to see the character jump, and therefore new animation is required. In this case, the subcontractor will bill the producer for the changes according to a predetermined rate for overages. After the material has been viewed, a retake list is sent to the subcontractor. The list must be accurate and succinct, especially when it may require translation. Whenever possible, it is useful to include illustrations with the retake notes. You want to be sure that nothing is confusing, creating the best scenario for getting a perfect shot back. A shot may go through several retakes until it is approved. It is customary to include information on whether the retake is considered to be creative or technical. By taking this last step, you can avoid many headaches when the subcontractor sends you the final bill.

During the retake process, the producer needs to make sure that revisions are methodically tracked. Sometimes there may be as little as 10 percent fix on a project, or it may be as high as 100 percent. On most television series, there will also be several episodes going through this stage at the same time. It is therefore very challenging to keep everything organized to ensure that each and every final shot placed in the show is approved. To that end, the production manager (along with the editor) usually tracks retakes. (See Chapter 11, “Tracking Production,” for a sample retake chart.)

Expect the Unexpected

Materials can get lost, supervisors may quit, studios can burn down, and foreign governments may be overthrown—there are countless ways that your project may be affected by incidents beyond your control. It is best to be fully aware of your options and backup plans at all times. Be prepared for fast and sudden changes, armed with the knowledge that you have selected a capable production team that can anticipate, analyze, strategize, and dig their way out of any difficult situation by your side.