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" PARTY OVAH HERE!"


Seems like it.



As i type this today, There are currently no American studios providing the main animation production for their own popular action shows( action shows as we know them ). All of the animation is outsourced to be done here.



Why is that?



you would think of all the fans of these dvd movies and tv shows who talk about "American animation, versus japanese animation," they'd at least know that what they really mean is " Korean Animation versus Japanese animation" right? lol.




Popular 2-d animated Tv shows today are conceived, designed and storyboarded by and for Americans, but not animated by them.



The korean talent today is amazingly staggering, their output is faster and at a desireble level of quality for the studios and that's definitely part of it.


But what's discouraging kids from wanting to pursue a career in this business?  and what's discouraging ( or stopping ) studios from wanting control of every aspect of their all-American ideas and keeping the legacy of American talent, in all aspects, in-house? Money/Overhead? lack of Unions support? Lack of interest/ Talent available?  A lot of questions come up when me and my colleagues discuss what's changed so drasticly and why? It could be a myriad of things. Things i dont have the time or space to type, lol.



Whatever the theory, it hasn't slowed the fact that there's an increasing amount of work being outsourced over here today more and more.




At one point, Character and BG Layouts from the storyboards in preparation of key frames where the chores of the American animation studios, but now even that is done here ( save for a few mandatory expression references).




And within the last year, i'm starting to see STORYBOARDS come over here now as well.





From the looks of things i have to ask: will there be NO STORYBOARDING JOBS available in the near future?




"WU TANG IS FOR THE CHILDREN!"



Many will be surprised to know that the new talent here in South Korea--as well as the States-- are losing interest in taking a TV animation job because it doesnt have the same allure as Video Game production ( outside of feature jobs in the USA ). More so in South Korea, TV animation gigs are known for being low pay, hard working gigs. There's an increasingly shrinking interest in jobs for TV animation production here in South Korea.




Also, the newer generation of Korean artists are now interested in creating their own projects and are actively pursuing them more and more, largely in the "MANHWA" market ( Korean Comics ).





While in the states, it seems as if the talent pool in the 2-D action arena is bottoming out. Studios in 2-d Tv animation in America have given up as a whole on pursuing and nurturing new talent. There doesnt seem to be major & active, effective programs really being enforced ( when you compare it to Feature )  for getting larger levels of talent out of school and into  the pre production stage.


That's the down side.


The up side of it? The more older and current directors,  storyboard supervisors, storyboard artists, character, prop, back ground a color supervisors/ designers for pre production are all still working professionals today, lol....maybe a little too much of it (There's actually a shortage of talent available in action TV animation production right now in the states.)

At the current rate of things, there's eventually going to be no new prodigies for this generation of current directors/ supervisors/producers to pass the torch to.


It only makes sense that studios start sending more and more overseas. Who's gonna be around to do the work when the older heads retire?



To be cont in SEOUL SESSIONS: korean Prodcution memoirs pt.3
Add a Comment:
 
:iconandrewk:
andrewk Featured By Owner Apr 18, 2010
Americans need to do two things.

1.) Get the money. I don't care where. Blaming everything on "the economy" has become a shallow and childish excuse. Studios as WELL as individual artists both need to do this. Money is the cause of all the lay-offs, arguments, bankruptcy, yes... outsourcing, and poor quality of shows these days.

2.) GET OFF YOUR LAZY ASSES AND GET TO WORK. The worry that there will be no new mentors to lead the industry ahead is due to the fact that no one will ever GET to their level! But that will happen if people LEARN TO DO IT ALL HOURS OF THE DAY.

Have the work of Disney, the old Warner Bros., Pixar and DreamWorks raised the bar so high that people either feel intimidated by their work or that they completely overestimate their own skill?! I am going to be uncharacteristically biting here when I say the following, so please, please bear with me: WE ARE ALL A BUNCH OF LAZY IDIOTS DEPENDING TOO MUCH ON OTHER PEOPLE DOING THE WORK FOR US!!!! GET TO ****** WORK.
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:iconwolfspiritzero:
WolfSpiritZERO Featured By Owner Apr 17, 2010
Man your journal just mad me angry and sad at the same time. It brings back the anger I felt back when Disney closed their Orlando studio.
It is sad because in a few years there will be no chances for younger artist who want to break into the business. That is unless they learn Korean or Japanese and work over there. As someone who grew up dreaming of being an Animator it's a bummer. But then again it can drive us to take thing in our own hands and try and revive the dying American Animation.
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:iconkimchicrusader:
KimchiCrusader Featured By Owner Apr 6, 2010
I've heard that a lot of Japanese cartoons are animated in Korea as well, any idea if that's true?
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:iconleseanthomas:
LeSeanThomas Featured By Owner Apr 7, 2010  Professional Filmographer
yes. very true. Japan sends their inbetweens here. and very often, entire animated series. right now, JM animation is animating a japanese animated series called "ANIMAL DETECTIVES."
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:iconcmbarnes:
cmbarnes Featured By Owner May 18, 2010
DR Movie is a popular Korean animation destination for Japanese productions. They do a lot of work for Madhouse, and work with Gonzo, Bones, Production I.G. and even Studio Ghibli. Other than that, they're also another choice shop for the Warner Bros. Animation shows.
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:iconleseanthomas:
LeSeanThomas Featured By Owner May 19, 2010  Professional Filmographer
they used to be. They are now split. They are Moi animation. It doesnt REALLY matter as all of those guys still work for eachother. many of the DR, MOI, JM, LOTTO and DONG WOO guys all rotate at those studios. evert single animator at JM has worked for all of those studios ( since they are all freelance, no in-house).

TMS was WB's go to for a while. but now they are expensive and busy ( since they are in japan). Moi is the new fave as well as JM. in my opinion, MOI and JM are the 2 top animation houses in south Korea ( as they frequently attract all of south koreas top talent lately).
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:iconcmbarnes:
cmbarnes Featured By Owner May 19, 2010
Cool. I love MOI's work. I saw their name in the credits of Boondocks season 2 often, and in the first episode of season 3. My (current) dream one of these days is to make a 3-4 minute animated short based on the comic I'm currently drawing, and the first studios I could think of to do animation production for it would be JM or MOI. Layout though, I would absolutely have to do that on my end.

I remember a few of those studios. During the Teen Titans/Justice League days I usually saw Dong Woo and LOTTO as the studios, and sometimes Dong Yang and Koko Enterprises. I used to see Taiwan's Wang Film often, but not so much these days. The new Marvel shows are animated by a studio called Noxxon Enterprises. I have no idea where they're located.

For the comedy shows, I usually see Rough Draft, Saerom, Yearim, Plus One, or Digital eMation. eMation does all the Seth MacFarlane shows now, and they didn't before. It was like once The Venture Bros. launched with that studio, a bunch of shows switched to them.
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:iconleseanthomas:
LeSeanThomas Featured By Owner Apr 5, 2010  Professional Filmographer
All good points, thanks guys.

I also think frankly, that its a shame that when it comes to the DVDs for which these shows are collected ---which cover featurettes and interviews from the actors to the writers, pre-prod staff, all the way down to commentaries with people who you could take or leave ( marketing heads & magazine editors?)--- they dont mention or cover the True Magicians: The ANIMATORS ( You'd think they'd really matter, lol). Never a peep of who Animation-directed what, or which scene required what level of skill, etc.
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:iconsuruma:
Suruma Featured By Owner Apr 3, 2010  Professional Digital Artist
I believe video games our the superior form of entertainment do to the fact that it places the player in the shoes of the character and you are more emersedin the story and world. You care more for the character because you're essentually being that person. Games like Heavy Rain are breaking the border between movie and games and someday the anime games will look exactly like the anime.
I chose to make video games because it's the superior way to tell a story. Why watch the character when you can be them. It brings a whole another level of importace to the story when it actually feels like it's happening to YOU.
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:iconme-shey-el:
Me-Shey-El Featured By Owner Apr 2, 2010
Knowledge is indeed power, and I'm greatful you're sharing this info with us. But I wonder.... Is it too late to turn the fate of 2d animation around in the states? Surely if enough like minded passionate artists came together we could start a movement in the right direction. I know funding is a big factor, but still....do you think this is possible?
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:iconclassico:
Classico Featured By Owner Apr 1, 2010
I was drawn to your page for the art - but i stay for the journals. It's like getting schooled in something you actually want to know about and have an interest in.
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:iconpoprocks1234:
Poprocks1234 Featured By Owner Mar 28, 2010
Wow this makes me super nervous. I knew already that the economy was bad... but I am getting ready to go back to school to finally pursue a career in illustration.. all of this talk that there wont be a job out there when I get out makes me wonder if I should even give it a shot or just stick with my retail management job. Even though I am not very happy with it at least it can still bring home at least some money. :(
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:iconbrokenalchemy:
brokenALCHEMY Featured By Owner Mar 27, 2010
I think that a lot of the people in Korea are hungrier. Too many pampered kids that don't draw enough filling up the Art Schools, in North America.
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:iconleonidas666:
Leonidas666 Featured By Owner Mar 27, 2010  Hobbyist Digital Artist
In my country, and almost all around europe, only some kid show are produced, but with very little quality animation.

I've worked in a studio once and presented a movie to the administrator (full with script, character designs, backgrounds, etc.), but he said it would never fly and I couldn't get any support.
I tried other studios and they all loved it, but said they just couldn't find the money for it.
Finaly I went to the TV stations, but they just drop the bomb saying it's cheaper to buy Asian shows, because they come in packs of several shows and they get a ton of money from advertising and merchandising.

That's why, if you don't have/pay cable, you can even see a decent animation show in television no more, not in my country anyway... and even that's a strech. Thank God for the internet!
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:iconprojectzuel:
ProjectZuel Featured By Owner Mar 27, 2010  Hobbyist Digital Artist
This is such a shame as many of my favourite animations have been produced and animated in American studios such as Justice League and Static Shock (mostly DC stuff).

I'd long heard how in Korea the pay for animation work is ridiculously low and the work itself absolutly back breaking which is obviously a deterent. It's much more tempting to use your talents to create your own original work with a higher payout.

It's a shame because animation can be very rewarding and I'd hate to see a sea of talent become a marsh of desperation.
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:iconinkthinker:
Inkthinker Featured By Owner Mar 26, 2010  Professional Digital Artist
Lord knows, we're not seeing much work here in Florida, at least not for animation production. And what few jobs are floating about are exclusively low-quality, chop-jobs. Nobody wants full-frame action, nobody wants frames at all if they can be avoided. What they want is rock-bottom "good enough" work, as quickly as and as cheaply as they can get it. Preferably with as little actual drawing as possible.

I haven't seen any interest from producers in building action animation domestically for a while now. It may be that we're not looking in the right places or being seen by the right people, or maybe we're just not as good as we think we are, but whatever the case I feel like it's harder than ever to advise any younger artists, in good conscience, to seek a career in 2D production. Unless they're interested in shipping overseas to find a job, anyhow.

Bottom line is the bottom line... why pay American artists to do something that Asian artists will do just as well or better for a fraction of the price? New kids will always want to get involved, they're inspired by the media they consume, but without mentorship and jobs there's no way improve and compete.

The American animation industry did this to itself, and if we really are looking at the last generation of American animators who draw frames by hand, then who can we blame but the industry leaders who outsourced it to death?
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:icongreymoonx:
greymoonx Featured By Owner Mar 26, 2010   General Artist
As a person who attends a 4 year art school... I think the price tag may have something to do with it too. And it seems it's practically drilled into the animation majors' heads that it's essentially impossible now to get a job.

I think that it'll turn around eventually.. I'd like to think there is more than enough work for everyone, everywhere, or will be as animation continues to grow as a medium :3
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:iconcore-point:
Core-Point Featured By Owner Mar 26, 2010
I think there is even more of a reason that stuff like this is being outsourced...

All I have to say, is it involves public schools, government, politics and tax policies...


Everyone seems to forget that everything is linked in an indirect or direct way.

And even indirect manners of things being connected can be in a big way.

Anyways, really like these post.
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:iconcore-point:
Core-Point Featured By Owner Mar 26, 2010
It also involves the media...
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:iconsethkearsley:
SethKearsley Featured By Owner Mar 26, 2010  Professional Filmographer
I'm hearing from the animation schools that most of the students now are girls and all the boys are going into video games because it's too frustrating to work in TV animation and constantly have the teeth taken out of what you're doing.

Also, the reason there's no actual animation done in the states is because of the Union not making a distinction between feature and TV in animator salaries so it's too expensive and the labor is just cheaper in Korea. This has lead to an industry full of people who only know pre-productions and never learn the problems they're causing for production because it happens in another country. With Flash there's a lot more happening stateside but the talent pool just isn't there. I'm just looking for some NOIR BG ARTISTS and I can't find anyone because the project is too small for me to offer full time work.
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:iconleseanthomas:
LeSeanThomas Featured By Owner Mar 26, 2010  Professional Filmographer
I figured the Union played Catalyst in this as well, aren't the Unions also responsible for why animation directors arent considered candidates for the Directors Guild? because animation is still considered a special effect? or something ill of that nature?

On the whole

"industry full of people who only know pre-productions and never learn the problems they're causing for production because it happens in another country." bit:

you're absolutely right.


My ideas are now realized, Seth, living out here, working in main production and having to key animate the scenes i just fininshed storyboarding....

It seems that the vast majority storyboard artists in the states really have no clue as to the connection of insane complexities between their boards and what it takes to get to layout to keys to inbetweens to color out here.


they dont do it. how could they?



in fact, they have no connection to it whatso ever. I've witnessed this countless times myself. hell i've done it, lol. they dont think about it past the drawing stage, not ever really thinking about except when its coming back in full color with all the kinks worked out that they have no clue or connection to.

I've had dinner with various animators out here in Seoul in the past few months from various studios ( big and indy ) and one of the pet peeves they have with a good portion of the American work is bad storyboards, lol.

How can you know how you're affecting the production in your head at the storyboard stage if you have no experience/concern/knowledge of proceeding past your own stage as an animator?

especially when what you do relys so heavily on whether an artist can interpret your work or not. At least back when Americans where actually providing their own layouts, for their characters and bgs from their boards, there was some idea of control for the starting process of key frames for studios overseas, but thats now done here too. so there's no knowledge for the most part...

it's a mixed bag, but ultimately a bad one when you storyboard with no concern or correlation to what happens to your work after you ship it off and forget about it. you're either working in house with the animators to go over every scene in order for to consider their workload when boarding (and them yours) or if not, you really ought to be animating or at least have some extensive or current experience so you have some know-how as to what they may have to deal with if you are going to be shipping your stuff off to another country where you dont know who is animating your boards.

I've seen a lot of lazy thinking in the states and false expectations in retake sessions and viewings talking about how bad this or that is ( derived from an early 90s stigma) but they can't animate or havent worked with the animators themselves. they completely take not giving a fuck as part of the process. It's part of why im out here myself. I dont want that kind of thinking. at least no the ignorant part of it.
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:iconsethkearsley:
SethKearsley Featured By Owner Mar 27, 2010  Professional Filmographer
I came at it from animation school so I feel ya. I've had this same argument time and time again with guys here who mostly, especially guys in action, came out of the comic book world. They might to drawing that have "Motion" but they don't know how to move the drawings and then they spend all this time rendering out a board panel for a drawing that won't even be a key when it goes through animation. I've had guys indicate on their board "The fog creeps slowly over the stuff in the BG" and when I try to explain that's going to be the most expensive scene in the whole piece because of the amount of drawings and effect it would take to have that fog realistically move and I've gotten "They'll figure it out" They being Korea. Or how many times I've heard guys say "They fucked it up! AGAIN!" and I just think to myself...you all are a bunch of so called architects who have never been on a construction site and never seen one of your blueprints actually built.

The whole Union thing pisses me off about Directors because there isn't an actually category within the Union called DIRECTOR. Art Director, Animation Director, Timing Director but no DIRECTOR. I talked to the union about this and they said that everything in the collective bargaining agreement is based on the original agreement after the 55 disney strike at which time Director was considered an administrative position and was excluded from the contract. It's for this reason that the DGA won't recognize Directors from animation which is why every animation Director who makes a name for himself inevitably leaves animation for live action and better wages and more benefits.

I'm really pushing for a studio model more like what I saw when I visited Japan and got to tour Studio Ghibli. Producing your own content at your own studio. That's the key. Having a house style where you can put out different shows but people know what studio it came from. Not the corporate model we have in the states now.
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:iconcoolmonkeyd:
coolmonkeyd Featured By Owner Mar 26, 2010  Student Filmographer
Ididnt know all that ..but i guess to answer ur question i'll be there well me and all the other anime addicted kids of this generation
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:iconjsmalls:
jsmalls Featured By Owner Mar 26, 2010
Interesting. i'm looking forward to the next posting.
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:iconfastact:
FastAct Featured By Owner Mar 26, 2010
After reading this I gotta say this sucks. I'm currently going to collage to learn 2D animation, and I have to ask you a man who is in the business what should I do, find another line of work in 3D, stay with 2D and see you in Korean, or stay with 2D and stay in America and work my ass off to bring job back here. Because I'm really freaking out right now.
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:iconibgraham:
IBGraham Featured By Owner Mar 26, 2010
I can tell you and I know you know......Today it looks good but soon this problem will be bad for all of us!
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:icontedkimart:
TedKimArt Featured By Owner Mar 26, 2010  Professional Digital Artist
Thanks for the info! Always fascinating to know what's going on in this industry globally, especially in the motherland. ;)
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:iconlazymills1986:
lazymills1986 Featured By Owner Mar 26, 2010
yeah. it's all about money. they get our work mainly because they get paid less. sucks for good American animators who study and work so hard to get to the top. i'm deff gonna help change that. one of my goals. i'd rather be known for my animations. even with help from companies in Korea, i will be the one directing and even sending samples of my animation over there for their ref. actually, i figure the best way to stand out is to be able to do it all with your own hands. sorta why i'm working all of the above, yah know. "why wait for someone elses approval when you can start the projects yourself? they will eventually know what's up." at least in that way, i can help revive the work ethics over here. so many of us are just so discouraged about the fact that they send EVERYTHING away. these journals are inspiring though. me thinks that i will have to venture there in the future. later dude. ;)
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:iconleseanthomas:
LeSeanThomas Featured By Owner Mar 26, 2010  Professional Filmographer
Also, most of the talent here are good at everything. It's mind-boggling how much hat-rotation happens here at this studio. even myself: development, character design, Bg design, storyboards, layouts and then Key animation end of next month.

It's invaluable to be able to do it all. You're on the right track. ;-)
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:iconslyshand:
slyshand Featured By Owner Mar 26, 2010  Professional Filmographer
I started watching boondocks again.
Makes me wonder if I could do something like that some day ^_^;
And from the sounds of it, its going to have to be independent or move to Korea, I'm down for both.
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:iconpadder:
Padder Featured By Owner Mar 26, 2010  Professional General Artist
Talent pool bottoming out? Seems more like those out of 2D animation school just can't find a job, or can't find enough work to live. Or so I hear from people around here and my personal problem. I'd love to do action show storyboards though. Where do I sign up? lol
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:iconbam217:
bam217 Featured By Owner Mar 26, 2010  Student Traditional Artist
Love the memoir! It opens my eyes to what is really going on behind the scenes. I'm currently back in college to study illustration because I'm interested in storyboarding. My professors love my artwork and they all suggest that I learn all aspects of tv and animation production, but not one of them has mentioned how everything is being outsourced to the overseas markets. Kinda interesting to see what happens by the time I'm ready to graduate...will I have to switch to 3D or will 2D make a return as one of the guys suggested to above? Hmmm? Thanks for the information, can't wait for the next memoir.
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:iconsoliton:
soliton Featured By Owner Mar 26, 2010  Professional General Artist
"As i type this today, There are currently no American studios providing the main animation production for their own popular action shows( action shows as we know them ). All of the animation is outsourced to be done here.



Why is that?"

Every American has the "wife and 3 kids" complex ;)
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:iconhyperboy:
hyperboy Featured By Owner Mar 26, 2010  Professional Filmographer
Sadly, that's very true. I'm noticing that more and more lately. :\
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:iconleseanthomas:
LeSeanThomas Featured By Owner Mar 26, 2010  Professional Filmographer
lol!

See my "Alone in the Pursuit of Happiness" Journal.

;-)
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:iconjubesfan:
Jubesfan Featured By Owner Mar 26, 2010  Professional Filmographer
Whoa! Scary stuff all that!
Luckily I'm an animator in central europe and here where I'm at most everything is done in house. While staying in the same studio I have done everything from character design to storyboards to animation. Which I know is a very lucky thing. But As far as I know not all that much outsourcing is done over here. Just coproductions with other european studios. Yay Europe I guess. ;-)
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:icondark-blue-abaddon:
Dark-Blue-Abaddon Featured By Owner Mar 26, 2010  Hobbyist Traditional Artist
That is vary discureging because i am trying to becaome an animater and a comic book artist. i love cartoons, i was born in the late 80's and fell inlove with all the classics like (Fox Kids, Eek the cat, duck tales, dark wing duck, Batman, the tick, frekazoid, tiny toons, gargoles, the incredibale hulk, ninja turtles, earth worm jim, animaniacs, and the rest of the 90's cartoons. i still belive in the art of 2d and one day i will make my own cartoon and try to bring all that love back to america......i hope.
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:iconiwrinkle:
iwrinkle Featured By Owner Mar 26, 2010
it funny... alot of projects in states are out sourced. but more and more you find talented and ambitious artist getting together and creating 2D pilots, shorts webisodes and even animes. I guarantee that in a few years time the way they do things in this business is going to change. instead of being behind a desk working for a company who out sources they will become that source. there are to many talented and under paid artist that do what they can to get by. still trying to find a cornerstone to provide with. some one will bust a "IMAGE COMICS" and break away from this Madness. SIDE NOTE: remember its not the economy that makes it hard in life. its the responsibilities we take on as a whole. peace.
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:iconzr0wing:
Zr0wing Featured By Owner Mar 26, 2010  Hobbyist General Artist
I feel that eventually a change is going to come because there are many passionate artists who love what they do, and despite the lack of work will forge a way for themselves in 1 way or another.

I personally feel that outsourcing should only go but so far because I feel that most american artists are more familiar with the hollywood blockbuster movie mindset when they do their drawings as opposed to alot of the approaches from the eastern side of things. Even though I like anime style art and work, I still want to see the American story lines told in stories as well as the Japanese/Korean ones.
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:iconmikewinn:
mikewinn Featured By Owner Mar 26, 2010
There are definitely ambitious, talented and eager young people still pursing 2-d animation so I don't believe that the talent pool is disappearing - but what you will end up seeing is a smaller pool of dedicated talented artists as opposed to the major boom of the mid to late 90's when feature film 2d animation was 'the thing.'

Just from personal experience in recent years I saw my own art colleges animation program's nearly dead traditional area go from half full classes with mostly disinterested students to overflow with classes, stuffed and packed out no matter how many new sections were added. I've as well have seen the trend in colleges pushing people towards unique styles, pursuit of their own ideas and so forth. It's an interesting time for sure. And it is true that 3d houses want animators who are classically trained and there are colleges that have strong traditional programs but some, in their ignorance of the larger picture, have phased them out.

My own experiences breaking into the animation business as a primarily 2d guy has been - be ready to wear many hates and be creative in your job pursuits because these days you need to be able to work on an international scale and pursue jobs over the globe.

On outsourcing, the reality is that with a few exceptions, television animation has almost always been outsourced or outsourcing has been part of the process in some fashion. I was surprised to recently learn that Thundercats was largely animated in Japan. A full discussion on this can't be done without also looking at the economics involved. It is very expensive to produce 2d animation in the states and those not in the know with how the figures are broken down might be surprised to learn some of the budgets of their favorite shows.

The direct to DVDs we've been enjoying lately are done on a very limited budget. I recall a recent entry by Lauren Montgomery on either her blog or account on here when she answered someone as to why they didn't use in house animators when she was mentioning dissatisfaction at how some animation came back from Korea and she flat out said 'We can't. It's too expensive with our budget.'
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:iconleseanthomas:
LeSeanThomas Featured By Owner Mar 26, 2010  Professional Filmographer
"be ready to wear many hates and be creative in your job pursuits because these days you need to be able to work on an international scale and pursue jobs over the globe."


so true man.

Also economics does come into play. Me omitting it as part of the discussion does not mean its not a very real issue.

But it doesnt change the fact that a lot of other studios still have a nurture system in place for training animators within the field of television outside the states. And they arent as rich. As well as the kids you see producing their own shorts.

However, on a whole, there's still no influx of new talent in the TV animation circles, even with your witnessing of bustling numbers in 2-d classes.

It's either kidsa aren't interested in 2-d fpr TV, or Studios arent reaching out. I've seen more of the latter and there just isnt enough visible evidence to prove otherwise.

great contribution to the discussion, bro!
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:iconultracoldson:
ultracoldson Featured By Owner Apr 3, 2010
I apologize for the length, but I've been holding this in for a long time.

Present:

despite the potential problems of the situation, i feel as though this is somehwhat of a flatline period for animation. its the same as modernism in the 80s. Most of the art world was waiting for some new movement to happen since by that time, all of the traditional rules dating back to the Rennaisance etc. were broken. Thanks to works like Duchamp's toilet seat, and Mansoni's Artist's Shit. As a result, the art world in some aspects saw the rise of graffiti as the new movement. A more recent comparison is the anime boom-if you will-in america. Now, in terms of animation on US television, most of it is very similar, if not seemingly generic versions of that style and movement--especially in action cartoons. The same way the japanese took western influences and reinvented new perceptions of comics w/ manga, we should do the same w/ anime.

The most authenic raw animation you will see will probably be something short: music video, commercial, video game cut scenes/openings, one shot movies etc. In terms of a series with that same rawness, We're just assed out. Ex: the opening sequence for Megaman 8/Shadow Skill OVA the one when Elle n Gau fight each other w/ their hands tied/Spacious Thoughts N.A.S.A./Jeru the Damaja Can't Stop the Prophet/Akira-esp. motorbike fights/Grappler Baki OVA

Okay, to the point:

I see this as sort of a free for all for someone or group to start a new movement with American animation. There are is so much subject matter that companies have unsuccessfully, and unnaturally reproduced or hasn't been used. Ex:life/experience of minorities, and various unused illustrative styles.
There has been an increasing loss of rawness and authenticity in US animation (television), and simultaneously, other various forms of it never entered animation, or at least not at a significant amount.

As I was trying to get across before, anime has had a major impact on US animation and comics esp television, but it's in danger of similar redundancies (including the rahw unique anime). One redundacy in particular being the use of the Kanada style. Kanada style is the fast paced, distorted, fore shortening style used in: Dead Leaves, Afro Samurai, Gurren Laggan, select Robotech/Macross missile dodging shots etc. Its like works have become dependent on that way of animating for creating cool fight scences etc. Not that its reached that point, but im just saying. That and the dependence of epic battles or mixture of the two.

Solution: Harder Than it Sounds but Animators are Souljas

If we wish to see our wishful thinking and fantasies we were promised as fist time viewers of whatever animation etc. then one may have to just risk it and start their own business producing what they feel is missing in the industry. (Based on discussions w/ peers etc.) I feel as though we get wrapped up in the worries of what will we do after college, or the various controls of elitsm lurking over our many career choices. We should consider these factors, but we must not underestimate our abilities and roles as supporters for quality animation. Just look at the amount of people responding to these types of comments on youtube, and deviantart. Whether its about what happened to real hip hop, or fake ass reality tv, "there should be a marvel vs capcom 3", how did sonic get fucked up or whatever-they should make one just like, but expands on the SA2 Battle aesthetic and combine w/ Sonic CD n, 1 to 3, etc.
I'm not saying that we will succeed. We may not revive shit. We may complain about the same shit 2 weeks from now, but most importantly is the fact that what we desire exists. It's just like how those bits n pieces of rare gems that we constantly look back on for inspiration simply EXIST. We may never experience the rawness of bootlegging anime in the mid 80s or being the only kid at school who discovered Saturday Anime. Or watching Transformers, Beast Wars, or Power Rangers before Family Matters came on, but because such bits n pieces of tightness exist. We have something to go to for that boost of inspiration even if its not as much as we would want.

As an animation student scrapping with finals, I KNOW i'm not staying up til 4-5 am til class starts for nothing. Society is set up for us to fail anyway. I can't fix it but we just deal with it. I'm like fuck it stick and move.
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:iconultracoldson:
ultracoldson Featured By Owner Apr 3, 2010
Forgot to put this, but it is up to us as future artists to create that which we desire to exist despite the grave circumstances. If your work doesnt make you big or revive whatever, at least you've transfered those ideas into a solid EXISTING body of work consisting of what you always wanted to see done. That alone is a bigs step
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:iconmikewinn:
mikewinn Featured By Owner Mar 26, 2010
Thanks man! This is my passion, and my field, and I've been locked into your journal entries. More discussion about this sorta thing is needed.

And I agree with you one hundred percent. I'm sitting in this sort of position myself. My dream was/is to work in action animation for television but the climate has changed dramatically and so to make it you gotta adapt. I believe we're going to continue to see this spiral until the next big industry shift.
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:iconhamura:
Hamura Featured By Owner Mar 25, 2010
What would most likely be the that anyone in the states would get hired by major companies "in-house", so to speak? I know I'd rather be in traditional animation because I'm not necessarily a tech-savvy person, so it seems like, from this memoir, that it'd be pointless in learning any kind of 2-D animation...
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:iconmandelak:
mandelak Featured By Owner Mar 25, 2010  Student Filmographer
in aus it's impossible to find anywhere teaching 2d animation. I spoke to one teacher here and he was like there arent really any jobs for 2d animators thats why we dont teach it but when I went and spoke to an animation company they told me that all animators they hire must have a solid 2d traditional background.

going abroad is way expensive, so I am doing this course in hopes with what ever I learn from it I can nurture and improve on it more.

this is probably on a whole different topic, but ehh had to say it lol
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:icontlockh20:
tlockh20 Featured By Owner Mar 25, 2010  Professional Filmographer
"While in the states, the talent pool is bottoming out. Studios in 2-d Tv animation in America have given up as a whole on pursuing and nurturing new talent. There doesnt seem to be major & active, effective programs really being enforced ( when you compare it to Feature ) for getting larger levels of talent out of school and into the pre production stage."

I think colleges are realizing this and starting to make attempts at takling that. I go to SCAD and our concept teachers really try to push us to develop our own original styles and stories , showing what WE do well, rather than producing animations in the stlye of disney or pixar and not doing it well, in an attempt to get hired by one of them. I hear SVA has been getting like that too. Also Pixar has been visiting colleges recently to look at 2d stuff, and I think cartoon network has a pitch program(probably gets outsourced though).
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:iconheartthrobtawd:
HeartThrobTawd Featured By Owner Mar 25, 2010
WUTANG is for the children...that's like the original award interruption. Kanye stole it.

We talked to Kathy Baur the other day and she addressed this. How jobs get outsourced and traditional animation here is basically dead and one person has three jobs. It sucks. Her husband was having trouble and he directed King of the Hill.

I guess the safe route now is 3-d animation?
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:iconslifertheskydragon:
slifertheskydragon Featured By Owner Mar 25, 2010  Hobbyist Traditional Artist
I have to add that in this economy I have to admit I am going for a salary job rather than something that in my opinion, only lass for as long as production of that series does, which amounts to maybe, a few years?

I'd love to be an animator and create cartoons but like you said, not much of it in the 2D realm is in the US anymore... it's all about 3D... so i keep it as a hobby... :/

thanks for the memoir! I always look forward to these :3
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