Cartoon Network has had an uptick in viewership the past few months (whether this helps its animated shows long-term, or accelerates its shift to live action, remains to be seen.) But it's got a half dozen 'toon shows in various stages of work, and a few more in development ...
The newer version of Ben 10 is in production. and Sym-Bionic Titan (produced at the Orphanage and top-kicked by Genndy Tartakovsky) has recorded its first show.
The Marvelous Misadventures of Flapjack has six newer episodes in work and The Regular Show also has a six episode order. But as a CN veteran told me:
"These shorter episode orders cause problems, because by the time we assemble a decent crew to make them and everyone is starting to mesh creatively, the six shows are finished and everyone goes off to other studios. Then management decides to order more shows, but can't get the people who made the first ones because the artists are now working elsewhere. Not good ..."
Meanwhile, the last episodes of Chowder are getting thesmelves animated overseas and moved through post-production. (Pre-production has long been ended and most of the Chowder staff picked up by Disney TVA.)
Fox Animation, where I spent my morning hours, is a small empire of continuity. Artists are working on new seasons of Family Guy, American Dad and The Cleveland Show, and nobody seems worried about getting laid off when a show shuts down, since all three are continuing into the foreseeable future. Said a board artist:
"I'm not saying things are perfect around here, but when you know you've got a gig that continues on for a year or two, you relax a little ..."
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17 comments:
cartoon network eats its own young. and they do like them young.
With all the experienced artists who out of work, it's hard to believe that any studio is having trouble finding talent.
There are dozens of artists who have worked for Disney TVA in the recent past who are available. Why did they have to hire away the crew of Chowder?
It sounds like studios are only interested in hiring artists who are employed at other studios.
None of this makes any sense.Could someone explain it to me?
It's simple psychology. When you're working, you're instantly percieved as more valuable because someone else already has you.
@ Anonymous #2:
Chowder was already cancelled when Disney hired the show's laid-off artists. They didn't steal them from CN-- they rescued them after they were thrown overboard.
cartoon network studio is notorious for corralling young artists at low pay and watching them screw each other in a dehumanizing race to get their work on the air.
sugar, spice, and everything nice. just add chemical X. there is a new incestuous house style already emerging.
Rescued?...Interesting choice of words. Who's going to "rescue" all of the perfectly competent talented and experienced artists who have been unemployed for a significantly longer period of time due to reasons beyond their control like losing their professional/personal connections because of studio supervisory reorganization?
Seriously, there seems to be a pervasive attitude, even in the union leadership, that it is more important, or more urgent to keep people working or place the recently unemployed then help all those who have found themselves out of the hiring loop.
At this point, some working guy will probably chime in with some meritocracy nonsense, or other Darwinian-like rationale. Spare me.
Sparing us from "meritocracy nonsense" is what created hiring policies based on who you know and old boy's networks. Give me hiring based on ability any day.
You misunderstand. We agree in principle. I'm not saying that a meritocracy is bad thing. I'm saying, as you imply, that it is largely a myth. Yes, people do get hired by submitting great portfolios and reels and passing tests, but they also get hired by friends, colleagues and former classmates. Sometimes it's a little of both. How can you blame a director for bringing in a board artist he had had a positive experience with in the past? I'm saying it is wrong to oversimplify and believe in some kind absolute divine creative justice. There may be another artist, just as good or somewhat better who just happened not to have worked with the hot director. That artist will remain unemployed.
My point was that some guy, lucky enough to be working, always chimes in obnoxiously implying that you would be working, too if only you were as good as he is. In this blog, no one ever admits they had help.
Who's going to "rescue" all of the perfectly competent talented and experienced artists who have been unemployed for a significantly longer period of time due to reasons beyond their control like losing their professional/personal connections because of studio supervisory reorganization?
In today's age of online portfolios (including free picture hosting sites like Flickr and Blogger), networking sites like LinkedIn and Facebook, and numerous animation news sites/blogs (Including the TAG blog), one can exert considerably more control over their connections than in the past and stay in the loop professionally. Take it from someone who was out of work for several months last year; It takes hustle, but you can stay connected and stay in the game.
Chris,
It would be stupid to argue that posting your work in as many venues as possible is a bad idea, so I'm not going to try. It's an especially good idea for someone like you, a character designer on some of the most successful shows on TV. You are in a unique position- your work is both original and familiar at the same time. You can also post still images, the easiest possible posting.
All the posting in the world, however, or cold calls through job listing sites don't amount to the power of a single personal contact, the source of most jobs.
@ Anon #2:
Exactly-- Use the social networking sites to maintain your personal contacts, and supplement that with a strong online presence via the other posted content sites.
No Chris, I didn't mean social network personal. I meant real life personal, like someone you worked with or an old friend. Someone who says, "Hi Chris!" when they see you standing in front of them.
Call me hopelessly Old-School, but I don't consider words typed on a screen a "personal" contact.
Yes; As am I. Hell-- I'm probably old-school in the fact that most of my Facebook friends are actually my friends! But don't be afraid of contacts you don't "know" outside of online; They can be sources of work/referrals outside of your immediate area, too.
Sorry to hijack the comments section, Steve.
I wish I had become a plumber and stayed the hell out of this moronic industry with its sub-retarded executives and foot-stomping-infant-like "creators" and all of the other scheming little rats that roam the halls of the studios.
We all wish you'd stayed out of this industry too!
Thank you for proving my point.
If the network orders to end a show, and the creators are not there anymore, they shoul give their characters back if the Network is not going to use them anymore. (great idea ¿isn't it?)
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