Tuesday night, one hundred and thirty artists packed the upstairs meeting hall of the Animation Guild to discuss the state of the animation industry, finer points of the contract, and how professional lives can be made better inside studio walls. ...
One year into the 2015-2018 contract, there are 3750 people at signator studios.
Staffing levels continue to be robust, and board supervisors at some studios continue to say it's difficult to hire and hang onto seasoned talent.
Disney Television Animation is doing some restructuring, and outsourcing some shows to Rough Draft (recently signed to a contract), Wild Canary, and Robin Red Breast/Titmouse in Hollywood.
New Media (Streaming Video On Demand and other internet-delivered content) will be one of the major negotiating items during 2018 contract negotiations. A number of new artists are working below minimum wage rates because their jobs happen to be under the New Media sideletter, and none of the New Media productions reach budgetary tiers that trigger higher minimums.
The Business Representative noted that the sideletter in the 2015-2018 contract reflects live action budgets that are considerably higher than TV animation budgets. But the sideletter is almost identical to other New Media sideletters, and one size doesn't really fit all, but that's what we've got.
Studio tests have been a hot button topic at recent General Membership Meetings. A Guild Testing Abuse Committee has been created and is reviewing a sample studio test. It's recommended that the test be no longer than thirty panels with ten of those panels being "clean-ups". It recommended a 72-hour turnaround time for each test. The committee is now waiting to hear back from the studio on its proposal.
Uncompensated Overtime. The biz rep said that uncomped o.t. has been a long-term problem. Artists continue to work free extra hours because production deadlines are too tight and a number of artists are perfectionists regarding their work. Several veteran board artists said that individuals need to stop working free o.t. and sepak to production when schedules can't be met. Too many employees do uncomped work because they're frightened of blowing a deadline.
It was pointed out that that artists need to communicate how much work they can get done in forty hours, and work looser where necessary. Several artists said that production needs to be told "no" when something can't be done. Quality artists who are somewhat slower than the norm continue to be employed because talent remains at a premium in the Los Angeles labor marketplace.
Several artists stated it was important for story crews to communicate among themselves and share information. Exchanging work-load info about different shows in on a TAG 839 private Facebook page operated by members was noted as a good way for artists to know how much work was expected (and done) on various TV series
Many Production Schedules are tight and unreasonable because production managers have a distorted idea abut how much work can be done on a forty-hour basis because of uncompensated overtime. Several artists said a culture and community needs to be built that can push back on free work being done.
Freelance Work. The business agent and two executive board members reviewed the Unit Rate Wages in the Collective Bargaining Agreement (pages 76-79). All three noted that the minimum wage rates are low and no studios use them. The bigger problem are the Pension and Health contribution hours are low, although they were raised 30-35% in the last contract negotiation.
Questions were asked about daily minimum wage rates vs. weekly minimum wage rates. The business agent said that daily rates are 117.719% above weekly rates, 10% of which is a premium, while 7.719% constitutes vacation and holiday pay.
Animatics were discussed. The business agent emphasized that animatics work is under the jurisdiction of the Editors Guild, not the Animation Guild. The biz rep said that the Editors have filed a grievance against Cartoon Network over animatics, and under which guild's jurisdiction it should be placed. Several Warner Bros. Animation artists said that Warners has them doing animatics work. The business representative stated he'd reported this to the Editors Guild.
It was noted that many board artists do animatics where the Editors Guild has no contract. The biz rep said artists should charge for the time they do animatics because it's important they be compensated for their time. One board artist said that since employees are asked to be layout artists, storyboard artists, writers and animatics editors, they should be paid for each of those jobs. The business agent said if the extra work puts them into overtime as storyboarders, they should charge overtime for it.
There was general agreement that members need to push on issues that could become bargaining proposals in 2018.
The meeting, which began at 7:02 p.m. was gaveled to a close at 9:32.