To James Cameron,
I'm addressing this letter to you because you and your films have been such an inspiration to so many who either watch or work in the movies. I'm asking for your help in addressing a problem that few in your audience have probably ever given a thought to -- the unfair treatment and working conditions of visual effects artists around the world.
Visual effects films were dominant commercial forces in 2009. Films like Avatar, District 9 and Star Trek all succeeded because they brought together visual effects with great writing, acting, directing and other cinematic elements. There are other films for which the visual effects seem to be the primary audience motivator. Without any slight, the reality is that people did not go to see recent commercially successful films like G.I. Joe or the Transformers movies for the script, music or the acting. They went in droves to see the spectacular visual effects - the "thrill ride."
For all of these films that rely heavily on visual effects, the studios and theater owners made hundreds of millions of dollars. The writers, composers and actors all will receive well-deserved residual payments for decades to come. But the visual effects artists don't receive royalties and residuals. And as one visual effects artist told me, "even in the credits, we're listed after craft services."
Like most people who work in the film, television and video game industries, visual effects artists love their jobs. They enjoy both the work itself and the ability to work on a daily basis with so many smart, creative and talented people. However, visual effects houses can be the best, most fun and high-tech sweatshops on earth. Visual effects artists typically work with no contract, no paid vacation, no benefits, and often no paid overtime. And because of the nature of the work health problems such as obesity, tendinitis and carpal tunnel syndrome are common.
The thing needed is recognition of the problem and the value of these artists. When I say "value", I'm not using that term abstractly -I mean the bottom line, practical dollars and cents value of visual effects to the film, television and video game industries. Just take a look at a list of the world's top grossing films of all time - of the top 30 films, every single one of them is a visual effects driven or animated film. Visual effects have meant multi-billion dollar business for the studios.
Unlike every other craft in the film industry, there is no union for visual effects artists. This seems to be a matter of timing as much as anything. Modern visual effects techniques are only a few decades old, and the digital side of the visual effects arts really only has about 20 years of history as a popular filmmaking tool. The other filmmaking disciplines such as acting, directing and music composition date back to the very beginnings of the film industry.
This newness has left digital visual effects artists with absolutely no collective bargaining power whatsoever. In this age of weakened unions, many of these artists are understandably leery of the idea of unionization. Additionally, visual effects artist currently work under constant threat from producers of having their work sent off to India or China. (The irony of sending creative work to a country like China that routinely censors communications -- including the announcement of this year's Oscar® nominations -- doesn't seem to bother these bottom-line seeking producers.)
Perhaps some sort of "Union 2.0" structure is needed; a more flexible, modern institution that takes the realities of today's production environment into account , while still giving these artists some of the same basic protections and benefits that other crafts currently receive. But whatever the solution, it's important people become aware of the problem.
Mr. Cameron, you are in a unique position this Academy Awards® season. Your film Avatar has been nominated for nine Oscars. Odds are high that at some point, you'll be up on stage accepting a well deserved award. Just as you took time recently to speak out on behalf of NASA, I'm asking you to consider taking a moment to speak out on behalf of visual effects artists and how they are being treated unfairly.
Even a small statement by you will cause industry and press attention to focus on this issue. The Visual Effects Society is awarding you a well-deserved lifetime achievement award later this month. There's no question that your groundbreaking films such as Titanic, Terminator 2, and now Avatar have all fused visual effects and storytelling into movies that have succeeded both commercially and artistically.
For the sake of all the artists who have both worked for you and been inspired by your work, please allow whatever victories you have on Oscar® night to be beginning of meaningful discussion in Hollywood about fairness for the thousands of artists who create visual effects.
Lee Stranahan has worked in and written about visual effects for nearly 20 years and is host of the podcast FX Mogul Radio, where he interviews artists, executives and filmmakers about VFX. Crossposted at LeeStranahan.com
Follow Lee Stranahan on Twitter: www.twitter.com/Stranahan
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And this doesn't even take into account the growing problem of global outsourcin
I left LA and have been working in the broadcast graphics biz for a while. After having worked in VFX, broadcast is easy, the pay is (quite incredibly
One more thing comes to mind. Over the years I have met some amazing artists in the VFX industry which have come here on H1B visas only to find themselves trapped into poorly paying jobs under the threat of deportatio
I agree, CG Artists should not be afraid to stand up for themselves
Some effects artists do indeed do quite well for themselves
Notice no one ever outsources for a cheaper producer, director or agent.
While I'm not a fan of unions, I'm even less of a fan of government interventi
I submit that the potential solution is a tariff of sorts on producers who import VFX work from countries that utilize labor practices which fall short of our own U.S. standards. If they want to outsource our jobs to China or the Philippine
The only thing that will stop the producers from screwing VFX artists is to take away their ability to do so. Simple as that. As long as there's a way, they will be willing.
so, craft service workers are respected for their talent? the truck drivers driving the equipment are respected for their talent? the boom-mic operator? the best-boy?
nope.
they've just been around longer than vfx artists. and that is why they have unions.
And now that visual effects has left Los Angeles for India, Vancouver, London, Florida, Mayalsia, Singapore, etc., it's really a moot point. The barn doors have been left wide open.
Or are you looking for better rates and conditions for foreigners
The point is, corporate employers do not respect employees out of some deep love for them. They only respect fear and power. You guys must unionise or suffer the consequenc
Unfortunat
look at what the EA employees did a couple of years ago -
now, they are paid overtime.
Fast forward 10 years later, I have a wife and am looking to start a family. My priorities have switched a bit and now I need to make choices between my family and this industry. There needs to be a balance. And VFX companies don’t want to hear that. At one particular company, I worked for half a year straight at 80+hr weeks until finally I was sent to another city for what was supposed to be a month. It turned into nearly 2 when I said I need to leave to go back to my family. The executive producer said, ‘there will be consequenc
There is no security, even when you are dedicated.
Is it wrong to be recognized ...even financiall
Or is having decent car in the parking lot the new barometer of artistic success?
Are we supposed to walk in the shoes of the "starving artist" forever cause that's the way it's always been? Because we love our work? Watching these athletes run around on the field Sunday making millions for a couple hours of doing what they love to do...seems ok.
In a letter to his father asking for money Michelange
"I lead a miserable existence. I live wearied by stupendous labours and beset by a thousand anxieties. And thus have I lived for some fifteen years [as an artist] and never an hour's happiness have I had."
He died broke and broken hearted yet his works are priceless today.
Do you think the government will ever bail out visual fx artists like they did the bankers because were important to the economy? Will that be a sign that we've finally got what we deserve?
Not that there's anything wrong with small apartments or roommates, but this fact indicates a steady decline in VFX rates, one which does not reflect cost of living, especially in the urban areas where most VFX companies operate. What was, only a few short years ago, a very promising career, has become one characteri
New Zealand's Weta Digital employed talent from all corners of the globe...no
On the other hand, how many Chinese football players did you count on the field today, or Indian for that matter? They certainly would be happier with less pay, I'm sure.
In addition to being an Effects Artist, I also do marketing work for various manufactur
1. They call themselves a "training school" so they get direct funding from the Indian Government for ramping up their crews and for doing the actual production work.
2. They have been given a waiver on paying taxes on their property and equipment acquisitio
3. They were given the land for their facility virtually for free.
I've worked in England, Canada, Australia, New Zealand, China, Singapore, and Japan and I've heard similar subsidizat
These countries know the amount of money that comes in from the film industry and they target these studios for assistance while the American government does nothing to assist their American counterpar
The entire American film industry is moving off-shore as a result and all the revenue it generates, as well as the jobs. That is something to think about in this economic downturn.
I strongly disagree. It is quite evident from working in this industry that there is room for very talented people regardless of their country of origin or the location of a particular company.
As for Avatar being done in New Zealand, the primary contract for the VFX work just so happened to go to Weta Digital (located in Wellington
It's never as simple as the blanket stance you've taken.