Is there sex discrimination in the animation sector?
It is a subject that is quite close to the reality in 3D Wire of 3 years ago, where it is talked about the difficulty of incorporating young people into the world of work. Some women attending the talk in their turn spoke the lack of female talent in animation studies and that led to the wage gap in the animation sector.
Brave, Pixar movie, where there is no love relationship and the protagonist flees from being a princess. In fact, co-director Brenda Chapman had her more and less when Disney wanted to turn Brave into a little princess.
Is this a reality? I’m sorry I do not have the answer, the only thing I have is my experience with Hampa Studio, where never, never the wage discrimination has been by gender, nationality, race, religion or age. But yes! we do discrimination on species, we tried to put on monkeys but they did better than me and they were dismissed immediately. (You will see that by this joke, I will receive complaints from animal advocates).
Why there is no discrimination in Hampa Studio, Basically, for a moral issue and personal convictions. We, Hampa Studio, is a medium study, we have our stipulated salaries for each position of junior, middle, senior, supervisor, director, Jedi Master and Master of the Universe, and the amount varies depending on the department and especially the project. There is no reason for “human person” (what the cañita brava would say) to pay less for a woman than for a man doing the same job.
Currently, in the studio, at this time, we are in the same number of women as men and more women are being included in production now. We also have had many women in different positions, managers, and responsibility. When we do recruitment, we only look at experience, skills, talent, and attitude, we do not look at anything else. We do not look at or degree (If you are young and you are reading this… we look at the degree, it’s a joke … study!)
Moana Film, the protagonist is a woman without a princess’s aspirations and there is not any sentimental relationship.
To contrast opinions and experiences I have look for artists and producers who have wanted to jump into this topic and I thank them for giving us different visions, although it must also be said that there have been great artists from very powerful international companies. They have refused to give me their opinion. In the purest style“Let’s not get involved in that …” – Rajoy style😉
Speaking with Nathalie Martinez of Wise Blue Studios, a producer of great international reputation, with an abroad career in the film industry, and an expert on the stage of Annecy, 😉 she comments: “… the existing inequality, from my humble point of view , it is more a generalized tendency of late access of the women to eminently technical professions than to a will of the sector and its members … “She likes me to believe, “… that ours is a sector of creative spirit and, therefore, with an open-minded majority, where a greater female presence is not only welcome, it is expected and searched too.”
In addition to this opinion, Lorena Ares, a great director of animation and with more than 13 years of experience: “I have not suffered discrimination in particular. I suffered more when dealing with builders who thought I was the girlfriend of one of my partners, or they told me that I had to keep my hair neat and dressed in a skirt suit instead of pants. In animation, I have always been treated like a human being with ears, not with boobs”.
In this same line but more forceful is Belli Ramírez from Mr. Cohl the producer with more animation productions behind her: “From my work experience, I do not think there is salary inequality. Posts are remunerated by experience, not by gender. But I insist, that is my experience, in our sector I have not seen it, but in most sectors, this exist, we can consider ourselves lucky. For emphasize, I see that there is inequality of another kind, as we are invisible many times and prefer to choose men for positions of responsibility”.
She also agrees with Nathalie that there are no women in the management and supervision positions due to their late incorporation into the sector or to that type of position.
Ink & Paint. Formerly, it was the only workplace that the women could accede.
But no, not everything is of Rose’s color, Elena Gobernado the strongest and important script editor of the sector, she is much sharper: “Yes, there is discrimination in the sector, not so much for being animation, but for the obstacles and Social prejudices of the Spanish culture. The managerial and responsibility positions are usually occupied by men who prefer colleagues who are accomplices on the experience and talent. I must say that this is changing or the same is because I already have a resume that supports me. On the other way, investors are usuall menand for some strange reasons prefer to trust their money to another man…”
The Elena’s opinion, and with which I agree with things I have heard, is that the woman’s salary has always been treated as the supplement of a home, not the sustenance, in fact, she tells a situation that highlights this reality:
“I asked for a salary increase (the reasons or the stories, to this day I don’t even know how I kept the rhythm). He did not answer me. He asked me what my partner worked for. I told him that he was an engineer. He answered that then it was covered. I expected a little that there were people who needed it more. No comment. I left. “
Belli adds that “… In conferences and roundtables, men are almost always invited, in a few conferences of animation you see the same amount of one as of others. I think that women still have less visibility and those who organize the talks do not take the time to look for them. One year in Animayo, we were only women, but this should not be an isolated case, and we should find people of both sexes in the conferences. “
“… This phenomenon, more than gender inequality, made reference to the education that had been received until then because the mentality was that a woman had more sensitivity, precision and delicacy to color the drawings. The woman had more patience or was more organized than a man”, says Ignacio Meneu, an authentic dinosaur of animation (in experience, not in mentality or age … with how big it is, it catches me and bursts me!) And continues …” Luckily this mentality is changing and now I think that in animation there is no inequality between men and women, but he said, that old mentality or education is changing, that is, it has not changed enough yet and we continue to miss or make it news when an animator is a woman or is a developer for video games or simply directs animation. “This statement is perfect with Belli’s appeal to all women -” Women have to do more strength, in general, encourage you to study more technical positions. It would be great, to see more women in the technical part, in CTO positions, technical direction, networks, systems, etc … “
Mulan, A woman who becomes a warrior and then she has a relationship the roles are changed.
As an optimistic closing, Nathalie, Lorena, and Ignacio point out that in one way or another more and more women are seen occupying important positions in the entire audiovisual pyramid and are highly valued, an affirmation with which I totally agree.
Elena as a good creator gives us some indications of how the creators can help in this change:
“I think that as generators of content that reach millions of people, and above all children, we have a social responsibility with capital letters, it is in our hands with the commitment to create content without harmful gender stereotypes, with well-distributed roles and dialogues. that exclude phrases like – you cry like a girl. The message we throw can help to improve the rights of girls and women in the world, or at least to reflect, as it should be Like Flavita banana says, women don’t want us at their feet. They want us to their height.
Let’s grow up!
… Finally, Elena invites us to put our content to the test with the Bechdel test, she analyzing if our productions meet these three requirements to overcome the gender gap:
At least two female characters appear
These characters talk to each other at some point.
This conversation is about something other than a man (not limited to romantic relationships, for example, two sisters talking about their father does not pass the test).
A variant requires that, in addition, the two women are named characters.
Look!, what movie passes the test !! Frozen written and co-directed by Jennifer Lee.
My God! I already tell you, It was difficult for me and some of our productions (I say some, not to say almost all) do not pass this test, therefore we have to improve a lot!
I know that women face many obstacles at a professional level (especially the 100 meters hurdles runners), but it seems that this is changing, although there is still a lot, a long way to go, together we can do it… !! Let’s be strong!!!
Final note: As this is only opinions and not categorical statements, we leave open the comments of this post, without any censorship so you can comment, discuss and share anything you want, as long as you do not put us in a mess, (we know each other..accusing someone, insulting and these things that cool a lot of social networks 🙂
¡Hola gente! Aquí estamos de nuevo, esta vez voy a hablar de las Grandes cagadas en el mundo de la animación vol.I. Y para no ser menos empezaremos nosotros HAMPA STUDIO porque para algo soy miembro del insigne y Privado Club Brownderberg (para los que no sepáis que es, podéis revisar este post donde lo explico), ademas para dar ejemplo a los otros miembros y a ver si se echan al royo para contar las suyas. Esta sección va a ser el descojono padre, ya os lo digo!.
Grandes cagadas en el mundo de la animación vol.I
EMPECEMOS POR EL PRINCIPIO
Me remonto al año 2011/2012, en Hampa Studio estábamos desanimados y cansados de intentar levantar la financiación y co-producciones para nuestra serie Laika y no lograrlo. La realidad es que no lo estábamos haciendo bien y ahora viendo las cosas con perspectiva me doy cuenta que he visto partidas de rol mas realistas que aquel plan financiero. Pero por aquel entonces pensábamos que había un plan conspirativo contra nosotros, una mano negra. ¡Vamos!, lo que viene siendo el comportamiento típico de un tonto-pa-siempre.
Imagen representativa de un tonto-pa-siempre
Así que se nos ocurrió la genial idea de hacer una serie saltándonos todos los cauces ortodoxos de búsqueda de pasta y co-producción, íbamos a enseñarle al mundo de la animación que estaba equivocado y que nosotros sabemos como se hacen las cosas… esto promete ¿eh?
Idear una serie para tele, super-mega-hiper-low-cost y que esté guapísima, buena, bonita y barata.
Buscar inversión privada, pasamos de Teles y co-producciones! Ole!.
Encerrarnos en el estudio con sacos de dormir y tener la serie en un año.
Darle mucha calidad visual, que no se note que hay miseria!.
Una vez terminada la serie empezar a vender a saco matraco y a precio tirado. Poca inversión mucho beneficio!
Con este dinero auto-financiarnos siguientes proyectos menos low cost y así ir haciendo caja progresivamente y al final tener pasta propia para afrontar un largometraje como lo hacen los grandes estudios americanos y con los beneficios de la primera Peli, seguir haciendo mas pelis ¡Pixar aparta que vienen los listos de Hampa Studio!
Momento cuando Pixar se entera de nuestro plan
…Y NOS PUSIMOS EN MARCHA
Idea serie Low cost. Si hay algo que nos sobra en Hampa Studio son ideas (Ya no entro en si buenas o malas,.. que os veo venir!) y ganas de contar historias. En 1 mes teníamos la serie perfectamente estructurada e ideada. Se iba a llamar The Shadownster (Conseguido).
Inversión privada. Encontramos un inversor privado que aunque venía de otro mundo de inversión, le pareció atractivo el sector de la animación. (Conseguido)
Tener la serie en 1 año. Formamos un equipo muy guay y comenzamos a trabajar muy duro, la gente estaba super motivada y nuestras producers un látigo de siete puntas. Todo iba en tiempos! (Conseguido)
Calidad Visual. Para la serie no nos privamos de nada, Animación guapa, lighting bestia, Fur (pelo), Cloth (ropa), Fluidos, Fx… Che de todo! que aquí no falte de nada!! (Conseguido)
Todo iba de lujo, y yo ya me veía como el tío gilito!
Tio Gilito dándolo todo
… AHORA LLEGA LA REALIDAD Y TE DA UNA PATA VOLADORA A LO HULK HOGAN.
El inversor privado no conocía nuestro sector y suspendió la financiación. (Para los de la ESO; ¡Que nos quedamos sin pasta!).
Lo peor fué haber pasado el ecuador de la producción, entonces surgieron mil dudas, ¿Seguimos aunque no tengamos dinero?. Corremos el riesgo de pegarnos un hostión antológico,aunque por otro lado si funcionaba lo podíamos petar.
¿O paramos la producción, todo el mundo a casa y la retomamos en otro momento?. De esta manera no corremos riesgos, pero lo más seguro es que la producción jamas se retome y quede en un cajón por siempre jamas ,como los tuppers de mi madre.
EMPIEZA AQUÍ LA SUCESIÓN DE CAGADAS ÉPICAS…
Cagada nº1 – Ante el marronaco de habernos quedado sin dinero hicimos una reunión general con toda la gente del estudio para contarles la situación y preguntamos si seguíamos durante 4 meses más, que es lo que quedaba para terminar, o cerrábamos la producción. Se les dijo que si seguíamos no íbamos a poder pagar durante estos cuatro meses y lo cobrarían más adelante con dinero que esperábamos recibir en 5 o 6 meses (Demasiado optimistas, no contamos con que viniendo de la administración podían tardar como…¿1 año?). El equipo decidió seguir, uno de los gestos de generosidad mas grandes que he visto jamas. Finalmente terminamos la producción y en las fechas previstas.
Cagada nº2 – Si no había dinero para pagar a la gente, como comprendereis no lo había tampoco para Montoro (Para los de la ESO; me refiero a Hacienda), seguridad social y para los prestamos de nuestros amigos los bancos. Pero como somos así, nos dio igual, total en 5 meses ya estaría todo resuelto, todo el mundo habría cobrado y nosotros tendríamos un montón de pasta gansa e incluso podríamos empezar con nuestra nueva serie – pensaba la lechera de camino al pueblo –
Cagada nº3 – La serie no se vendía, ¿porque?, pues muy fácil, al hacer la serie en solitario sin co-producción y sin ninguna televisión como socio estábamos totalmente aislados, las televisiones o emiten sus propias co-producciones y así poder sacar rendimiento a sus inversiones o compran series ajenas pero tienen que ser realmente potentes y/o con mucho recorrido. Por supuesto los gilipollas de Hampa Studio no entrabamos en ninguno de los dos casos.
… LA BOLA DE MIERDA COMIENZA A RODAR
Después de estas 3 cagadas de nota, tan solo era cuestión de tiempo.
La gran bola de heces en acción
El dinero para pagar al equipo nunca llegaba. Hacienda, la seguridad social, bancos y acreedores nos acosaban a diario. (Si nunca te ha parecido buena idea beber baylies con coca-cola nada mas levantarte es que no has conocido el verdadero significado de “Acoso”). Vendimos cosas personales para pagar a hacienda, nos fundimos los ahorros de nuestras familias para pagar a la seguridad social y bancos, semana si y semana no reunión con inspección de trabajo para explicarles porque la gente estuvo 4 meses sin cobrar, y para colmo las esperadas ventas seguían sin llegar.
Necesitábamos hacer servicios de animación urgentemente para poder afrontar un embargo total e inminente por parte de Hacienda, pero el descojone máximo era que al haber estado un año a puerta cerrada haciendo la serie ya no teníamos clientes ni teníamos nada!.
La ruina total (personal y profesional), todo eran movidas, demandas, abogados, amenazas, notarios, inspecciones, gente cagándose en mi p*** madre (y con razón), algún que otro juicio. Todo esto sin un euro en el bolsillo y lo poco que tenia me lo gastaba en Almax.
Como soy un cansino seguí trabajando sin descanso, buscando clientes, buscando un nuevo distribuidor para la serie..etc. Me negué a dejar morir a Hampa Studio.
Con mucho esfuerzo durante dos duros años fuí consiguiendo nuevos clientes, haciendo de todo. Nos convertimos en las putitas/putitos (por eso de la igualdad) de la animación española y diría yo que Europea (con todo respeto a las señoras putas y señores putos), de esta manera fui solucionando todos los problemas que venían a diario.
De repente, un buen día, no se bien porque pero cuando menos lo esperábamos la serie The Shadownsters fue un “éxito” y comenzaron a llegar intereses de Disney, Cartoon network, Nickelodeon…etc. La serie empezó a venderse; Finlandia, Países Árabes, Norte de África, Portugal, China, Hong Kong, Israel…y llegó él super notición, la todo poderosa HBO le había encantado la serie y la compró. Estábamos salvados!!. Aunque aun no hemos recuperado el dinero invertido en la serie, ahora nuestra situación es buena.
Jamas me volveré a saltar los cauces normales de búsqueda de financiación, es un coñazo lo se!, porque puedo tardar años hasta levantar la financiación, y si me canso me dedicare a la animación socio-cultural (con máximo respeto hacia los animadores socio culturales)
Buscare siempre co-producción, a ser posible con Teles para asegurarme la emisión desde el principio.
Utilizare las ayudas publicas a la producción, para eso están, JAMAS volveré a hipotecar mi vida 3 veces por un proyecto.
JAMAS involucraré a parte del equipo en una cagada propia, ellos no tienen la culpa.
Ni se me vuelve a ocurrir empezar ninguna producción sin tener por lo menos el 70% de la financiación cerrada.
Y esto ya a modo de consejo sin que me lo pidais. Sed persistentes, hasta levantar una producción pueden pasar muuuuchos años, pero si el proyecto mola y vais teniendo buen feedback, colmaros de paciencia, porque al final llegará.
Ante una sucesión de cagadas tan bestias lo normal era haber muerto, nosotros nos salvamos por tener el apoyo de nuestras familias y amigos, y por supuesto por el esfuerzo bestia que hicimos, pero sobre todo por la infinita generosidad del equipo de la serie.
Lo más importante cuando te ocurre algo parecido, ya que la has cagado pero bien, en lugar de lamentarte es mejor abrir muy bien los ojos y aprender de todo lo que te sucede y porque te sucede.
Ahora mismo estamos con nuestra nueva serie, que se llama COLORICS con un presupuesto normal, nada de locuras low-cost.
Empezamos haciendo un tesaser (hace un par de años), con este teaser conseguimos dinero para hacer un piloto (hace menos de un año), con este piloto hemos comenzado la búsqueda de financiación de manera normal y ortodoxa, de hecho después de intentarlo el año pasado y no lograrlo hemos mejorado el proyecto y este año ya hemos conseguido a TVE (Televisión Española) como co-productores, la nueva Televisión valenciana también ha entrado en co-producción y hemos obtenido una ayuda publica del Ivac a producción. También estamos en negociación con otros países europeos para terminar de cerrar la financiación y en breve con países latinoamericanos. Al ritmo al que va todo esperamos cerrar la financiación este año y empezar en 2018 la producción.
CHIN PUN! y hasta aquí, Grandes cagadas en el mundo de la animación vol.I (espero traeros mas volúmenes pero esta vez contaremos las miserias de otros!)
Este post va en honor a los miembros del equipo The Shadownsters por su enorme generosidad:
– Diana Rodriguez, Marcos Muñoz, Deneb Sabater, Manuel Gonzalez, Fabio Carmona, Gabriele Ranfagni, Merj Nesi, Antonio Alvarez, Hector Barea, Rafel Bernabeu, Alex Nikitin, Javier Perez, Ramón Giner, Marta R.Sobrecueva, Manuel Sanchez, Monica Rios, Cristina Hernandez, Irene Llopis –
Grandes cagadas en el mundo de la animación vol.I Grandes cagadas en el mundo de la animación vol.I Grandes cagadas en el mundo de la animación vol.I Grandes cagadas en el mundo de la animación vol.I Grandes cagadas en el mundo de la animación vol.I Grandes cagadas en el mundo de la animación vol.I Grandes cagadas en el mundo de la animación vol.I Grandes cagadas en el mundo de la animación vol.I Grandes cagadas en el mundo de la animación vol.I
Today, I’m going to tell you about the Brownderberg private club.
We start the year with a new post. Nothing to wish good projects or anything like that, This post is to talk about the Failure.
I do not know about you but I have urticaria to listen to the talks of animation professionals who only talk about their success (Envy?…maybe), Also, these talks are a danger, because you go out feeling that you are the best and that you will eat the world until you arrive at the studio and have to finish an animation for “Roberto Mattresses… if you see our prices you fall dead”. At that moment it is so big the discouragement that you get that you forget to put the Bob sponge mouth that the client wants on the mattress.
For that reason in the past 3D Wire a small group of irreducible pofessionals (without “r”) we created a private club called Brownderberg Private Club (you are going to allow me to omit the name of the other 12 founders without their permission, so ” Private “and those things”.
There is a risk that they dismiss me of the club,(because, the first rule of the club is not to talk about the club!!) this club has been made to tell each other and share the big shits and shit we do the studios / producers and independent professionals, that we always try to hide.
Here we meet, secretly, every year to tell all our miseries, in a low voice
Why is necessary to create the Brownderberg Private Club?
Because you learn more from failures than from wins (which are usually more luck than anything else). In addition, if we must learn something, is to destigmatize the failure, without success there is no success, and you have to walk a lot before approaching the minimum luck, and be realistic, that they tell you their failure, it’s funnier!
I am going to try to convince the members of the Brownderberg club to sneak out some of their crap or deplorable work to Hampa’s blog. I’m sure that you will laugher a lot
In the next post, and to be as an example to the rest of the members, we will begin. I will tell one of our epic falls, surely, it will make us (Hampa Studio), one of the honorific members with gold and diamond badges of the private club Brownderberg.
The other day somebody asked us on Twitterthat “Why do we call ourselves Hampa Studio?” It wasn’t like a good idea to have a name like Hampa Studio, for a Valencian studio, and the truth, he has in reason of seeing all the corruption, and semi-mysterious state that we have been living in Valencia.
No, do not exalt yourselves !! I know you … We are not going to talk about politics, to outrage you already have Facebook! I’m going to take this tweet to tell you why we call ourselves Hampa Studio? since many people ask us. (… mmm at least … one or none).
Daniel ours is a pure unconsciousness, we devote ourselves to the animation in Spain
Important Note: I will speak under the experience of setting up a studio without helping and without any initial investment. Here you will not find magic formulas for making your studio project work, only some actions that we have worked and learned based on blows!. All that you are going to read are not rules of fire of Hampa Studio, we have implemented some things, others that we have wanted to do and others, we have not been able to do. But, I think that all the medium and small studios (that we are the great majority), we always should consider them😉
WHY DID I WANT TO CREATE MY OWN STUDIO?
I do not have business training, like the Amancio Ortegastyle.I am an artist in the most artisan and lowly sense of the word, not in Pantoja plan (although, we have the sideburns in common). I just like to draw and tell stories, and since I did not find anyone who was so crazy to pay me to do my own projects with their money. Thus, I created my own studio.
AT FIRST,… LEARN!
The most advisable thing to begin to work in studios. At first, begin to be employed at a very small one, to live the passion and the illusion very closely, you will have to do everything because in small studios is the most normal. Then, if you can, try to go to a large studio to learn processes, organization and management.
This isBlueDream Studios, one of the great studios in Spain and where things are doing very well.
All this learning will help you if you want to create your own studio, keep the best of some and avoid other bad practices of the others.
Hampa Studio:I was so eager to learn everything, that I worked for free in a studio for almost a year, then I was in another that they paid me a little, but without any insurance or anything …for what!. Later I went to one where I did get paid, and finally I saw something that looked like a contract or something, but nooo! … almost! … they were my freelance papers and with another fundamental requirement was that I had to take my own home computer (and it was not usual to see laptops, so you can imagine the mockery). With all these shits, and then after going through these working conditions, I learned all the things that I have not to do if I ever had workers. But I also learned very positive things, like there is a bar in the Plaza de España that some sandwiches are really the best, Yhee! and only to 3 €!
HOW TO START A STUDIO WITHOUT AN EURO
The logical and normal order is first to have your own projects or clients, then after a while, if you see that the work is more or less solid, mount the studio, never the inverse way. That of catching machines, a local and waiting for John Lasseter through the door, “to sweat” with a briefcase shouting. I’m desperate! Can you make me Toy Story 4?”, … mmmm … doesn’t happen.
THE FIRST AND THE MOST IMPORTANT RULE
The company is NOT you, the company is yours, yes! .. as your child is yours but not you. The money of the company is NOT yours, the company pays you, but the money belongs to the company, and if you need a play it does not mean that the company needs a play. Please be very strict with this rule, it is very likely that at some point there will be many families that depend on the money of the company, do not waste it or spend it badly, in fact, it is a corporate crime that is paid with jail!
ALONE YOU CAN WALK FASTER BUT ACCOMPANIED YOU CAN GO FARER AWAY.
Look for someone that accompanies you, in your successes and your hardships, but when you look for a partner, make sure that he or she has the same passion as you, the same dedication and the same illusion, let’s go! If you don’t share the same illusion society will not last long, and you will end up, in an epic battle!
Hampa Studio: Javi and I, we met in Arts and Crafts and decided to created Hampa Studio (Formerly called Lex Lutor, until many years later we were sued by DC comics from New York, to use the name of their character, this I will tell you in another post, …, I was very scared, but you’re going to laugh out loud! hahaha you are very bastards, don’t you?).
Well, that’s it! Everything started in my room at my parents’ house, at 20 years old. Our office was the same place where I slept, imagine how that smelled, … it smelled of compulsive adolescence. We started doing some advertising jobs and when finally came a project more or less large and with my mother really tired of the two children locked in the room (I think that she came to think we were even couple, she knocked on the door before entering, with that I say everything!), we searched for a flat and moved to Cuba Street in Valencia, that looked like Big’s horrible apartment where Tom Hanks cries inconsolably, but it was our first office.
This was the front of the studio, let’s say the best part where we put the customers to look good. Some customers went out for the back part, they never came back, and we never more knew about them.
DO NOT THINK ON MONEY
When you have your first projects/orders, do not think about money (just enough for drugs and alcohol). Think about the quality of everything you always do, and even more so with the first clients/projects, they will be your reel and the presentation letter of the study. Do not worry, do not hurry, doing things well the money will come.
Forget to improvise, it’s like that! maybe you win on that road… but come on, is not normal! When you make budgets, try to be as fair and honest as you can, count on your development, indirect and infrastructure expenses and add between 19% – 21% of industrial profit. If your customer is strategic and you are really interested in him and he does not adapt to your budget, reduce your own benefits but never do it on the salaries or rest of the infrastructure expenses.
When you are starting to, you have to re-invest All the benefits, that enter. In that way you have a small mattress to withstand the months of drought, you could buy computers, furniture, or what you may need to continue growing.
It’s really important don´t raise the prices, you have to be a good fellow with the other studios and always keep up decent salaries.
Hampa Studio: We invest all our money in our own projects, we spend a year doing services, on publicity or for other films, series or whatever, and then a year we develop our projects. The following year, while we collect the fruits of the project, we return to doing the animation services to re-capitalize and we return to do the same next years … and so until one of our projects become a SpongeBob.
First, get a counter, otherwise, you‘ll mess up!!
One thing you have to know is that if you are going to have a small studio or medium (PYME) you will be jaded to pay taxes, .. but good! Do not invent tricks to pay less. The Pymens and the self-employed are the most punished by taxes, and even the largest companies, this is true! … get over it or go out and burn containers !! … but do not be weeping !!!
Look at the Montoro (Former Minister of Finance of Spain) laughs out loud!. Recently, somebody tells him that there is another who will be rich with a study.
Hampa Studio: The first time that I saw the taxes we had to pay, I told to Paco Ramos (the first manager we had) … “Paco, we have to pay a lot of taxes, there is no way to pay less?” Paco told me with the wisdom and peace of mind that he has … “Alex, a company is to earn money and pay taxes, do not touch my balls !!”. That’s where the conversation ended and I always keep in mind!
NEW MEMBERS IN THE TEAM
If both of you work hard, that day will come the day when you and your partner do not give enough, had been exhausted and the entire batch of annual redbull nationally was finished. At this moment, is time to hire someone.
Be careful! With the first person that you contract, at this moment you will be inexorably close to that fine line, you can go from being a sympathetic and empath to becoming a shitty businessman.
Normally, in the big studios, they have a human resources department with very smart people who already do the recruiting work, but in small and medium studies we have to do it ourselves together with someone of production, in the best of cases.
It is very important to be careful with the personnel selection because if you choose the wrong person, there are not doing any favor to this person because not reaching the objectives and will generate frustration. And neither you will not be doing to yourself. Because you would not find the results you need.
Therefore, although you don’t have any time, take your own time for the selection alike, it is very important! Steve Jobs said “take your time to hire and fire quickly” (first, cool! .. apply it, but is a little bastard with the second !! … no?
And as the last recommendation, use the correct search animation channels, in this way you will not waste time and efforts with non-specific cv.
Hampa Studio: Many years ago, when there were no websites specialized in animation or forums or groups on facebook etc … In Hampa, when we were looking for people, we put an ad in info jobs (flipa!), We look for Flash animator, with illustrator knowledge “And they wrote us an uncle saying that we had a 15-year-old animator and that he looked like an illustrator without much control, but that was bachata, mambo, and tango without problems”.
This is what any mortal thinks in Spain when you say that you are looking for people for animation. (Beware with the young man of the wig that is giving it all!)
Hampa Studio: we use facebook, twitter and some websites like (https://www.animatedjobs.com/) or animation forums .. to post a job offer. Also, we usually ask for help from other studies, and it is very common that they ask us too. Of course, it is the best way to get the profile you need.
HUMAN RESOURCES MANAGEMENT
Now, something important thing about this topic! I would say that it is the most important part. Remember! we don`t do make cars, or screws, or anything like that, we are in an intangible industry, therefore, our human team is who makes possible the work and is the only important in the study.
A study is what the artists are!, take care all those as good as you can, like they are your own family members (not in the style of Los Pajares, nor of Los Sánchez Vicario, I mean, try to be good with them!!)
Our profession is artistic, therefore I do not recommend rigidity in the schedules or in the working days, and the less rules is better. You have to be very flexible and understanding, with the team leaving a lot of freedom to talk and be have fun (always making it very clear that anybody can not neglect work, the people know limits). We are not machines, we need the creativity, the good vibes and the predisposition of all.
Hampa Studio: In Hampa Studio, depending on the project, we put some conditions or others. When they are short services or our own projects we set objectives if they finish before they get home, if we see that the artists arrive very hurried with the times in a recurrent way, we review the plan with production because it is very likely that the problem comes from the planning.
Don’t impose on a standard schedule, like there are the 10 commandments, keep an open mind and adapt it to each project. Even you can talk to the workers and ask them what they think.
Hampa Studio: At this moment in Hampa, we do a working day from 9 a.m. to 4.30 p.m., and with an absolute flexibility of inputs and outputs, (except when there are a deadline or something important), in this way we can all enjoy what it calls family conciliation. Currently, we are testing work 32 hours a week, that is, we work from Monday to Thursday (if it is true that the jobs are still on Skype from home and work if necessary). I’ll tell you how this is experience is going! 😉
Nobody should do the overtime work! only on a specific case, when the people are staying work time to take out the projects, you have to keep in mind that they are being generous with their free time, because they can dedicate it to their families, to themselves, their pets or their beer barrels, and they left all these things for the project. You must correspond to them, at least, in the same way, and without waiting for them, … and also pay for the pizzas, do not be miserly! This compensation can be in many forms. (no man!, no sex!).
Hampa Studio: In the Studio, many times, due to budgets, we can not count on contingency expenses and there is no budget for extra hours, what’s more, the first thing we say to people is that we do not want them to do extra hours (unless it is force majeure), so when people do more hours is because it has been a complication from production, thus, as we can not pay the overtime, we calculate them like free time adding a little more than they have done.
Yes ….yes…I know!! … this image is a little weird to illustrate the subject of extra hours, but Pixar’s Day & Night is nice at least!
SALARIES AND CONTRACTS
Do not be stingy by the money, stretches the wages more than you can, always than the budget and the profit forecasting allows you.
The manager already will tell it to you, but prepare yourself to pay social safety(security) at the tip shovel, for a thousand – eurista salary you are going to pay 500 € more, of National Health Service, it is to say to the study it is going to cost 1.500 € and this way proportionally), in other countries this expense is not so a beast and because of it seems that they pay better because they can give more to the worker and less to the condition(state).
Never think, on doing strange things with contracts !!!, like for example; freelancers working in the studio or making contracts an internship to pay 2 cents of social security or to bring Chineses and put them inside a container in the port (saying like that, it is not so wrong…they could have their water bottle and look the sea of pleasure…).
Always, make normal contracts and agreements with the worker the salary, that is more or less money is something already among you, but always legal and fair contract. We want to do industry and we have not done studies on the shoulders of workers, the industry we do among all.
Hampa Studio: In Hampa everytime we budget a service or a project, we have a meet with the supervisors and production and we try to raise, the salaries first. Sometimes we do not enter into the budget … well… We almost never enter into a budget when we put good wages, so sometimes the client or the producer obliges us to go down the wages, but we always set a decent limit. Come on, we always try to raise wages, sometimes we can and sometimes we can not do it, but it’s not because we do not want to!
The Hampa’s chiefs never have a wage better than the salaries of the moment, be a senior, a supervisor or a department director, if we increase our salaries we increase those of all.
About the wages concept, I Want to do a personal reflection at this time: It is spoken that in Spain, in the sector of the animation, the wages are low, but I do see it in another way. I believe that salaries are charged in other countries such as France and the United States for example, they are lower in comparison, if we add the price of life and the benefits that the studies receive. To put it another way, a standard film made in Spain with a price of € 1500 – € 2,500 – € 3,500 approx, with a price of 8-15-20 million and obtaining a return of 6-10 million euros (as exaggeration !, if remove the money that the distributors take out, etc.), we are paying the best salaries for the benefit and the risk that it has to produce in Spain, that a movie in the United States with a profit of 600 million and with a presumption of 100, paying 7,000 – 9,000 euros a month to their workers.
Here, I give you an example of Dreamworks where you can see the movies they have done, with the budgets they allocate and the benefits they gethttps://es.wikipedia.org/wiki/Dreamworks_Animation. I think that in some movies on this list, even paying a junior 10,000 turkeys a month would be paying less in proportion to what is paid in Spain, (seeing the difference between benefit they get for what they invest). But hey, this is a very personal reflection, and this is another issue !! .. that everyone will surely want to comment !, but from here I take the opportunity to say that all Spanish producers, (Illion, Lightbox, Bluedreams, Thinklab, Kandor, Conflictivos Productions, Keytoon, Clay Animation,3D3, Paso Zebra..etc..etc..) They, who encourage to produce are heroes and would deserve statues like the fucking Colossus of Rhodes.
LEAD YOUR STUDY
To have a study and especially if it is not a very big one, the people have to believe in your project and have to believe in you. Being a leader does not impose with squeals or fights or threats (good! Pablo Escobar if you could!, Fuck is that you spin fine). Being a good Leader is achieved by winning the respect of the people. (I talk a lot here but I still have not gotten it! Here they teasing me yet:)
You have to know how to listen, accept opinions and ideas for any member of the team.
You have to be sure about your way, you can not doubt and you have to have your ideas very clear. All these things will help you to win security and confidence in your team.
It is necessary to give the example, you have to be the first to arrive and the latest go away from the study and never ask something to anybody that cannot do.
PLANNING AND PRODUCTION
It is the least pleasant and most evil part of the animation. We must be very careful when planning work, we have not to overload the team or waste time. It is very difficult to make a good production plan without cracks.
I highly recommend is to get in touch with authentic production professionals to help you assemble your plan. I recommend to Mr. Cohl they are the best! if you can not doubt it! (Take subliminal Publicity, with this already done the month!).
Hampa Studio: What we do in Hampa Studio, we not only hiring to Mr Cohl, 😉 we meet all the team that is going to get involved in a project and together we calculate the times, we ask the artists how long it will take to do this and the other. It is very important to involve everyone, since they will be the ones who will do it. (This is another advantage of small and medium-sized studies). Evidently in large studies (from 80 people onwards) it is impossible to do this and the responsibility of deciding the times of realization falls on the directors and supervisors of departments together with the producers.
Try to know well to your team, with their strengths and weaknesses, do not load all the work to those who stand out or burn them. Be joust with task distribution of work and also bet for those who don’t stand out, although it takes you more supervision work and retakes, everyone deserves help and all the training you can give them, it is better for the studio in the future too.
However much you have a good plan, sometimes the deadlines could not be done at the original time (calculation errors, inexperience, technical problems, diarrhea … etc). Be positive and look for solutions. The animation is a team effort, if everything goes well it is thanks to everyone and if it goes wrong, the mistake is of all includes and especially you, therefore do not go mad or dismissing people like Jonah Jameson.
Take advantage that you have a small or medium studio, do not put limits or firewalls between people and you. All the people have to be confident to enter in your office to talk with you, tell their topics in your face 🙂
The communication between the latest member and the higher have to be direct and clear. This will avoid bad understandings and suspicion.
Hampa Studio: In Hampa Studio everyone can come and tell me what they want, I accept all kinds of criticism, it helps me to improve the study and as a person. In addition every morning we make a daily, we see the team progress and at these moment the people can speak with total frankness about any topic.
If you do not know how to do this, I recommend that you hire a coaching specialist, I suggest one of the best national and almost international say, Rubén Turienzo, he will help a lot to create good communication and good work. Very Important in our sector!
Say to everybody that you exist, make a web, twitter, facebook..etc and write a polemic blog!
RELATIONSHIP WITH THE SECTOR
Get it through your head!!!… It is better to collaborate than to compete.
In this sector, and especially in Spain all the studios we know and we get along generally, the odd stabbing with a handful of Col-erase, but it does not happen of there. In general, you have to play clean, do not steal people from other studios, clients, or slander (it’s hard to maintain a small/medium-sized studio so that you can be prejudiced by colleagues).
If there is a business path, a subsidy, distribution, customers … that has gone well for you. Do not keep it, share the information with other studies if they ask you. The better we go to all the best for the sector. Collaboration YES, Competition NO.
MARKETS AND FESTIVALS
Go whenever you can to all the festivals, markets and animation shows, it’s a good opportunity to murder canapés and since you are there you can do networking with workers, studios, schools, distributors, channels, software people (that, I do not know … but these poor people are always the ones who are in the corner and nobody talks to them;).), you can even meet the people of the organization … etc. It is also a good time to see if all the policies mentioned above are working.
If you enter a party with old workers and other studies and they don’t beat you up is that you are doing things well and you have not dedicated to fuck anyone, which is really the most important of all!
I highly recommend 3Dwire, it is a good meeting point with the whole sector, besides being the best festival at a national level, they are very good people and if you hit a Segovian breakfast, then for what else?
PRODUCE IN SPAIN
Try as much as possible to do everything in Spain, you will have fewer benefits, that’s for sure !, but if we want to create industry we have to push together, and it is our responsibility to retain national talent.
AND AS A FINAL REFLECTION …
Be very ambitious but do not be hurry, The things happen when they must be, as long as you are working hard, treat everyone very well and give maximum quality. You have to be careful if The Big Wave (the Great Wave) comes, but if you lose it, nothing happens, do not sink, always come more.
Hampa Studio: A few years ago, Manuel Cristobal asked us for a quote to make the “Wrinkles” movie by Paco Roca, we were super excited but in the end he did chromosome. We felt blue to not be able to do the project, it was hard because we thought we lost our chance. When I look back, I realize that we did not do it because it did not touch us, we were not prepared,… Right now, years later and also thanks to Manuel, we are co-producing along with Dream Team, Moonbite and Lady Bug the next movie by Paco Roca, “Memories of a man in pajamas”. If you work hard and when you fall you get up and continue surfing … there is always another great opportunity.
I still remember when my father taught me to ride a bicycle, we were at my house, I won’t forget it. Over the years I perfected the technique. I didn’t only hurt the knees, my head too!, but I went everywhere with my BMX, trying to emulate Los Bicivoladores until one day I fell madly in love with the cinema and the cartoons, I left the bike little by little and I preferred be at home to draw and animate all the pages corners of all the books we are looking for, starting with those of the school and ending, literally, with a new encyclopedia what my parents bought I never understood this punishment, the animation of the kame was the best!
In 1997, then I had worked in a few studios, I decided to found my own studio, Hampa Studio (with another name at that moment), and fuck the books of others. Since then my life has been like azoetrope, always around my great passion, hobby and suddenly…a day it was my job.
As expected, the working hours were at least 12 hours, few holidays (only, fall down on the bed with face down and lift the face when it was to breathe), and the weekends were the perfect moments to be alone in the study and advance with the work. Before my family and friends!, but it was not an obsession, it was my job, I had finally become responsible, but in reality, I felt like the psychopath who was aiming at war to have an excuse.
Before then I was founding my studio I was a handsome person (Regardless of my hours of drawing and dodging my mother’s slippers). I had a social life quite active, trips, go out with friends, playing video games, go to birthday, train, go out at night, again hit the car, the complaints of the Civil Guard, Go on, the typical!
I was forgetting all these, my great dedication was only to my profession and my desire to tell stories. Besides, I also tell you that the documentaries about the big studios did not help much, more I had known about them, I worked more too, “That John Lasseter was sleeping under the table while he was with his first 3D project ?? !! “, Then I sleep under the table of IKEA. .. if John does it and watch how cool” Cars “(joke for the sector!), Ok…I do it too!” …, then I found out that the guys from Pyro Studios, when they were doing their first video game “commandos”, were a whole year without leaving the studio, “well, come on … to ride a 15M in the office !!, not to mention!”. Then came the death of Steve jobs and I thought, that everything .. everything .. did not have to imitate it either!
This is not me, he is John Lasseter when Steve Jobs caught him with his feet on the table.
As soon as the studio was growing up, my social life was falling too. But for me, the most important thing was the studio and it has been during all that year. When I looked back, I realized that even though we have worked like beasts, the study has grown rhythm that needed to grow, we had bumps, successes, shits, successes, problems, I have not been able to do the movie I want yet, it has not influenced on anything that I had been cloistered between computers and tablets of light.
Now, my working days, .. are not more than 8 hours, we do not go crazy either anymore.
I take my daughter Leia (I know already … this theme, we will treat it another time) to school every day , I soon arrive home in the afternoon to go with my wife and my daughter to the park with her school’s friends and on the weekends I enjoy my family, my friends, a good bike ride and sleep ( I would say that is what I do better).
Finally with all this, I have come to the conclusion that, for making more hours than the clock I won’t reach higher, you have to concentrate your efforts very well, take your time to choose good stories to tell, have your eyes very open to everything that happens into the sector (which is not achieved when you are totally burst), do not be afraid of failure and of course take advantage of good ideas and opportunities without batting an eye.
So I encourage all of you who are starting in this sector and you are also crazy enough to start your own study, that you are very brave, but do not get fatigued (we know each other!), It rests when you are working, do it to death, but do not leave out your life out there. I’ve been lucky because mine is still there, but with a behavior like the one I had, even though you have become Pixar, you will be left with no one, that is when you have had the greatest failure that you can have in this life.
By the way! … All this sheet that I have released, was basically to tell you that on Thursday afternoon I taught my daughter to go by bike, I am happy because it is something that she will never forget … neither me
Frequently, the people ask me: What is it more difficult ?, do 2D or 3D?… these questions always are on reference to budget and working time…with typical comments, like..”Surely it is cheaper to do in 3D, because it is done by computer” ( In the studio we have a button that calls “Films Pixar”, you press it, choose the theme and you always get a pretty, pretty movie!) the other comment is … “2D is much more complicated to do”.If you are someone from the sector and have worked the two techniques, you probably know the answer, but this article is for some of my colleagues out of this world, knowing that I dedicate myself to animation, every time we meet, they ask me how I carry it. ” … that of the comics. “, The first 7 years I still tried to explain the difference, the next 13 years later I limit myself to tell you that my most personal work is Watchmen and that you can find it in Fnac !, I lose it and hey! … I cultured them a little at least!
Well, Let’s come back to 2D and 3D for amateurs. The basic difference between these two techniques is that 3D animators animate virtual puppets while in 2D they animate by drawing. Obviously, the production processes are different, but in essence, it is exactly the same. if we talked about stop-motion, something that I do not know completely, I’m sure it will be very similar, (I promise to interview Sam the next day of Conflict Productions and Pablo Llorens de Potens who are the maximum exponents of stop motion in Spain. (Note for my friends: These are the ones who dedicate themselves to “that of the comics” but in plasticine).
(Yes …I know, I could use a more modern image… ) Ok guys! now the animators use a Cintiq, very pretty screens to draw and saves you paper and troubles.
In the screen on the right, you can see the controls (synoptic) to handle the expressions of the characters.
IS IT FASTER TO DO 2D OR 3D?
Under my experience in the productions of Hampa Studio, it is exactly the same. The Preproduction of 2D consists of preparing Story, Concepts, Color scripts, Character Design, Props and Backgrounds, Animation Test, Animatic, and Layouts.
While 3D is all this, plus the Modeling, Textures, Shaders (materials) and Rigs (skeleton of the characters and props), this makes the 3D Pre-production become longer, much more technical and harder.
However when it comes time to animate, the process is “very fast” in 3D, “only” consists of posing the character, pulling it like a dummy (blocking) and smoothing the intercalations (polish or refine, each one calls in a way, in fact, those of one side and those of another are at night to stick, well this is not true, it only happens in my mind).
One who is hitting is from the “Polish” trend, the other that is clearly seen to be from the “Refine” part.
2D ANIMATION PROCESSES
In the 2D technique, the first thing is to do the Animation (key drawings), then the Clean-up of these key drawings (that is, clean them so that the lines do not vibrate and look nice), later the smoothing of the animation (Intercalation ), then Clean-up of these intercalations and finally ink and paint, that is to give color to both the filling and the contour lines (something optional, but I recommend you, if you want to propose to your producer to paint the lines of the characters, you should go talk to him/her with a suit of those who wear the tedax, if you want to stay alive). All this drawing frame by frame by several different hands with the difficulty that this entails, (although, not for a friend out of this, when she came to the studio and saw the tables of light with the drawings, he said “ahh, you trace? it’s super easy on this way! “). Except for her… for the rest of the people, the problem and the danger of 2D with large teams, is the model of the character, there is more to see the beauty and the beast, there are plans that sell beautiful and in others, sale the far distant cousin, who has a wine to visit or something.
Here, we can see a clear example of how well Bella and her cousin of 45 years old are spending it.
Therefore, in the end, the 3D and 2D about of time and costs are the same. But it is true that in the final steps of production 2D is lighter since 3D needs to illuminate and render, but instead of 2D it has been necessary to paint the backgrounds by hand with its light and its color, something that takes also a long time.
To give you an idea, in Hampa Studio, it cost us the same to do Margarita (2D) as The Shadownsters (3D), in time and budget, although Almax and Omeprazol level we spent more on Margarita, really!
Ruutu+ is a famous Finnish pay television, it is the first one that trusts our seriesThe Shadownsters, from Hampa Studio, we are very happy to announce that it is already possible to access the chapters through this television.
If you live in Finland, you have small children, and you have your back bad from the loading the ice, stay at home, put Ruutu + and do not hesitate to enjoy this series, which will help the little ones to face their night fears.
Kindly Note: The Protagonist of The Shadownsters name’s is Solomon, the Finns have renamed it “Samuli”
In Hampa Animation Studio we know that monsters arrive. The study is that it does not stop. The arrival of the monsters to study is imminent, it can not be avoided. Therefore, we do not know if these monsters are good or bad, but we are sure that they come here to stay.
At this time, we can present to some of the monsters, one by one, so that you go staying with them. But be careful, there are 104. Will you be able to remember all the monsters of Hampa Animation Studio?
El día miércoles 28 de julio a las 19:30 horas estaremos en la Campus Party de Valencia presentando el proceso de creación y comunicación de Margarita.Contaremos curiosidades del proceso de producción, la estrategia que utilizamos para comunicar y difundir el cortometraje, quienes participamos, lo que ha representado para el estudio, etc.
Además proyectaremos el making of y el cortometraje!