Should Freelance Animators Set Up a Limited Company?

A freelancer at work

Part of our job at Bucks is to teach our students to be working professionals, which includes not only the ability to do excellent work at a high level of professional skill,  but also the ability to run a small business and tackle freelance work. Almost all digital artists take on freelance work of one kind or another, and we help our students out by bringing in small commercial projects at our virtual online studio at nano-films.com, giving our students paid experience on live briefs. Being a freelancer involves learning a lot of new business skills, and one of the most common questions asked by students is: "Do I Need to Set Up a Company before I become a freelancer?" The short answer is "no", but it's not quite as simple as that - it all depends on your personal circumstances.

Render Under Caesar What Is Due To Caesar

Both in the UK and the USA it is very simple to be an independent freelancer. You just start working for clients, send out an invoice, and get paid. At the end of the tax year, you report to the IRS or the Inland Revenue all your income, less your expenses (computers, software, travel expesnes etc) and you pay tax on the difference - which is your profit. It's called being a sole trader, and it is very simple to do. It is the same basic structure for anyone selling a product, whether it is a shop on ebay or a stall at the farmer's market. You don't need to register with the Revenue - you jut start trading.

Setting up a company is different. You have to pay fees to set the company up in the first place, to register it, and also to file annual reports, as well as paying annual corporation tax. It's much more of a hassle than being a sole trader, and there aren't really any tax advantages.

So why set up a company? There are three main reasons:

1. Because your customers and clients make you. Once you reach a certain size, plenty of companies won't like doing business with a sole trader. They are used to dealing with companies, and they will insist on it. 
2. Liability. As a sole trader, you are personally liable for everything the company does, down to your last penny.  Most companies are Limited Liability Companies (hence Ltd) which means that if the company goes bust or gets sued - you won't lose your house.
3. It's the grown-up thing to do. Once you start to grow and employ people, it makes sense to have a formal vehicle for your operations. Sole trader status is convenient, but it only makes sense for small operations of low complexity.

In effect, company status is something that, sooner or later, will likely be forced upon you as you grow. It is one of the perils of success. While you are still small then, you are probably better off being a sole trader, but with size and complexity comes the need for a more formal status.

To see more about the benefits and burdens of setting up a company versus being a sole trader, see this link:  http://www.theguardian.com/small-business-network/2013/sep/12/sole-trader-limited-company-freelances

For more on the experience of studying at Bucks New University, come and visit us at one of our Open Days,  take a virtual tour of one of our animation studios, check out what our students think of our course, and see why we're ranked in the top 12 creative universities in the UK. Find out why we're giving free laptops to all our students, and why we give all our students free access to videos at Lynda.com. Also, see what financial assistance might be available to you. Learn which is better for animation, a PC or a Mac? Get hold of a copy of a map so you can find your way around campus, and learn about motion capture at Bucks.  

Deadline to submit a feature film project to Cartoon Movie: 26 Nov 2014

Cartoon Movie 2014

The Deadline to submit a feature film project to Cartoon Movie is 26 November 2014. Are you looking for co-producers, financing and distributors for your animated feature film project? If so, you should submit it to Cartoon Movie! If your film gets selected, you will be able to pitch it to almost 1,000 animation and industry professionals from forty countries. Present at Cartoon Movie are 200 buyers, including 120 distributors & sales agents.

How do you submit a project?
First, you must prepare all the required elements as listed on the website or in the vade-mecum.

When can you submit?
From next week you will be able to access the Online Form to submit it: Go to My Cartoon (tab on top right of the page) and login or create an account. Click to My Projects > Cartoon Movie > Submit a new project (if you need help, please send an email to info@cartoon-media.eu)

When does Cartoon Movie Take Place?
Cartoon Movie 2015 takes place from 4-6 March in Lyon, France

What is Cartoon Movie?
It is a pitching & co-production forum for animated feature films. There are two days of pitching sessions, 60 projects to be presented in 4 categories (in concept, in development, in production or a completed film)

Does it work?
yes. Since its creation in 1999, 229 films found financing, representing a total budget of €1.5 billion.


For more on Cartoon Movie, follow this link. To see their official site go to http://www.cartoon-media.eu/cartoon-movie-event/cartoon-movie-2015.htm

Bucks Tutor Alex Williams Introduces his Animated Feature Film: My Haunted House

Alex Williams is Co-Course Leader of Animation & Visual Effects at Bucks New University. He is also working on an independent film project, My Haunted House, which is currently in development, aiming for a 2016 release. We asked him to tell us about the project, and what still needs to be done to bring it to the big screen.

Bucks: What is My Haunted House?

Alex: My Haunted House is a feature film for theatrical release at Halloween in 2016. It’s a story about a boy, a perfectly normal 12 year old kid who just happens to live in a haunted house. His family are ghouls and ghosts – he’s the only one who’s normal. It’s a story about wanting to fit – and wishing your family were different, more normal like the other children. So, hopefully, a pretty universal story, really.

We’re co-producing with Denmark and we are in the process of putting the final budget together and locking down the finance structure. It’s hard work but it’s thrilling to be working on our own feature film.

Film work by Alex Williams

Bucks: Can you explain the process of getting a feature film made?

Alex: The key problem of course is raising finance. You can’t just go to the bank and get a loan, you will need investors and partners, few of whom will likely take more than say 20% of the risk. So you have to pitch; to do that you need a great idea, ideally a high-concept “What if?” idea that will get your project noticed.

BFI - funds for film-makers

In the UK there is limited finance for new feature films, though BFI does offer some support via the National Lottery. But it is also possible to involve other European partners, and through them find foreign co-production financing. I highly recommend the Cartoon Movie forum in Lyon; it’s a kind of “Dragon’s Den” for animated films and it takes place in March every year.

Cartoon Movie

The deadline for submission of ideas to Cartoon Movie is in November. I brought “My Haunted House” to the market at Cartoon Movie "in concept" and we had a wonderful response; lots of interest in the pitch - which we are currently building on. Our goal is now to go back to Cartoon Movie "in development" and see if we can raise the money to get it made. The budget is around £5 million, which is not a small amount of money to raise.

Design by Monika Dzikowicz

Bucks: Will students from Bucks be able to work on the film?

Alex: Absolutely! In fact, one of our recent graduates, Monika Dzikowicz, did some character design work on the film which is being featured in our presentation pitch. She did the design work as part of her in-course assessed work in her final year.


Bucks: When can we buy tickets?

Alex: Hopefully, if all goes to plan, the film will be out in theatres in time for Hallowe'en in October 2016.


To see the impressive work done by our students and recent graduates here at Bucks, check out SuperFergy in 3D by Anton Alfy, see the work of Jens Kopke,  Ben Gray's Moonbeam, and the architectural visualisations of Sabah Masood and Anton Alfimenko. Also take a look at the work of Andy Thomas here, see our latest commercial project for Rocketseed, our short film done for a global aid agency, and take a look at the excellent work of designer Monika Dzikowicz, architectural visualisation specialist Krsytof Michalski, Alex Whitfield and the 3D artwork of Mike Swan. And don't forget to see the simulation work of our students done in RealFlow. To see our student demo reel, click here.

Who Invests in Independent Animated Feature Films?

Photo: Wikipedia

Who invests in independent feature films? And how does the aspiring film-maker find those investors? At the European film finance conference, Closing the Gap, Perrine Hamon of Media Deals, and Thierry Beaugard of Peaceful Fish explained what kind of investors are out there, and how to find them. Any animator who has a dream to make their own independent animated feature film needs to know just a little bit (and possibly more) about the nuts and bolts of movie finance.

The good news is, there are plenty of places that specialise in film finance. Wealthy individuals, government bodies, equity investors - the industry offers many choices. The bad news is, getting your project to them in the right shape to make it investable is a formidable challenge.

Thierry Beaugard of Peaceful Fish

Perrine Hammon explained what it is that his company, Media Deals, actually does. They are mainly interested in financing media startups, rather than making content for film & TV. Media Deals is "a network of investors in the media sector". They have "around forty Investors, and they are always finding more".


Types of Investors


What kind of investor is right for you? And what kind of deal terms are typical in the business? There are four principal types of investors in movies:

Not that kind of angel.

1. Business Angels

Business angels are individual investors, who invest in films "on a case by case basis". The sums involved range from "around €10k to €1m". It's generally their own cash they are putting in, and they generally like to be personally involved in the project. They often invest at the start of the project, helping with its development. Why do they invest? Because of their own personal interests - and also the film's commercial prospects. Usually, a business angel is a very wealthy individual "who really likes movies".

What kind of deal terms will a business angel want? 

The chances are they will want "at least a 50% uplift" for their investment. After all, film is risky. And if they are investing in the company making the film, they will want to take a percentage of the company.

Where are they to be found?

Business Angels tend to "congregate in networks". These include, for example, the European Business Angel Network , the European Venture Capital Association (EVCA), and other loose networks of like-minded individuals. Film-makers might also "try family and friends" for start-up assistance. Many angels are alumni of business schools, former bankers and businessmen. These are the kind of people who might "invest around €10,000 in a movie". They are not easy to find and you will need a credible business presentation to get in the door.

How do you pitch to business angels?

Once you have found them, you will have to "make presentations to groups of angels". A bit like Dragon's Den, but for movies.  The best advice to start with your home market first, pitching to local entrepreneurs and business networks. Especially good are business angels who have "never invested in films" - they have yet to be disappointed.

One problem that film-makers face is that most business angels tend to prefer investing in companies rather than individual projects. Usually they tend to prefer companies, as these can be sold at a profit. Projects are - generally - less profitable than investing in companies.

How Venture Capital Works. Image: Wikipedia

2. Venture Capital Funds

Venture Capital funds, or "VCs", tend to be applicable to bigger businesses rather than very small start-ups. They tend to have "big funds, with a big portfolio, and rather higher costs" than individual investors. Usually, they are "not interested in small projects". Rather, they tend to seek "high-risk high-reward projects, and tend to invest in companies". They usually invest after the development stage, in the "production stage" of the business plan.

How Do You Pitch to VCs?

For a successful pitch, you must have the following in place:

1. Financing Plan
2. Marketing & Distribution Plan
3. Revenue Projections
4. Corporate track record.

It goes without saying that at this point you need a credible producer on board who can help you prepare this kind of material.

Now close the deal. Photo: Wikipedia

What are the Typical Deal terms for a Venture Capital Fund?

VC investors expect to recoup their investment, plus a significant premium. Many will want an equity stake in the company. They will also likely want a revenue share of the IP [intellectual property] rights of the project.

One way to present your own project is to set up a Limited Liability Company (LLC) which holds the rights for the project you are developing. The VC investor will likely get a stake in this company, which is known as a Single Purpose Vehicle (SPV) because its sole purpose is to hold the rights for your film.

Another approach, suggested by Dutch producer Emjay Rechsteiner, is not to give shares in the SPV, but rather to make your investors a partner to the collection agreement [the agreement that governs the payment of revenues for he film]. Why? Because an SPV can go bust. By contrast, the collection agreement is transparent and clear, and that way "you don't have to keep the SPV for 20-30 years, paying for book-keeping and accounts and so on". This approach "gives investors security". The revenue from the IP rights "streams through the collection agency". What you will have in place is known as "The Collection Agency Management Agreement (CAMA)". The agreement is run by a neutral third party, the collection agency, who collects the revenues for the film. If you don't do this, "problems may arise with IP rights over time", whereas "a CAMA helps to keep the rights simple". Other investors however, said that they "would only lend to an SPV". Their lawyers "would not allow him to follow this collection agency model".

3. Public/Private Funds

The size of the sums invested by public/private funds tend to vary from €10,000 to several million. These investors tend to like "projects that satisfy a mix of public and private interests". Some development money is available (generally, development money is the hardest money to get). Usually, there is a "regional spend requirement". In other words, they want you to spend the money they give you in their own region or area. Quite likely they will want a share in the Intellectual Property (IP) as well.

Mediatech investors like companies that make stuff, not just creative content. Photo: Wikipedia

4. Mediatech financiers.

Mediatech financiers generally invest in companies, mostly hi-tech start-ups. These are usually a "marriage of content & technology". Typical deal terms include an equity stake in the company, board membership, and an exit strategy to sell the equity stake within a given time frame. These investors tend to want technology more than content - but the two can and do often go together.


What do equity investors want? And what are the typical deal terms that investors look for in film?
We'll be taking a close look at the nuts and bolts of film investment, and how to structure your deal, in a separate blog post.

---Alex

Anifest is Back! Deadline: 30th September 2014

 The Canterbury Anifest Short Film Competition returns for 2014. Submissions are now open for animated shorts under ten minutes in length with entry closing on Tuesday 30th September 2014. Entries will then be considered by the Anifest judging panel, which includes Andy Frain, Producer of the cult classic Japanese animated film Ghost in the Shell, and Michael Arias, Director of Tekkonkinkreet.

Canterbury Cathedral

The shortlisted films and the winners will be announced at the Canterbury Anifest Awards Ceremony at Canterbury Christchurch University’s Augustine House on Friday 31st October, in front of an audience of professionals and animation enthusiasts.

The submitted animated shorts will be judged according to five separate categories: “Best British Short Film”, “Best International Short Film”, “Best British Newcomer”, “Best International Newcomer”, and “Critics Choice”.

Following an established tradition of seeking out and showcasing remarkable and exciting new talent in the field of animation since Canterbury Anifest had first begun, Canterbury Anifest 2014 aims to continue this celebration of burgeoning talent both within Britain and from around the world. For the first time, Canterbury Anifest also plans to exhibit a diverse selection of the submitted short films for the festival’s opening night on Monday 27th October at Gulbenkian, Canterbury. 

Deadline for entry: Tuesday 30th September 2014
For information please visit http://www.canterburyanifest.com/film-competition/ or call 01227 769075.

As ever, we strongly encourage all our students at Bucks to enter short film competitions. Even if you don't win, the experience you gain will be invaluable, and will help you raise your game and improve your work. And you might even have some fun along the way....

---Alex

Timo Vuorensola, director of Iron Sky, explains how to crowd fund your feature film

Timo Vuorensola, director of Iron Sky, gave a lecture at Closing The Gap, a European conference on film financing, explaining how to crowd fund an independent feature film. Iron Sky was initially funded through online sources, and later on secured more conventional funding on the back of the crowd-sourced contributions. Timo explained how he pulled off such an ambitious and successful project by starting an online fan base to help make his film.

How did Timo Vuorensola develop Iron Sky?

In the late 1990s Timo Vuorensola was a student in Finland, studying film and visual effects, and he began work on StarWreck, a student fan project which was made over seven years for just $15,000. It was a "SciFi Star Trek satire"; the pitch was "Star Trek versus Babylon 5".

Timo Vuorensola. Photo:Wikipedia

The film was crowd sourced by fans and distributed free in 2005 on the web, just before YouTube became huge. Timo describes it as "the first film distributed free on the web". They sold a bunch of DVDs and made "a lot of money".

While they worked on Star Wreck, they began work on their next film, all about Nazis on the Moon, which became "Iron Sky". According to Timo, there is actually an online community that genuinely believes there are Nazis on the Moon. In the end, Timo managed to raise $1 million from the internet. Then, on the strength of this, they were able to raise a further $2m from other investors. Then, having raised this seed capital, they had enough money to get started making the film.

It was the trailer for Iron Sky was the key to their success - it went viral and soon reached 10 million hits on YouTube.




How did Iron Sky get underway?

They began making Iron Sky in 2006. It was filmed in Frankfurt in 2010, some was shot in Gold Coast Studios in Australia. In Australia, they got a very good tax rebate (40%!) and a skilled crew. Also, as Timo put it, it's a "very laid back place - highly recommended".

The film was sold to 70 countries and made "$8m worldwide".

What did the fans contribute?

Timo got the fans to write the lyrics of the Nazi songs, by running an online competition. They used the website www.wreckamovie.com, which helps to raise seed capital for films, and they built their own website at www.ironsky.net

In the end, crowd funding is about "people asking other people for help". But, "you can't ask crowds for big things. You must offer them stuff they can do in 45 minutes to an hour - you have to start easy". Iron Sky got started by creating a global map where fans could "demand to see Iron Sky!" All fans had to do was register and fill out a form.

What was the Risk involved in crowdsourcing?

The risk was quite simple - "failure". Timo was very much afraid of it. But his producer said: "we have no other way" to fund the film. In the end, "the community came together". Timo emphasised that "very few projects work this way though, you have to be very smart". So, how did they do it?

They started out with "a really cool teaser throwing out a hook". (see above at YouTube) The pitch was simple: "In 1945 Nazis went to the moon...in 2018 they are coming back".  Timo owns a small visual effects house, so he was able to get some nice visual effects done for the teaser.

Their website said - Buy War Bonds! You could buy a bond to help finance the film - just like in WW2. What fans got was "a piece of paper which costs €50 and says that you helped to pay for the film". What do the fans do with it? They "frame it and put it on the wall". The website had "lots of information, such as how much they needed to raise from various sources. In the end, €300,000 came from crowd funding.

What were the problems?

Timo explained that crowd investment "is very complicated", with "lots of legal problems". However, as they had no real alternative, their lawyer was "driven to make it work". There are certain restrictions - for example you can "only have ninety nine investors from each country". They needed "cash quickly for the film shoot", so they "got a bank to cash-flow the crowd investment. Norde Bank gave them €1m". The total budget was €7.5m. But, as Timo emphasised, "you need legal advice if you are asking people for money...there are rules & regulations".

Building your online community

To begin with, said Timo, "you must build your community. You must show them first that you know what you are doing. If you just go and ask for money - it simply does not work". But how to start? "You have to start talking with them; there must be participation. How can people help you? You must communicate with them, on Facebook, on Twitter through video blogging - you must contact your fans".

Does the process undermine your creativity?

No. Because film-making is a dictatorship, not a democracy. You have to run it from the top. You can communicate, and share - but they are not there to tell you what to do.

Swastika fortress on the moon

How do you get people excited about the project?

Timo explained that "your elevator pitch is vital" [an elevator pitch is a one line summary of the premise that underpins your film - Ed]. You have to "get people excited, since it is easy to get lost in the web. You have to keep it simple. You need good concept art. The video must be top quality. Your fans may do concept art for you for free". How does that work? "You can create tasks for concept art. People upload their art - other fans can comment on the designs.".

The film has a "long credit roll - the fans get a free screen credit! That alone is worth it for many people. Being in the Thanks section - this has huge value". What about the IP (Intellectual property)? Fans and contributors "have to sign agreement that the IP is owned by the film". The Creators of the movie "have all the rights". There is "an online form for people to fill out. You have to be blunt and honest". It's a case of "You do the work and we make the money", but then, "if you don't like it, then don't do it".

Timo urged that the online community "must be part of your daily routine". You must "Tweet, blog,  do a video...it takes at least 45 minutes a day".

Who runs the website?

Timo suggested that "you may need a community manager on your film". This would be "someone who really understands the web, and can use Wordpress, which utilises a simple code". You must "develop your Facebook, Twitter and blogging presence", since a traditional advertising agency "will be very expensive".

To see more about Iron Sky, visit www.ironsky.net. To buy your own copy of the film (The "Dictator's Cut"), visit this page at amazon. All the images shown here are copyright Iron Sky Productions.

---Alex

For more on the experience of studying at Bucks New University, come and visit us at one of our Open Days,  take a virtual tour of one of our animation studios, check out what our students think of our course, and see why we're ranked in the top 12 creative universities in the UK. Find out why we're giving free laptops to all our students, and why we give all our students free access to videos at Lynda.com. Also, see what financial assistance might be available to you. Learn which is better for animation, a PC or a Mac? Get hold of a copy of a map so you can find your way around campus, and learn about motion capture at Bucks. And find out about how our online video tutorials work.

Can You Make an Animated Film in a Single Day?

Hold Me Clothes by Evgenia Golubeva

Everyone knows that animation is slow, expensive and time-consuming. However, with a bit of determination and good planning, it is possible to make an animated film in a single day.  Evgenia Golubeva is an animator and film-maker who put together a short film titled "Hold Me Clothes", a stop-motion film written by her and animated in just one day at a film festival in Italy.

Evgenia Golubeva

Hold Me Clothes is a completely charming film. Evgenia's work reminds us all that good animation is as much about storytelling and an eye for comic timing as it is about technique. Evgenia is well on her way to being an excellent film-maker as well as a very talented animator. Congratulations to her on a delightful piece of work.

Hold me clothes from Pera & Mela on Vimeo.

For more on the experience of studying at Bucks New University, come and visit us at one of our Open Days,  take a virtual tour of one of our animation studios, check out what our students think of our course, and see why we're ranked in the top 12 creative universities in the UK. Find out why we're giving free laptops to all our students, and why we give all our students free access to videos at Lynda.com. Also, see what financial assistance might be available to you. Learn which is better for animation, a PC or a Mac? Get hold of a copy of a map so you can find your way around campus, and learn about motion capture at Bucks. And find out about how our online video tutorials work. 

Sound designer Scott Benson Explains How to Mix a Movie in 72 Hours, and How Sound Designers can work with Animators at Bucks

Bucks sound design student Scott Benson just recently finished mixing and editing the sound on a feature film  - all done within 72 hours. We asked him how he managed to pull of what looks like an insurmountable task, and also how our animators can get the best out of collaborating with sound designers to make great films here at Bucks.

The Confusion of Tongues

Bucks: You just recently finished mixing and editing the sound on an entire feature film - tell us about it!

Scott: yeah I have literally just finished! It's been one of the most demanding yet satisfying projects I've worked on to date, The idea behind it was that a whole feature film could be shot and edited within 72 hours. And, having personally stayed up for 60 or more of those hours, I'm proud to say that it's not impossible!

The Crew

I personally mixed the whole feature film as well as cleaning up all the audio and placing appropriate sound design where needed. The film was shown in the Imax cinema in Birmingham the same day it was finished, which was the most scariest thing ever, because i hadn't heard the sound after it had been rendered to picture. To my great relief it all went perfectly in my eyes; there were a few bits and bobs out of place here and there, but that is to be expected!

Sound Designer at work at Bucks

Bucks: What software did you use?

Scott: The software that I used was completely Pro Tools (Warren Bassett, my lecturer, would be proud of me!) Before starting at Bucks I had never used Pro Tools or even really wanted too, as I much preferred Logic, But when it comes to audio post production, in my eyes, nothing can hold a candle up against Pro Tools.

Bucks: How big a challenge is it to mix an entire feature film?
Scott: Mixing a whole feature film under normal circumstances is a huge undertaking in its own right, usually calling for a team of mixers each having their own jobs, but doing it with in 72 hours, that's crazy. But, as they say, pressure creates diamonds, and that couldn't be more true for this project. I really surprised myself at how well I worked and how fast! Even though it was constant non-stop mixing, I'd do it again in a heart beat!


Bucks: What should animators at Bucks do if they are hoping to collaborate with a sound designer?
 
Scott: When looking for a sound designer, there are a few main things to look for I think, and they are: 1. keenness and contactability. Now, it's all fine and dandy having the best sound designer in the world, but if they're not going to keep in contact with you then what's the point? Having someone who is keen will help to ensure the project's smooth running and completion on time.

The second would be, obviously - skill. Most sound designers will have worked on a sort of show reel, even if if its just muting their favourite films scenes and playing around with them. That's what I did; I didn't have much of a show reel when I started Uni, so I made one!

And finally, ask around, being on an animation course I'm sure plenty of your peers will have worked with sound designers and they'll know which sound designers collaborate well!

Scott Benson

Bucks: What is the single most important thing to know about sound design?

Scott: The single most important thing to know about sound design....this is a tough one, because I could go on for hours about technical specs of certain methods of additive synthesis. But, at the end of the day, knowing that won't get you a job, yes granted it'll help, but if you don't apply yourself you wont get anywhere, you can have all the knowledge and graduate with a 2:1 but if you haven't made contacts and built up your people politics you'll fall flat on your face. It's as simple as that, I can see it on my course, there are so many gifted students who could do so much, but they're not always applying themselves.

So, in my opinion the single most important thing to know about sound design is to know how to find work and make contacts who will last and grow alongside you, because without that, there is no sound design!

For more about the experience of studying at Bucks New University, come and visit us at one of our Open Days,  take a virtual tour of one of our animation studios, check out what our students think of our course, and see why we're ranked in the top 12 creative universities in the UK. Find out why we're giving free laptops to all our students, and why we give all our students free access to videos at Lynda.com. Also, see what financial assistance might be available to you. Learn which is better for animation, a PC or a Mac? Get hold of a copy of a map so you can find your way around campus, and learn about motion capture at Bucks. And find out about how our online video tutorials work 

Miracles and Inspirations by Bucks Graduate Monika Dzikowicz makes the Official Selection of the Festival de Cine de Madrid

Monika Dzikowicz graduated from Bucks last year, and recently completed her short film Miracles and Inspirations, which has been entered in to short film festivals all around the world. Most recently the film has been accepted for the Official Selection at the 23rd Festival de Cine de Madrid, taking place in Spain in October of this year.

Visual Development for Miracles and Inspirations

Miracles and Inspirations is a short film completed by Bucks animation graduate Monika Dzikowicz, which shows what could happen if art could take us back to the times it was created in.

The film tells the story of the unusual friendship between a young girl and an ancient Roman sculpture of a woman. It explores themes of imagination, the creativity of children, and the inspirations we take from our memories and from everyday life.

The film was produced within the scope of the online competition - The Animation Talent Award  2013. It was designed, directed and animated by Monika Dzikowicz. Music was by Boris Nonte, and the Executive producer was Paolo Polesello.

To see the film, which runs about two minutes, see below:


 
Miracles & Inspirations - animated short film by Monika Dzikowicz from Animation Talent Award on Vimeo.

We strongly encourage all our students to enter competitions. Even if you don't win, you gain invaluable experience just by competing. There is nothing like a competition to make you raise your game and try harder; ultimately this is how digital artists improve their skills and forge successful careers in creative media.

You can read more about Monika's work here.  To see more work by our talented undergraduate students and recent graduates, see this recent post about the art of Sabah Masood. Also check out the work of Andy Thomas here, and see our latest commercial project for Rocketseed, our short film done for a global aid agency, and take a look at the excellent work of architectural visualisation specialist Krsytof Michalski, Alex Whitfield and the 3D artwork of Mike Swan.

Max Howard Teaches our Students How to Produce a Hollywood Movie

Max Howard and Bucks animation students. From left: Felix Deacon, Ellouise Benjamin, James Hatton, Jack Copley, Max Howard, Kalim Momen, Alex Williams, Georgia Nichols, Anton Alfimenko, Ben Gray

Earlier this year Producer Max Howard came to Bucks to talk about how to produce an independent animated film.  He talked in detail about how films get financed, walking our students through all the steps necessary to get a film off the ground and into theatres. With a wealth of experience at major Hollywood Studios, and also with a number of independent animated features under his belt (plus one coming out this year - The Hero of Colour City - there are few producers better qualified to explain how the system actually works.

Good animators are good actors

What does an animator do?
Max himself began his career as a child actor, and he started off his talk by explaining that "all animators are actors". If an animator "does not understand the nature of the performance, then they are not acting". In other words "it’s not just how to move it – it’s when to move it." Common mistakes among rookie animators include "moving the character too much". As Max put it: "a good animator understands when to do nothing".

What does a producer do?
Max went on to ask the question "What does a producer do?" He explained that there are a number of different kinds of Producers. For example:

• Line Producer – this person does the "nuts and bolts" of the production. 
• Associate Producer – This person assists the Producer, or the job title could "be a thank you" to some VIP who helped out with the project.
• Co Executive producer – "who really knows" what this means? Could be anything!
• Executive Producer – This title should really be "non executive" because they may have almost nothing to do with the project at all. Sometimes investors get credited as producers if they put up a bit of cash.

Max Howard at Bucks

Time and Money
Max explained that making films is about managing time and money - this is the vital part of the producer's job. A good producer has to “balance the film’s creative vision with the resources available”. And, of course, there is "never enough time, and never enough money". So, a good producer is someone who gets the balance right. In the end, "it’s how you use the time, and how you spend the money".

The Lion King - oddly unpopular

Some animation history
Max took us back to the second Golden Age of Disney animation, back to the early 1990s in Hollywood. Pocahontas was the next film slated to come after The Lion King, and both films were being made at the same time.  But, curiously, it was Pocahontas that was the popular project among the artists. "No-one at Disney really wanted to work on The Lion King". Why? It was an unfashionable project, just another talking animal movie. Even the composer, Elton John,  was "old, bald and fat". So what made the difference? The opening sequence, The Circle of Life "changed everything". Suddenly everyone realised they had a movie, something that could be a hit.

The Problem of Pocahontas
On Pocahontas, the animators (and the studio) came across an unexpected problem - Pocahontas's hair, which was becoming a character of its own, time-consuming to execute. The animators were spending too much time just animating the hair, and this was busting the budget. Somehow, the studio "had to tame Pocahontas's hair". They never did, and costs rose, but what, asked Max, might have been the solution? Max suggested that the studio "should have pretended that we tied her hair back to show how she was culturally tied back by being stuck between two worlds". This would have solved a technical problem with a story solution. The moral of the tale is this: "when you look at your project, a restriction can sometimes be a way of doing something smart".

Where every story begins

Planning a Feature Film
Max explained that there are "Three things to remember when planning a feature film":

1. Story
2. Story
3. Story.

So, what the "Three ingredients of a great story"?

1. Great story
2. Believable world
3. Engaging characters

Lots of film-makers, said Max, think they can solve the problem of story by "getting themselves a writer". But, he said, it does not really work this way. The process is not so simple. You can’t just “get yourself a writer”. After all, "what will they do? Take dictation?"You have to do the hard work yourself, and figure it all out. But, he added. "Start with a great story and you have a chance to succeed".


Budgets and Money

Max explained that in the "Low budget independent film-making – you must have your planning figured out". People often say that their film is "for everyone", but this is not true. "Animated films are not for everyone". So you have to figure out – "who is your movie actually for?" What is the audience? He then showed us the opening sequence of The Iron Giant – a film Max produced - which introduces all the main characters in a very funny and appealing way.

Watch out for Chinese Dragons

Worldwide Box Office- and the Rise of China

Currently, the worldwide box office for movies is "$35.9 billion". Of this, the USA is one third of that at $10.9billion. This has changed, as a decade or so ago the USA was half of global box office. And things are moving east, and Max predicted that "within seven years, the number one box office will be China".  But, the number of foreign films released in China is limited by Chinese law. In response to this, DreamWorks are "building a studio in Shanghai, to skirt the restrictions on foreign movies in China". In China, explained Max, "you can buy anything, even bootlegs [of movies]. Perfect quality bootlegs".


The Business of Animation
Animation is big business. Even though it constitutes "just 7% of all releases worldwide, it generates  15% of all box office revenues". In other words, animation punches above its weight. Of course, it is "harder for independent animated films" than for big studio releases, but even so "life is easier for an independent animated film than it is for an independent live action film." And, the good news for animated film-makers is that the "barriers to entry for animation are much lower than they used to be". Even student film-makers have access to "low cost hardware", and "off the shelf software". Nowadays, "it’s about the talent, not the studio".


How a film gets made:

There are three main stages to production:

1. Development – how long is a piece of string? This stage can take a long time.
2. Production
3. Distribution – This is "often the hardest bit". You (the film-maker) "must understand how this bit works", else you will court disaster.

Max Howard talks to our students

Development - what is it?

1. Screenplay- your story. The key bit.
2. Visual Development - what is the Style of the film?
3. Schedule - how long will it take?
4. Budget- how much will it cost?
5. Casting- who will be in it?

It's all about the acting. Photo: Wikipedia

How do actors get into the character?
Max explained that each actor has their own way of getting into the part. For example, "Judi Dench starts by buying the underwear she thinks the character would wear...but she won’t tell you what it is". Other actors "find the shoes". Alex Guinness used to "go to the zoo and watch animals walk". Other actors ask "What foods do their characters like/dislike?"


The secret of reading screenplays:
Screenplays are "hard to read", even for experienced film-makers. They are, in fact, "not designed to be read". A common mistake with a screenplay is to make it "read like a novel? Is the writer telling you what the character is thinking? ". If so, this is an error. A screenplay is "designed to be heard and seen, not read". So what is the solution? Max suggests "do a radio play. Read it out loud together. Cast it among yourselves." Best of all, this is "a great time for the director to work with a group of actors. It's a great way of understanding the text."

How much will it cost?

How do you figure out how much your movie will cost?
You have to base your Budget on the Screenplay. You have to ask yourself:
How many:
1. Locations
2. Characters
3. Props
4. Visual Effects
A good producer will add all these elements up and cost them out. You have to "break the script down into sequences, and create a rating system – which shots will cost what?". You have your  "A, B, and C shots". In effect, you create "a Quota system". And you must ask "How much animation per animator per week?" Also, you have to ask, "How many retakes will the director get?". You must make the weekly production quota, and the quota must be realistic.


Some terms defined
1. "Above the line" – producer, director, writer, talent, composer
2. "Below the line" – production, post production. That's the rest of us.


Kinds of Production
Max explained that there are "3 types of production":

1. Good, 
2. Fast, 
3. Cheap.

And as a producer you get to "pick two".


Pre Production
Pre-production includes doing Visual Development, of "Vis Dev". You will also so "Scratch voice recording". Animated films like to "cast famous actors". The reason for this is "part marketing, partly because they are really good". But, the problem is, there is generally "no chance to rehearse". Each actor tends to record the lines by themselves, in the booth.

Action! Photo: Wikipedia

Production.
By the time your animatic (storyboards filmed and timed out sequentially with sound and music) is done, explained Max "you have really made your movie. The director could go home …almost". But there are choices to be made. What kind Production do you want? "CGI? 2D? Stop Motion?". There are many styles to choose from.


Making the weekly Quota
This is vital and it is "all about good management". You have to "Manage, manage, manage. The big problem on a film is ...no work. If there is proper inventory, you will be fine. Manage the inventory and the productivity targets can be achieved." Every producer's nightmare is artists sitting around with nothing to do, burning hours and getting unhappy.

Once your picture is in production, it should be "a time and motion study." You must deliver your quota each week, on time. But remember when you plan your shots out that the "Quota is not the same in August, or a bank holiday weekend". Some weeks you will come up short because your artists are away. Should you "Close over Christmas?". Probably, yes. In the end "your schedule must be realistic."

Remember: The Producer's job is to "balance the film’s creative vision with the resources available. Its how you use the time and how you use the money you have. You must expect the unexpected. Shit happens."


Things to avoid
Try not to:
1. Introduce new hardware
2. Create new software
Why? because "Production is not for beta testing". The risk of failure is too great.


Post Production:
Post-production includes "Scoring, ADR, Sound FX, Do we have Foley at Bucks?" (No). Max explained that "Sound is so underestimated. You can add 30% to your film with great sound". Also, "Don’t make it [the sound] too cartoony". It should be the "same as live action".


Deliverables - what are they?
Deliverables include "all the elements that the distributors needed". They will want "Different file formats. Separate files. List of requirements…." All this can be exhausting. After all, "it’s the end of the production, and everyone is tired". But it still has to be done.

Distributors like QSRs (Quick Service Restaurant)

Distribution
This bit is hard, and too often overlooked. Without distribution, no-one will see your film. Max asked "What is your USP (Unique Selling Point)?". This is important for distributors.  Also, do you have a "QSR" on board? That is to say "A Quick Service Restaurant". McDonalds can shift Happy Meals for you, and this will help with distribution. 


Things you need to get distribution:

1. A "Locked" screenplay (no revisions allowed)
2. Foreign dubs (ie translated into foreign languages)
3. Press junket- press packs, Q&As, champagne for journalists.
4. Premiere. A big, glossy, opening night.

How Distribution works
Cannes is still the centre of the movie business where distribution is concerned. Max "goes to Cannes to buy and sell movies. It starts on a Wednesday, and finishes 10 days later on a Sunday". His latest film "Colour City" is currently being sold, "but not by Max". It is a "USA/India co-production".

There are "four big sales markets: Cannes, Toronto, AFM, Berlin".


What are Pre-Sales?
Pre-sales are all about "Trying to raise the money to make the movie". If you can get distributors to "pre-buy the film", then "upon delivery, that money becomes due". The good thing about this is that you can then go to "certain banks who will let you borrow against the pre-sale, perhaps 80% of the pre-sale". This then gives you the cash to make the film. The bank "does not care how good the movie is"; they "just want to know that you have a pre-sale".

A completion bond co

Also, "you need a completion bond", that is to say an insurance policy to insure your film. There are "only 2-3 companies, who do this, and they all know the business very well". The cost of this bond is "3-4% of  your budget". Typically it amounts to "several hundred thousand dollars".

The trouble with bonding your movie is this: Each week, you "must file a report to the bond company". This involves taking a look at the "Schedule –vs- Actuals". Any difference between the two "must be articulated". And, if "you can’t articulate why…then the film gets taken away from you".

On The Thief and The Cobbler, where the Completion Bond Company ended up taking over the film, The Bond Co "thought the reporting was fictitious". In the end, "they finished the movie", much to the detriment of the film.

In other words, once your movie is bonded, "you have someone sitting on your shoulder". Worse, "if  you are late…you have ogres on your shoulder". Max "hates going down this route".  In the end, "Financing is always a challenge. Raising money is the hardest thing to do".


Final Thoughts:
According to Max, film-making is all about preparation. As he put it "If you fail to prepare, you will prepare to fail". So, to re-cap, you need:

1. Great Script
2. Great Designs
3. Gifted Crew
4. Realistic Schedule
5. Accurate Budget
6. Stable Pipeline

But then, there will always be the unexpected. Max quoted Pablo Picasso as saying: “If you know exactly what you are going to do, what is the point of doing it?" 

Pablo Picasso: Creating the Unexpected

Finally, remember that modern audiences are impatient. "You have to engage the audience super fast – you have ten minutes maximum to get their attention". As for how a film will do, it's just a numbers game, and you can tell very quickly how it will do.  After all "We know on a Friday night how much money a film will make, within 10% of its final box office".

---Alex

For more on Producing Animation, follow this link.